The 20 who move Paris Close the panel Open the panel Plume Le Figaro

Déborah Lévy and Sarah Harb, the Pastry Fairies

They are in their thirties and very much from the 21st century, even if their success story looks like a fairy tale. Behind their fresh faces hide two balls of energy, inventive and audacious, who have decided to re-enchant traditional pastry. To make it more current, more playful and aesthetic without sacrificing flavors. Beauty and goodness is the credo of their three shops, prettily named Les Fées Pâtissières, the latest of which, in Villiers, includes a tea room. They display mini-cakes in a theatrical setting that revisit Paris-Brest, Saint-Honoré or the Nun; creations, too, born from the magic wand of Eddie Benghanem (pastry chef of the Trianon Palace) when it opened and Irina de la Huerga (former sous-chef of the Ritz) now. Obviously, at the start, the beauties had to be very greedy. And also that they tick the "marketing" and "business" boxes to carry out their project. Mission accomplished. In less than three years, they have rolled out a pretty course strewn with sticks, "macaringues" (a happy marriage of macaroon and meringue) and other tartlets, which have propelled them to the front of the "Last Supper".

The pastry fairies. 21, rue Rambuteau (4th); 105, avenue Victor-Hugo (16th century), and 1, bd de Courcelles (8th century).

Philippe Lamy, founder of the Barter Paris Art Club

Why on earth should Parisian art galleries be the exclusive lair of collectors and marathon runners? Are the curious Parisian or the museum-hungry expatriate doomed to digital audio-guides? And why should the novice be content to dream of a work without daring to ask the price? With the cash but polished side of those who have lived and worked across the Atlantic, Philippe Lamy, ex-ace of finance and delicate epicurean of 44 years, took all these prejudices head on and reshuffled the cards of the access to the cultural wealth of Paris by creating its art concierge. Today, as a member of the Barter, you can push the door of Orsay on the spur of the moment or without ever queuing, toast in front of the picture rails of the Brugier-Rigail gallery while learning a lot of never razor-sharp experts, and even have a work appraised, insured and restored. But for several months, Philippe Lamy has also been organizing evenings in emblematic addresses for his happy few; thus, on March 30, the voice of singer Keren Ann will resound in the corridors of the Silencio imagined by David Lynch. Between clubs, we understand each other.

Barter Paris Art Club.

The Supersonic team, ambiancers

Last January, the OPA bowed out to make way for the Supersonic. At the head of this new place that looks like a New York loft, a team determined to stand out on the Parisian night market. Afterwork, concerts or club (Fridays and Saturdays until 6 a.m.): there's a time slot for everyone, to indie rock, pop, electro or even house rhythms. In their office, located just above, Aurélien (23 years old) and Cécilia (26 years old) manage the programming with enthusiasm. Sitting face to face, debating, Hadrien, the director, and Cédric, in charge of the club, both in their forties. And, in a corner, David, the big boss, preferring to step aside so as not to interfere with the overflowing energy of the group. “The idea is to introduce new artists who are poorly represented in Paris, without deviating from our musical imprint,” explains Aurélien. The youngest of the places still managed to welcome Mademoiselle K last week: “She was attending a concert here… and I asked her to come back, but on stage, this time!” The nerve and naivety of youth mingle here with experience. Please note: admission is free at all hours of the evening. And the drinks - including beers straight from small local brewers - very affordable (from €4 a pint, during happy hour). Inexpensive, but far from cheap.

Supersonic. 9, rue Biscornet (12th). Tel.: 01 46 28 12 90.

Nicolas Buffe, artist

Pierre Hermé has nothing against audacity. He loves it so much that he doesn't make it the sole prerogative of his own pastry musts or the flavors of his macaroons. He who, each year, joins forces with the talent of an artist with a well-marked universe (Soledad Bravi, Nicolas Vial or Jean-Philippe Delhomme for some of the recent vintages), here he is teaming up for 2016 with a young shoot that no longer has much to prove. Last year at the Châtelet, Nicolas Buffe (born in 1978, generation X-Or in a loop in “Récréa 2”…) was entrusted with the scenography and costumes of Il Re Pastore by Mozart, in a version for the less manga. In fact, an army of robots represented the sheep and the shepherdess Elisa was wearing rabbit ears... At the same time sculptor, designer, visual artist, Nicolas Buffe imagined for Pierre Hermé's chocolate candies, but also their boxes, five characters with a Japanese look: Hélios, prince in the Kingdom of the Sun, Roxane, princess of the Kingdom of the Moon, as well as the Little Cat of the Tower from above, "who does not know that he is small" but whose he player air is found despite everything on assortment boxes mixing Infiniment Praliné Hazelnut, Lou, Makassar and Mogador. There is nothing short-lived about this collaboration, since Nicolas Buffe is already working on… the 2017 Pierre Hermé Kings Cake. Inspiration is, for some, a long-lasting virtue.

http://nicolasbuffe.com

Pierre Herme. 72, rue Bonaparte (VIe) and several other addresses in Paris.

