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La Pausa’s garden is Coco Chanel’s former Riviera landscape in Roquebrune-Cap-Martin, restored under architect Peter Marino with the House of Chanel toward its 1930s character. Marino’s reference to Chanel’s tweed is about texture: lavender, iris, olive trees and lawns allowed to grow with clover create a layered, less formally clipped scene. The restoration is not evidence that Chanel designed every present-day planting choice; it is an archival-led effort to recover the landscape’s earlier spirit.
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La Pausa is the villa and estate Coco Chanel created as a retreat in Roquebrune-Cap-Martin, on the French Riviera. Architectural Digest reports that Chanel acquired the nearly 10-acre property in 1928, worked with architect Robert Streitz on the house, and sold it in 1953. The House of Chanel bought the property from the Reves heirs in 2015. Its garden restoration therefore concerns a private historic estate, not a public park or a newly designed resort landscape.
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The setting matters to the restoration’s character. This is a Mediterranean garden, shaped by heat, dryness, established olive trees and views toward the coast. The aim described by Marino was not to impose a lush, uniformly manicured look, but to recover a sense of place and a more textured landscape associated with the estate’s earlier years. Architectural Digest’s report on the restoration gives the detailed account; House & Garden’s coverage also summarizes the return to a 1930s reference.
Why was 1935 chosen as the garden’s reference point?
Marino and Chanel’s Heritage team studied the property’s archives and settled on 1935 as the point of reference because, according to the report, the grounds had taken shape as Chanel intended by then. That date gives the restoration a historical target: it is meant to move the landscape back toward a documented earlier character, rather than preserve every later alteration as equally representative of Chanel’s time.
That distinction is important. “Restored to its 1930s beauty” does not mean that every plant, path, or view can be verified as an exact replica of a single 1935 garden plan. The available reporting describes archival study and an intended return to the period’s landscape character, but it does not provide a complete planting inventory or a measured, element-by-element reconstruction. The restoration should be understood as informed interpretation grounded in the estate’s history, not as proof that every current garden decision was made by Chanel herself.
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What makes the garden resemble Chanel’s tweed?
Marino described the garden’s texture as his design connection to Chanel’s signature fabric. “I tried to make the garden feel somewhat textured,” he said, “like Chanel’s signature tweed suits.” The comparison is visual and tactile: varied plants, open ground, established trees and the softness of lawns mixed with clover produce a surface with irregularity and layers rather than a single smooth, uniform finish.
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For a painter, the analogy offers a way to think about how the landscape is composed. Tweed is not a flat field of one color; its character comes from interwoven threads and small variations that read together at a distance. In Marino’s account, the garden similarly depends on contrasts among foliage, flowering beds, tree forms and spontaneous growth. That is an interpretation of the design language, not a claim that the garden literally copies a fabric pattern or that Chanel herself specified each element in this restoration.
The comparison also helps explain why the reported lawns are not presented as perfectly clipped expanses. They are described as growing with clover and other plants, contributing a mixed, less controlled texture. A conventional formal lawn emphasizes a consistent surface; this landscape’s reported approach allows differences within the ground plane to remain visible. The effect is not simply “untidy” or “wild”: it is a deliberate balance between cultivated choices, historic trees, planted beds and growth that softens the edges.
Which plants and landscape features were restored?
Reported planting includes lavender and iris, along with olive trees, holm oaks, cacti and native Mediterranean scrubland. A Magnolia grandiflora also features in Marino’s planting approach. He said it could tolerate the climate while recalling the glossy foliage of Chanel’s beloved camellia. The source does not identify cultivars or provide detailed growing specifications, so these names should not be expanded into claims about particular varieties or exact planting conditions.
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The restoration’s broader principle was regional fit. Marino put it simply: “In the South of France, you have to respect a garden’s native feeling.” That means the planting story is not only about recalling Chanel’s preferences or choosing photogenic flowers. It is also about a landscape suited to its Mediterranean setting. The available data does not establish irrigation practices, soil types, or a maintenance regime, so those details cannot be inferred from the list of plants alone.
