ASPIREDESIGNANDHOME.COM 51 50 SUMMER 2026 A fixed picture window replaces the farmhouse’s original small open- ings, flooding the kitchen and dining area with light. A boxwood bead curtain by Maison 1909 discreetly conceals the air-conditioning unit. Table and chairs by Carl Hansen & Søn. Pink jug from La Trésorerie; enameled jug, salad bowl and plates by Manufacture de Digoin. Furniture and curtain frames share a single warm wood tone, repeating the note without laboring it, the way a well-made Côtes du Rhône returns to the same red-fruited chord across each sip. Nothing crowds the space. Even the air-conditioning units have been discreetly buried beneath window ledges in modest wooden blocks — that almost- invisible accommodation that speaks to Roux’s refusal of anything too loud or domineering. “We didn’t want anything ostentatious,” she states plainly. “The building was a farmhouse, and we wanted to maintain that simplicity.” Whitewashed walls appear throughout, a practical choice born of the darkness inherent in old houses, and one that transforms Provençal light into the principal design element. In the Luberon, that light has an almost golden opacity in the afternoons, thick and warm as pressing-season air, and Roux lets it do the decorating. Works by artists Nathalie Collange and Alexandra Ferdinande occur throughout, positioned, Roux admits, somewhat intuitively. “They were placed as they came,” she says with a smile, “and they will likely move over time, depending on my moods and new acquisitions.” There is a pleasing looseness to this, the same spirit you find in a natural wine: alive, unpredictable, resisting the urge to be pinned down. The kitchen is anchored by a La Cornue stove, a natural fit for Roux as one of the brand’s principal distributors is in her Savoie region. Cabinet fronts in stained oak are custom-crafted by her carpenter, and a Zellige backsplash by Marazzi catches the light with irregular, mineral-toned reflections that hold their own against the warmth of the wood.