Laurent Grasso, visual artist

Laurent Grasso is this 100% contemporary artist who looks at the world as one appropriates the field of stars. Since the end of January, his work SolarWind has transformed the two giant concrete silos of Ciments Calcia, now two 40m high towers of light, and lit the fire on the ring road that descends between the Porte de Vitry and the Quai d'Ivry ( a million motorists every day!). How to transform two concrete and concrete silos into a cosmic landscape, a moving tide of 16 million different colors? Laurent Grasso thought as an artist, questioned the sciences and worked in a monumental way. “I proposed to create a space weather barometer, using shapes and lights I defined to inform about solar activity in real time. So I brought my SolarWind project, it was received. Then we worked for four years to make it happen,” he told us on the eve of the inauguration of this new flagship in the rapidly changing Paris Rive Gauche district. “It's a very complicated process because everything had to be invented, in particular the LED panels that diffuse the light on the silos and whose optics were specially molded for my project. Achieving this light intensity on such a surface and such a height is a technical feat. Objective? That we can see the project, as far as possible.”

“SolarWind”. Between Porte d'Ivry and Porte de Bercy (13th century).

Maud Arditti and Olivier Levy, founders of SnapEvent

Organizing an evening from A to Z in the capital is a challenge. Finding the ideal place, finding a quality caterer, providing original entertainment… all without exceeding a budget and the time limit. To be sure of succeeding - without tearing your hair out - it is better to call on specialists. And that's where Maud Arditti, 29, and Olivier Levy, 27, come in. Since July 2014, their dynamic start-up SnapEvent has been organizing high-end events in the Paris region (300 in 2015). 400 atypical places - exclusively private properties (lofts, galleries, rooftops, etc.) - are thus, for the time of a party, offered for rent. Preparations for D-Day, everything is under the control of the duo. The latter had to ask a manufacturer of wireless headphones at the last minute to transform an evening in a 400 m2 loft from the 20th century into a silent party, the owner finally dreading the level of decibels. Often nicknamed “the Airbnb of events”, their rapidly expanding platform is attracting Parisians in search of originality. The beginnings of the innovative concept imagined by Maud and Olivier date back to the end of their studies at HEC. Appointed to organize the promotional evening, they quickly find themselves faced with some difficulties: "The offer was rare, and the difference between the pretty promotional brochures and the reality was aberrant." Launching their own start-up was obvious, and this is not their first attempt. And this time the party is in full swing.

www.snapevent.fr

Clément Hervieu-Léger, actor and director

The 18th century suits him very well. The resident of the Comédie-Française is familiar with Marivaux, Diderot, Crébillon son, Voltaire. So many authors he has chosen for his “theatrical and epistolary soap opera”, on view at the Louvre Auditorium. Once a month, it offers the (re)discovery of little-known texts by famous authors. Sémiramis by Voltaire, "during his lifetime his plays were very popular, we have forgotten them today", he underlines. Ditto for The Interview of a Philosopher with the Maréchale de *** by Diderot. "It's quite rare to find an intellectual exchange between a man and a woman, at this time of amorous seduction", continues Clément Hervieu-Léger, 38, former collaborator of Chéreau, who stages, in duo or several , his colleagues from Le Français and his troupe, the Compagnie des Petits Champs, as well as headliners. We will find Elsa Lepoivre (March 20) or Maria de Medeiros (April 25) and Marina Hands (May 23). He does not take off his hat as a director, since in June he will stage at the Bouffes du Nord Monsieur de Pourceaugnac, a comedy-ballet by Molière to the music of Lully conducted by William Christie. In the meantime, we can applaud the actor on the boards in Cyrano de Bergerac (at the Comédie-Française until March 28).

Readings at the Louvre, Louvre Auditorium, until May 23.

