In the late 1960s, at just 16 years old, a young Philippe Jousse moved to Paris to pursue a career in photography. Ten years later, he fell in love with the French modernists, by way of a Jean Prouvé chair, while treasure hunting at a local flea market.

That chair proved pivotal; the very next year, Jousse began working as a gallerist himself. As he explains, “It was love at first sight. This standard chair sums up the whole approach of Jean Prouvé across furniture, structure, even architecture. In Prouvé’s chair lies all the essence of his work—versatility, functionality, elegance. The function defines the form. A few months later, I discovered a documentation by Jacques Adnet—an advocate of Art Deco and modernist design and President of La Compagnie des Arts Francais—which featured most of the designers I now represent at the gallery: Jean Prouvé, Charlotte Perriand, Serge Mouille, Georges Jouve and Mathieu Matégot. On that day, my perspective shifted.”

Fast forward a few decades, and Jousse Enterprises has become one of the most venerated galleries in the world, with two spaces across the Seine from one another—one dedicated to collectible design from the 1950s and ’70s, alongside contemporary ceramics; the other to contemporary art. Widely acknowledged to have played a key role in the development of the post war modernist market, today, Jousse works closely together with his son, Matthias Jousse, to cater to a dedicated international audience.

Inside Jousse’s own Parisian apartment, a place he’s called home for the past 15 years, one finds some of the most important pieces from the gallerist’s private collection. Set in a 1960s building on the boundary between the 4th and the 12th arrondissements, the apartment features a terrace that overlooks the Port de l’Arsenal. “What drew us to the place was its large window bays and big outdoor space—with an unobstructed view on the port and the city.”

“What I like the most in this room is the sofa set by Pierre Jeanneret. I keep it for the memories of Chandigarh. I love the personality and the free spirit of Pierre Jeanneret, who enjoyed building many prototypes. He is, to me, a man in the shadows—but one of a great importance.”

This particular space is a wonderful example of Jousse’s skill for artfully combining work across disciplines and eras. Describing his approach, Jousse says, “Regardless of media, we’re always driven by passion. The work must move us. At the very beginning, we bought pieces that we loved by Jean Prouvé, Charlotte Perriand, Pierre Jeanneret, Mathieu Matégot, Georges Jouve, André Borderie, Serge Mouille, and Gino Sarfatti. For contemporary art, the young artists I select are chosen by passion as well—such as Atelier Van Lieshout, Eva Nielsen, Nathanaëlle Herbelin, Tim Eitel, Anne-Charlotte Finel, and Simon Martin, among others. There is always a visceral response to the work.”

In the alcove, he is especially fond of the Perriand and Jeanneret collaboration. “What I love the most about this sideboard is the combination of blackened wood and aluminium—and the proportions, which are ideal to me.”

“Thanks to the expert work of my partner and son Matthias Jousse, I was able to furnish the studio with these historically charged armchairs, which Paulin conceived for the Elysées Palace under Georges Pompidou in 1972. It was a very prestigious order. Furthermore, I enjoy reading and relaxing in these armchairs; they’re incredibly comfortable.”

“This is the first tête à lumière I ever collected; I found this one in 1985. I have been seduced by the organic and sculptural shape of this piece. I enjoyed it so much, I felt I had to meet André Borderie. So we met and began a collaboration—one that is still ongoing with his children.”

“Collecting is always about following your passion,” Jousse concludes. "My advice is always to look for pieces that move you—and ideally look for work that is representative of an artist, time, or place. And in case of doubt, seek advice from a gallery; that is what we’re here for.”