My meeting with Hélène Mercier Arnault, the Canadian pianist who is married to LVMH chair and CEO, Bernard Arnault, is arranged at Le Laurent, an elegant Paris restaurant inside an 18th-century pavilion off the Champs-Elysees. Mercier Arnault hasn’t given a formal interview in almost 17 years, so the restaurant’s discreet salon Matignon, with its fireplace, feels like a fitting setting. She arrives in great spirits, relaxed and wearing a crisp white blouse and carrying the new Lady Dior bag with the bold clover motif and ladybug designed by Jonathan Anderson. “With the charms!” she says. “It was a gift from Jonathan.”
The occasion for our talk is her new album, Lost to the World, a recording with 24-year-old Swedish violin prodigy Daniel Lozakovich—out March 6th—and she’s brought a physical copy. My mind races: Do I have anything to play it on? It will, she assures me, also be available on streaming platforms.
When I speak to Lozakovitch later on the phone, he notes how deeply intuitive Mercier Arnault’s playing is. “Almost like she has a third eye,” he tells me. “Of course, that insight has been shaped by experience; she’s performed alongside so many of the legendary musicians including Mstislav Rostropovitch, Ivry Gitlis, Vladimir Spivakov, and Henryk Szeryng.” The two will travel together to play concerts in the countries of Georgia and South Korea, and in Monaco later this year.
Mercier Arnault began playing the piano at a very young age, growing up in Canada, and following in the footsteps of her older sister, a violinist. Over her varied career she has performed around the world and this year, in addition to her project with Lozakovich, she will also release a record with Canadian pianist Louis Lortie, the second part of a complete edition of Debussy’s works.
It’s a busy moment for Mercier Arnault and we spoke throughout our discussion about her designer loyalties, her love of rap music, and, of course, the new album with Lozakovich.
The album is titled Lost to the World with a black and white cover. That’s dark!
Hélène Mercier Arnault: The people at Warner initially found it dark too. I am lost to the world is the title of the Gustav Mahler piece we play in the album. The world of classical music is a microcosm, the record industry is struggling and believes it needs flashy cover art. Finally, I asked Hedi Slimane [former creative director of Celine] for his opinion. Hedi is a great friend of mine, and Daniel also knows Hedi and is influenced by his style. Hedi loved both the title and cover. He said the youth of today feel lost, uncertain about what the future holds.
And when I spoke with Daniel, he said: “If some people think it’s too dark, then they have to find the light inside.”
I love it! I agree!
How did you meet?
I first came across Daniel about 10 years ago. My friend Vladimir Spivakov sent me a video of him playing at the age of 10. What struck me was the maturity of his interpretation—he was already an old soul: hypersensitive, profound, and deeply expressive. Even at that age, he captured all the nuances the music required. There’s a certain nostalgia in his playing that seems beyond his years.
Are you nostalgic?
It’s wonderful to indulge in nostalgia. Recalling memories—both beautiful and less beautiful ones—gives a huge amount of emotion. Music is never purely intellectual; it’s always immediately close to strong emotion, even to sensuality.
You arrived in France, after studying in Vienna and at the Juilliard School in New York. What was it like when you first moved to Paris?
I never thought I’d live in Paris but I was here and immediately I felt good. On top of that, I found it very pleasant to speak French. I had left Montreal and everywhere else I wasn’t speaking my native language. And there were strong connections between Quebec and France.
I grew up with an admiration for France. My father was born here because his father was studying surgery here. My father was the eldest; he was born here and spent the first years of his life here—it left an indelible mark on him. He always talked about Paris.
I loved French books, films, and songs. There were also the French men. They were the sexiest! I remember watching Le Grand Meaulnes and being struck by all those young French actors, each more handsome than the last; or Faustine et Le bel été, which launched the careers of Francis Huster and Isabelle Adjani.
How did you and your husband meet?
We met at a dinner party in Paris. He gave me a ride home. It lasted 10 minutes but I was impressed by his originality—he told me about what he played on the piano; clearly, he must have devoted a lot of time to be able to play such difficult pieces. Soon after, he invited her for lunch in an office at Dior. He asked for me to be given a tour of the Dior boutique. His assistant kept saying: Mr. Arnault had this changed, Mr. Arnault had that changed, which made me think he worked in interior design. I only understood later, after I looked into it.
What was it like juggling concert life and family life?
I still performed while I was pregnant and while my children were young, although I played less frequently. I felt guilty about leaving the little ones. But now that they are older, I play a lot more. I relish the chance to travel to countries opening up to classical music. I like discovering new audiences. China is building so many new concert halls! In 2025, I played with Herbie Hancock at International Jazz Day celebrations in Abu Dhabi. I’ve played in Azerbaijan, Armenia, Uzbekistan, and Kyrgyzstan with Daniel. Kyrgyzstan is his mother’s birthplace. Soon I am off to perform in Georgia with Daniel.
Have you ever released a solo album?
No, but life is long. I am lucky I can pursue this career my entire life. I love the fact that I can do it without feeling guilty.
What other genres of music do you enjoy?
I’ve always been drawn to pop music. There were the chansonniers—Michel Fugain, Jacques Brel, Leo Ferré—then the bands the Beatles, Pink Floyd, and Police and Sting. Today, I find rap very interesting: Kendrick Lamar, Jay-Z. I played with [Congolese rapper] Gims twice. I love it when rap is fused with other genres.