Alexandre Giesbert and Julien Ross, restaurateurs

Opening four restaurants in less than three years, this is the bet that Alexandre Giesbert, 31, and Julien Ross, 33, are about to take up. Fed up at the Parisian tables he frequented with his editorialist father, the former turned to Ferrandi after studying economics. Trained at Briffard, Gagnaire or Christian Etchebest, he launched his first organic pizza business, Green Pizz, before ending it due to disagreement with his associates. In 2012, he joined Paul-Arthur Berlan's Métropolitain (IVe) as a second, where he met Julien, who officiated in the room. A friendship is born between the cook and the tattooed Auvergnat. The latter, who has lived in the Philippines, London and New York, and worked for Les Costes and Daniel Boulud, created Roca in October 2013. Alexandre is invited to the piano. In a 17th century that was rather lacking in good restaurants, the success of the bistro was such that the thirties opened the pizzeria Roco (2014) then the gourmet kebab Rococo (2015). The credo is the same every time: top quality products, meticulous cuisine and a cool and professional service at the same time. In mid-May, the duo will inaugurate their most ambitious project: Da Roco, a top-of-the-range trattoria with 190 covers installed on two levels in the historic shop of Jean Paul Gaultier. Spring fashion address?

Roca. 31, rue Guillaume-Tell (17th century). Tel.: 01 47 64 86 04.

Roco. 1, rue Guillaume-Tell (17th century). Tel.: 01 47 64 49 39.

Rococo. 4, rue du Faubourg-Saint-Martin (10th). No tel.

Da Roco. 6, rue Vivienne (2nd). Opening mid-May.

Eva Jospin, sculptor

A woman sculptor has been fascinating since Camille Claudel and her passion to madness, from Louise Bourgeois and her creative ferocity to almost a hundred years old. Discipline is male, women approach it with a strong audacity. Prize of the Academy of Fine Arts / Frédéric and Jean de Vernon engraving and sculpture prize in 2015, Eva Jospin has forged her world between drawing and sculpture with her cardboard forests which borrow from the trompe-l'oeil for a long time. tradition and arte povera. She has this double face, tender and rosy like an 18th century pastel, powerful and determined like a general. It is enough to see her, belly rounded by her third child to be born, of a delicate elegance under her navy work apron, leading her team of assistants in a soft and firm voice in the icy workshop of Vitry-sur- Seine. There are about ten of them who cut, glue and sculpt with a cutter the cardboard of his Panorama, a monumental work which will be installed next month in the Cour Carrée du Louvre, thanks to NoirmontArtProduction. A panoramic vision, a reminder of 19th century panoramas and a very contemporary immersive experience, this project, both very simple and very complex, should be enchanting. Cardboard, Eva Jospin's favorite material, presented itself by coincidence. He was there, in the studio where she had just moved. Parisians have already seen her at work at the Manufacture des Gobelins, at the Palais de Tokyo and of course at the go-getter Suzanne Tarasiève (3rd).

Courtyard Square of the Louvre. From April 11 to the end of August.

Vincent Merlet, co-founder of Hasard Ludique

It all started by chance. The eyes of Vincent, a young inhabitant of the 18th century, land every morning on this former Saint-Ouen station when he opens its shutters. A little curious by nature, he learns about the history of the building. And its future. “I ended up learning that a call for projects was going to be launched…” After a little improvised dance in his living room to let his joy explode, he hastened to contact two friends, Céline and Flavie. The trio of young thirty-somethings then imagined a cultural place that seduced the Town Hall. Today, the historic building is getting a makeover and colossal works are in progress to bring it back to life in the form of Hasard Ludique, between the end of 2016 and the beginning of 2017. A performance hall with nearly 300 standing places, equipped with a mobile stage, can accommodate theatre, dance and visual arts. Music, a real passion for the team, will be at the heart of the events. Programming, entertainment, catering: the group is working to refine the main lines. Anxious to involve future visitors - and especially the inhabitants of the district -, they decided to launch a participatory platform on their site (www.lehasardludique.paris). While waiting for the opening, the Hasard Ludique participates in various cultural events. In July, he renewed his partnership with the Clignancourt Danse sur les Rails festival for the third time before finally being able to chart his own path.

Playful Chance. 128, avenue de Saint-Ouen (18th century).

Alice Mitterrand, director, screenwriter and gallery owner

Alice Mitterrand has so much character that she quickly eclipses the very gracious shadow of her dear father (gallerist Jean-Gab, or "JGM"), the literary echo of his uncle, former Minister of Culture (Frédéric) and the historical weight of his great-uncle, simply President of the Republic (François). Born in 1973, this volcano is the author of a delicious book, Psycho du Câte, which reveals the hidden profile of the gourmand. After studying philosophy, she was an apprentice actress at the Cours Florent and at the rue Blanche school. Director and screenwriter, she has directed four short films including La Planète des femmes, a satire of codes and genres selected at the Alpe d'Huez Festival in 2011. She is preparing her first feature film produced by Dominique Farrugia. And will open in April "Club sensible" in the heart of the Village Bastille, which will offer serigraphs, paintings, originals, prints and collages by illustrators and graphic designers from around the world. “The works fall into two categories, those that I like and those that I don't like. I don't know of any other criteria,” she said of Chekhov. This cheeky girl remembers that “as a child, I was taken to see exhibitions every weekend. Each time I didn't like a work, they explained to me why it was an important artist, why I was wrong not to like it, why I hadn't understood this work. Today I can affirm my taste through my “Sensitive Club”, where I only present works that I deeply love. Without worrying about the rating of the artists, any intellectual discourse or a fad. And tack!

