Carlton Cannes Neoclassical Grandeur on La Croisette

Conceived by exiled Grand Duke Michael of Russia and built under hotelier Henri Ruhl, the Carlton debuted in 1913 as “the most beautiful hotel that Cannes had ever seen – a monumental building in a neoclassical style with a Belle Époque spirit”. Architect Charles Dalmas infused classical order with Riviera flair (the 6-storey hotel had ~250 rooms by 1930). Its iconic twin domes – rumoured to be modelled on courtesan La Belle Otero’s physique – crown a facade of columns and balustrades, evoking aristocratic fantasy. Inside, grand spaces were lavishly decorated in 1913; later excavations in 2022–23 revealed original Art Deco pilasters and onyx panels hidden under later layers.

From Cannes’s first Film Festival (1946) onward, Carlton has been the festival’s “Grande Dame”. In 1946 it famously hosted the only eight accredited journalists, forging an “unbreakable bond” with the new festival. Alfred Hitchcock chose Carlton’s beach club and Grand Salon for To Catch a Thief (1955). Centuries of glamorous guests have passed Carlton’s doors (US presidents, Hollywood royalty and pop icons alike). Elton John even filmed his “I’m Still Standing” video here. Today Carlton’s dining salons and terraces remain hotspots during festival month.


Closed for a two-year overhaul, Carlton reopened in spring 2023 as “Carlton Cannes, A Regent Hotel”. Architect Richard Lavette (working with heritage authorities) and designer Tristan Auer added two new wings (expanding the footprint by 20,000 m²) while restoring historical fabric. The famed gilded “Carlton Hotel”roof sign has been faithfully recreated as in 1913. Auer’s vision balanced heritage and modernity: he “skilfully preserve[d] this listed icon” while giving it a “refined modern touch” inspired by Riviera symbolism. New materials (faience marble inlays, Raku ceramic) and a glass-domed garden atrium contrast with the restored lobby and Grand Salon (all landmark-protected). The makeover won design acclaim (AHEAD 2023 “Best Renovation”).

Hôtel Martinez: Art Deco Riviera Glamour

Built by Emmanuel Martinez and designed by architect Charles Palmero (with interior designer Pierre Veneuvot), the Martinez opened on 20 February 1929 as “a Riviera icon built in Art Deco glamour”. The seven-storey hotel stretches ~100m along the Croisette, with a symmetrical white façade and signature cobalt-blue balconies – hailed as “a celebration of the Art Deco style”. Inside, Pierre Veneuvot’s lacquered furnishings (sky-blue, ivory, pastels) gave the lobbies a 1920s chic. In its heyday the Martinez was the Riviera’s largest hotel and epitome of Jazz Age decadence.

Since Cannes’s first festival, the Martinez has been a party venue. Its proximity (500m) to the Palais makes it a natural festival haunt, hosting producers and stars between premieres. In recent years, Maison Chopard has used the Martinez for its high-profile gala dinners — for example, Vogue reported Caroline Scheufele’s 2023 “Chopard Loves Cinema” soirée at Martinez, attended by Maggie Gyllenhaal, Bella Hadid, Eva Longoria and more. The hotel even appears in pop culture: in 2026 Mike White’s White Lotus series will feature the Martinez (fictionalized as “White Lotus Cannes”) during festival week.

In late 2017 the Martinez closed for an extensive restoration by interior designer Pierre-Yves Rochon. Aimed at “preserv[ing] the original Art Deco spirit” while updating comforts, the work stripped back 1980s accretions to reveal the grand marble lobby and cathedral stair (once hidden beneath false walls). The color palette (navy and white) and brass detailing reference its 1920s roots. Two penthouse suites (1,250 m²) were added atop the building in tribute to festival legends (Isabelle Huppert, Thierry Frémaux). Today Martinez offers 410 rooms, multiple restaurants (La Palme d’Or, Le Sud, Plage du Martinez), a spa and its oceanfront beach – melding heritage glamour with modern amenities.

Hôtel Barrière Le Majestic: Palace Across the Palais

Le Majestic’s location itself is architecture – a grand hotel literally facing Cannes’s cinema temple. Opened in 1926 as an Art Deco “palace”, it was built by entrepreneur Henri Ruhl (of the Ruhl bar and hotel dynasty) and immediately acquired by François André (founder of Barrière group). Architect Théo Petit (designer of Deauville’s Normandy) was entrusted with the original scheme. The resulting 7-storey hotel featured lavish detail: its grand lobby and halls were painted by Francis Di Signori with Parisian flair, and Carrera marble clad the sweeping staircases.

Over time Majestic grew while preserving its belle époque opulence. In 1965 two new floors were added above the attic, and in 1999 a spectacular Murano-tiled swimming pool and garden terrace were installed. The centerpiece remains the huge gilded façade and double-height foyer lobby, with original Art Deco chandeliers and mirrored walls. Adjacent is the Brasserie Fouquet’s (opened 2018) and Diana Bar, filling the old sun terrace structure.

Its address across the street from the Palais des Festivals makes Le Majestic the official “Festival hotel”. Each May, its gilded lobby bustles as A-list guests descend to walk the red carpet. Hotel records and corridors overflow with festival history: thousands of framed portraits chronicle star arrivals. In film lore, the Majestic even appears on-screen – for instance, the 1963 crime thriller Mélodie en sous-sol (starring Jean Gabin) was partly shot at the Majestic (now commemorated by a suite named Mélodie). Legendary anecdotes survive: in 1983 Lucien Barrière famously offered his own apartment to Paul Newman when all rooms were full, exemplifying the hotel’s star-studded narrative.

The only major 21st-century makeover was the 2010 completion of a long-promised west wing (architectural plan by Théo Petit). Award-winning designer Jacques Garcia created 160 new guest rooms and suites, including opulent balconies and a penthouse, bringing the hotel to 305 rooms. Garcia’s interiors (damask silks, gilt mirrors, heavy drapes) blend with the original motif. Le Majestic remains under Barrière ownership, its 1940s‐vintage empire now restored to its 1920s lineage through careful preservation of facades and public rooms.

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