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Olive trees are especially central to the site’s history. During the original construction in 1928 and 1929, Chanel instructed Streitz to work around two centenary olive trees. One remained in the entrance walkway; the other became the focal point of a cloister-like courtyard. Recounting the entrance tree, Marino said, “She didn’t dream of moving it.” In the restoration, he returned an olive tree to that walkway and called it his “guardian.” These details make the tree more than a botanical feature: it is a link between the landscape’s design choices and the way the estate was first built around existing life.
Architectural Digest reported 250 olive trees on the property in 2026 and said the oldest is thought to be about 800 years old. Those figures belong to that publication’s account, and the age is an estimate, not a verified survey result. The nearly 10-acre figure likewise refers to the reported size of the property, not a precise measurement of the garden itself.
What changed in the restoration?
The reported work included removing later decorative elements and more recent plantings Marino considered weedy or non-native. The stated purpose was to recover an earlier landscape feeling and open views toward Menton and Monaco. In a restoration of this kind, removal is part of the design: later additions may have become familiar features over time, but retaining all of them would have obscured the particular period the team selected as its reference.
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One free scan finds every outdated or missing driver and matches the right update for your exact hardware.Free scan · exact hardware matchLighting was also part of Marino’s treatment of the landscape. Architectural Digest describes small, downward-facing LED spotlights arranged on olive branches to create a moonlit effect. The lights are a contemporary intervention, not a claim about how Chanel’s garden was illuminated in the 1930s. They show how a restoration can respect historic character while adding a present-day layer for the estate’s current use.
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Taken together, the decisions point to a landscape that is neither a strict museum reconstruction nor an untouched natural site. Archival research supplies a historical direction; plant selection and the removal of later additions shape the visible result; and modern lighting contributes a new experience. The strongest claim supported by the reporting is that the grounds were brought toward their 1930s character, with the tweed comparison serving as Marino’s explanation of texture and mood.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Can the public visit La Pausa?
No public admission is promised in the available report. Architectural Digest says La Pausa will remain private, with occasional company events and artist residencies. It reports that the first residency, for writers, took place in autumn 2025, and a composer residency was planned for summer 2027; schedules and arrangements may change.
That private status changes how to think about the restoration. La Pausa is not presented as a garden attraction with routine ticketing or open visiting hours. Occasional events or residencies do not amount to general public access, and the reported plans are not a standing invitation to visit. The available reporting does not set out public tour details or a booking process.
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La Pausa’s garden shows how a historical reference can guide a restoration without requiring a claim of exact replication. The team’s 1935 benchmark anchors the work in the estate’s story; the decision to preserve or reintroduce olive trees recalls the original construction; and the plant palette and partly spontaneous lawns support a regional, layered character. Marino’s tweed analogy connects those choices to Chanel’s design legacy, but remains his interpretation of the restored garden.
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For readers interested in painting and visual composition, the useful lesson is in how the scene is described: not as a single color or formal arrangement, but as a relationship among textures. Lavender and iris bring flowering notes; olive trees and holm oaks establish enduring forms; scrubland and mixed lawns complicate the ground surface; and opened coastal views provide a broader spatial frame. This is a reading of the reported elements, not a claim about a particular painting or a documented color scheme.
The garden’s significance, then, is not that every plant can be traced directly to Chanel’s hand. It is that the restoration makes a case for landscape as an extension of design sensibility: the place can evoke the tactile variety of tweed while remaining rooted in Mediterranean plants, old trees and the history of a specific villa. Separating that design interpretation from verifiable historical claims keeps the story both evocative and accurate.
Frequently Asked Questions
Does the restored garden copy a specific 1935 planting plan?
The reporting says the team used 1935 as a landscape reference after studying the archives, but it does not identify a complete planting plan or claim an exact botanical replica. The safer description is a restoration toward the garden’s 1930s character.
Can I buy the same lavender or iris varieties planted at La Pausa?
The published account names lavender and iris but does not identify cultivars or suppliers. A plant sold under either common name cannot be assumed to match the estate’s planting.
Does an artist residency mean La Pausa is open to visitors?
No. A residency is a specific private program, not general admission. The available report does not provide visitor hours, tour dates or a public booking route.
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