Sensitive club. 2, rue des Taillandiers (11th). Opening early April.

Astrid Dieterlen, interior designer

With her pretty red hair, the young interior designer does not go unnoticed. His look, both serious and dynamic, is as much so as his short career. At 28, she can boast of having knocked on the right doors. After graduating from the École Boulle and the École Normale, which enabled her to combine both the skills of product designer and interior designer, the Auvergne-born entered Dassault Aviation, for whom she designed the luxury showroom in Le Bourget. Then she flew to Philippe Starck, whom she rubbed shoulders with for the design of the Mama Shelter in Bordeaux and the Caffè Stern (passage des Panoramas, near the Grands Boulevards). "Philippe Starck is a very demanding person, who taught me a lot," she remembers. But she admits that "her mentor" is Bruno Borrione, Starck's executive right-hand man. She owes him her propulsion towards another fruitful collaboration with the architect Vincent Bastie, in charge of the Boutet hotel in the Bastille (MGallery by Sofitel). The beautiful post-industrial building from the 1920s, with its splendid ceramic facade, allowed Astrid Dieterlen to instil her taste for raw materials (wood, metal, tin, concrete), and to find solutions as ergonomic as elegant for housing wardrobes, desks and bedside tables in more or less spacious bedrooms. Satisfied with her services, Bastie has integrated the very creative Astrid into her teams to entrust her with another 4-star hotel project in the 15th arrondissement, whose 88 rooms will be discovered in 2017.

Hotel Boutet Paris Bastille. 22-24, rue Faidherbe (XIth).

Ugo Gattoni, illustrator

It is with a great sense of detail that the 27-year-old young man creates his frescoes. Equipped with a fine point, a magnifying glass and a lot of patience, he creates universes where each element is meticulously traced on meters and meters of paper. Seduced by this unique method, French luxury houses now offer him many collaborations. Evidenced by his contract with Hermès, which has already enabled Ugo Gattoni to make a first silk scarf. For Hippopolis, he imagined a fantastic city of horses, combining both the imprint of the brand and his own style. “For months, I had access to the private collection of Émile Hermès on several occasions. It is a veritable cabinet of curiosities filled with secrets and which allows us to understand their universe.” While waiting for the release of two other pieces in 2017, Ugo will present in a few months a capsule collection for Pierre Frey, on the occasion of the 80th anniversary of the House, available in wallpaper and fabrics. He is also fine-tuning an artistic animation with Ruinart for the launch of a pop-up store in Tokyo. He was barely twenty years old when it all - really - started, when he left EPSAA (94). Refusing to go to a conventional graphic design agency, he buys a large roll of paper to "try something else". In 2012, he let himself be carried away by the frenzy of the Olympic Games and produced Bicycle (Nobrow Press), a 5-meter-long fresco, published in the form of a fold-out book, in which he drew a giant bicycle race in the streets of London . Since then, nothing has slowed him down in his creative impulses.

www.ugogattoni.fr

Christophe Leribault, director of the Petit Palais

Since 2012 and the arrival at the Petit Palais of this excellent curator from the Carnavalet Museum and the Louvre - where he took care of the graphics cabinet and then of the house Delacroix -, the party is permanent. Christophe Leribault knows how to combine the pleasure of erudition with that of a great attractive spectacle. Cleverly, it alternates bold rediscoveries and conscientiously re-studied sure values. It had begun with 19th century exhumations to make Orsay green with envy: the painter Félix Ziem and the sculptor Jules Dalou, whose institution retains studio funds. Then, place to earthy Jacob Jordaens, master of the Antwerp Golden Age banquets. Unlike Rubens and Van Dyck, he had never seen a retrospective in France. Then followed in majesty "Paris 1900", mixing noble arts and applied arts. The evocation gave all its meaning to the building by Charles Girault built for the Universal Exhibition of that year. Crowds, slaps and insults in the queue... Repeat with the scoundrel Caravaggios presented within a route evoking the palaces and slums of Baroque Rome. Last year, the Petit Palais hosted the black prints of the BnF on the theme of the fantastic 19th century and at the same time signed the most beautiful exhibition of the moment. At the same time, large romantic formats forgotten in the reserves emerged perfectly restored. On the program for the next few months: the rehabilitation of Desvallières, a great Christian painter of the first half of the 20th century. And, in April, diving behind the scenes of creation with four hundred photographs capturing, at work in their studio, the modern masters from Ingres to Jeff Koons.

