How did you start working for A.P.C.?
I met [company founder] [Jean Touitou]( 10 years ago, when he was looking for someone to design A.P.C.'s recording studio. We worked together a year later, when Jean wanted to renovate the A.P.C. store on rue de Fleurus, which doesn't exist anymore. That process created the foundation for our future collaborations.

Above and below: Sofia Coppola's house in Belize.

You've designed A.P.C. stores in Hong Kong, Berlin and L.A., among other cities. Are you going for a particular look with each one?
People have described my work as "enthusiastic minimalism." Some of the recurring themes—in line with A.P.C.'s own collections—are simplicity and the idea of accessible luxury. Most of all, the goal is to display the clothes clearly and simply. But none of the stores are based on a single model—that's a deliberate choice.

You also work as a production designer on films, most recently Blame it on Fidel and The Ax. How do those experiences compare to your work as an architect?
The first film I worked on was an independent with a tiny budget, and I had absolutely no experience as a production designer, so I had to learn about things like staging and lighting. Whatever the differences between architecture and filmmaking—the durability of a built structure versus the immaterial image—my interests in texture and composition link the two together.

Photos courtesy of Laurent Deroo.