HABITE- by Susanna Salk for 1stdibs
Laurent Rebuffel’s passion for antiques began when he was just a boy in Nice, running errands for his father and uncle’s antiques shop, Rebuffel Antiques. As he grew, so too did his knowledge, responsibilities, and duties which included his accompanying the elder Rebuffels on their buying excursions and assisting them at regional antique shows.  “Our trips took us through the winding streets of the antiques district in Nice to Northern Italy and to the Swiss countryside,” remembers Rebuffel of the many journeys en famille    that ultimately shaped his own quest for French and Continental antiques. 

Before realizing his destiny however, a brief spell in business and hotel management combined with his yearn for travel eventually placed him in San Francisco where he worked in some of the city’s most popular restaurants. Yet the pull of collecting proved a stronger draw, and within one year, he chose the  career for which he was destined – antiques dealer. 
Returning to Nice, Rebuffel began shopping with his father. “It was so helpful to able to count on the expertise of my father, especially as we launched the Habité name, brand, and inventory,” says Rebuffel.
“From the beginning, we always looked for pieces that spoke to us in their uniqueness and supreme craftsmanship both in the design and details.”

After a six-month search in San Francisco, father and son found their ideal location on Harrison Street and opened Habité. “I wanted to promote the concept of living with antiques not just collecting,” says Rebuffel of Habité’s raison d’être. Their 7,500 square foot showroom, in an up and coming area of the city’s South of Market area, offers spaciousness to reflect the eclectism that Rebuffel champions.  “In France, it’s customary to find an eighteenth century piece next to a very modern mid-twentieth century piece and that’s what we have tried to re-create here,” he explains. “You don’t need to restrict yourself to just one style. Rather, allow the imagination to run free and bring exquisite pieces together to create a harmonious space.”

Habité’s inventory spreads from the 17th century all the way to the 1960’s with charisma and character the constants.“We look for the little plus in every piece we buy, be it the patina, the proportion, the lines or the quality of the material,” says Rebuffel. As a result, visitors to Habité are just as likely to spot a massive pair of 17th century walnut Solomonic columns, as they would a sycamore and parchment buffet by Suzanne Guiguichon.

Something “extra” was also in the cards for Habité’s future: a Los Angeles showroom. “It seemed a natural progression for us,” says Rebuffel. “Having been a participant of the Los Angeles Antiques and the Modernism shows, we started to cultivate a clientele in Southern California and felt the timing was perfect to expand.”  Kimberly Denman, who since 2001 had been running her own firm, stepped in to help Rebuffel realize the launch.  Having developed an interest in antiques while buying for her clients, Denman speaks of the value of antiques “because they add life and worldly character to any room.”

Denman and Rebuffel launched Habité Los Angeles in 2008. The north La Brea location boasts 3,500 square feet of space which has been transformed into a classical interior with large moldings and parquet flooring. “We used a color that you would see in a Paris flat to showcase a very eclectic mix of furniture and furnishings, mostly from the twentieth century but you’ll still see some exquisite eighteenth and nineteenth century pieces as well,” says Denman. She and manager, Guiseppe Bellissima, often use the space for exhibits as they have done recently with the work of young English sculptor, Adam P. Gale.

Rebuffel now divides his week between the two California cities and, together with Denman, travels to Europe a few times a year on buying trips. “We can’t stop buying – it’s really kind of sick,” says Rebuffel with a smile. “The hunt for the next piece is always fascinating. There is always the sense of discovery, about who, when, and where it was made. We especially like to imagine where the piece will end up. We are giving it another life.”