Little Palace. Avenue Winston-Churchill (VIIIth).

Laurence des Cars, director of the Musée de l'Orangerie

The one who is said to be in the running for Orsay is putting the finishing touches to an exhibition at the Orangerie that is decisive for the history of modern art. From April 6, tribute to Apollinaire. With a focus on the years 1902 and 1918 of the poet, then very active as an art critic. Apollinaire will have “situated once and for all the approach of a Matisse, a Derain, a Picasso, a Chirico (…) by means of instruments of mental surveying such as we had not seen since Baudelaire,” said André Breton. We can count on this woman of great culture and a firm grip to succeed in this portrait composed like a calligram. She promises it enamelled with works ranging from Cubism to Orphism and Surrealism; also enriched with statuettes and masks of first arts, pieces of naive or popular art. To obtain the necessary loans, its international address book has grown considerably. This daughter and granddaughter of famous writers, a specialist in the 19th century sponsored by Henri Loyrette, in fact piloted the acquisition board for the collection of the future Louvre Abu Dhabi.

The Orangerie already owes Laurence des Cars for having hosted the very complete retrospective of the nabi Émile Bernard or a beautiful look at women photographers in the years 1918-1945. In the fall, a selection of American paintings from the 1930s is advertised there. And, always - we never tire of it - the fabulous Water Lilies cycle by Monet.

Orangerie Museum. Tuileries Garden (I).

Mélanie Bouteloup, director of Villa Vassilieff

It's the new smile at the end of the passage. Mélanie Bouteloup is the young director of Villa Vassilieff, a new formula. Since the end of January, this magical place which until 2013 housed the Musée du Montparnasse has become an art center and residence for artists and art researchers. It should make more than one dream. The Chemin du Montparnasse is an ideal piece of Paris, with its cobblestones and lofts, and a direct reference to the history of art that has paraded there, from the young Picassos, Modigliani and Dali to defectors from modern Europe and of its vanguards. How, today, can we recreate a current that captures new thoughts, that seduces its young ambassadors, that synthesizes the talents scattered by globalization and united, despite themselves, by globalization? The Pernod Ricard Fellowship offers them three months of tailor-made residency in historic shade, with a charming studio, rehabilitated by artists, and rooms open to debates as we imagined them in the days of the Dadaists. The young Mexican Andrea Ancira opens the ball with her research on the avant-garde Teo Hernandez. Positive and determined, Mélanie Bouteloup has many beautiful people in her international artistic committee (from Victoria Noorthoorn, director of MAMBA in Buenos Aires, to Sunjung Kim, director of Samuso in Seoul) and already the successful experience of Bétonsalon, the young 13th century art.

Villa Vassilieff. Chemin du Montparnasse, 21, avenue du Maine (15th century). Tuesday to Saturday, 11 a.m. to 7 p.m. (free entry).

Christophe Servell and Jérémie Trigano, roaster and entrepreneur

From now on, when you say "A coffee and the bill!", it will really make sense because you will salute the union of the founder of Terres de Café, Christophe Servell, and the co-creator of the Mama Shelter hotel-restaurants, Jérémie Trigano. For the past year, in all of the latter's addresses, we have been tasting Mama's Kiss, a blend specially designed by Christophe, France's best roaster in 2015. The connection between the two entrepreneurs was made through a mutual friend. , Rami Mekdachi, customer of Terres de Café and designer of the olfactory signature of Mama Shelter. A fruitful meeting that will lead Jérémie Trigano to become Christophe Servell's business partner, by investing in his company and becoming a 35% shareholder. Boosted by this welcome financial windfall, Terres de Café will open its flagship in the Marais at the end of March. Designed by Dion & Arles (La Pâtisserie des Rêves, Petrossian, etc.), this new space, both a coffee-shop and a boutique, will also be devoted to training baristas. For the occasion, pastry chef Christophe Felder has created a range of small cakes specially created to match the coffee menu. No need to read in the marc to guess that the adventure will not stop there.

Coffee grounds. 40, rue des Blancs-Manteaux (IVth). Opening scheduled for the end of March.