Do you discuss music with Pharrell Williams, Louis Vuitton’s men’s creative director?
Yes, Pharrell perceives colors in response to sounds, a condition known as synesthesia—so he recently created the set design and lighting of an opera by Pascal Dusapin at the Fondation Louis Vuitton. He was inspired by the constant dissonance in the music. The result was mesmerizing. It honestly brought tears to our eyes. He radiates positivity and is always full of gratitude. His Lego movie Piece by Piece was amazing. The number of Grammy nominations he’s received over the years is testament to his immense artistic contribution.
Do you perform at the Fondation Louis Vuitton?
Daniel is about to. I prefer not to perform there. I like to keep my roles separate so at the Fondation, I am simply supporting my husband.
Your book, Au fil des notes..., published in 2009, includes a photo of a gigantic bouquet Karl Lagerfeld sent you for one of your concerts. What’s the story behind that?
The bouquet was so large it wouldn’t fit through the dressing room door in Turin, so I had to leave it outside. I was extremely close to Karl. He didn’t speak [about his illness] and it was his right but he left without saying goodbye and it’s very hard for everyone. We can’t get over it. He was a mentor to Hedi. Karl had such a high level of excellence.
John Galliano is another designer you’re close to, I believe.
Yes, I saw him a lot. It really moved me to see him at the [Dior couture] show. We’re going to see each other again. He said, would you like to have some tea?
Galliano designed the famous revenge slip dress that Princess Diana wore at the Met Gala in 1996.
Yes, in Jonathan Anderson’s couture collection, there was a nod to this dress. I thought of it immediately. I am not sure this dress was in the show. I went to see the studio before the show. The flowers at the show were a tribute to Galliano because when Galliano came to see Jonathan Anderson to have him show his collection, he arrived with a bouquet.
Which other fashion designers do you have a close relationship with?
I have a lot of respect for Nicolas Ghesquière [artistic director of women’s Louis Vuitton collections], like for all creative directors. Nicolas is a master couturier; he has a deep understanding of tailoring and cuts. There is also the Francophone sensibility that binds us.
Maria Grazia [Chiuri, new chief creative officer at Fendi] and I have much in common. We’re from the same generation, we share the same values, and we’re both Aquarius! I’ve always admired her pragmatic approach. She has an eye for every detail. She’s very hands-on. She thinks about comfort and designs for a strong, active woman.
Do you have any role in the activities of LVMH?
Not at all. I don’t talk about business with my husband. I find the business side so boring. Once I attended the group’s Annual General Meeting, I even took my five year old son. I was so bored. I never went back. My husband had warned me that I would be bored to death. I love fashion designers—it’s a serious job. For me, fashion is a playful and lighthearted part of my life, in contrast to classical music. It’s a nice balance.
Your husband famously tours stores of the LVMH brands every Saturday morning. Do you go with him?
Hardly anymore. I used to join him frequently but now I’m taking the opportunity to work! Back in the day, I accompanied him a lot, all over the world, but it became a big machine with too many people waiting for him. It was nice when it was just the two of us; almost like mystery shoppers. I would go along with him to the stores, and he would attend my concerts, sometimes as a surprise. We’ve also done concerts together, not many but we have done some.
What’s your husband’s favorite piece?
I cannot answer. My husband has pieces that he particularly likes. The one I’m thinking of is the Chaconne for violin solo from Johann Sebastian Bach.
You seem to have a mix of discipline and fantasy. Have you passed this on to your children?
I wanted them to have a balanced, steady life. I think this is what any parent would want for their children, if they’re able to provide it. I had a relatively stable life myself, but with my sister’s illness and the fact that I left home at a young age to study, my own life was somewhat on the edge [she talked candidly about her sister’s bipolar disorder and her suicide in her book].
During their childhood, the children’s lives were fairly structured to provide the consistency they needed. There was no drama at home. So no, I can’t say that I focused on making sure they were necessarily original. The main goal was to foster self-confidence by achieving excellence, whether in school, piano, or sports. My husband felt strongly about sports. He still plays tennis with his sons. What mattered was that they made a name for themselves, that they were proud of who they are, and that they became strong enough. I am not drawn to heirs or the life of the court.
How do you view the ongoing discussion around succession at LVMH?
I don’t like seeing articles about my family, especially when they are so false. As for the succession at LVMH, we very rarely bring up the subject. It’s not in my values to plan on the disparition of the person I love. I greatly admire what my husband does; I support him and I really hope that he will continue as long as he wishes. I care deeply about the five children. I do not get involved in the business side and I don’t want to interfere in my sons’ professional lives. Above all, I would never want to blame myself for pushing them toward something that would make them unhappy. If you’re happy in your job and you’re passionate about what you do, then you’re happy in life. And that’s what matters most. I just want our children to be happy.
You wrote that music is a lifelong companion.
Yes, and the violin. I had a very strong connection with the violin through my sister. I worked on many pieces with her, or listened to them with her, spent time with violin students, and accompanied her to masterclasses. Later on, I played alongside other violinists and recorded an album with Spivakov. With Daniel, I carry that on.
