Yves Saint-Laurent’s Bedroom at the Villa Mabrouka, Tangier, by Peter Mikic, Peter Mikic Interiors

Villa Mabrouka, Yves Saint Laurent’s final residence in Tangier, Morocco, was designed in the 1960s by Jacques Grange as the antithesis of the fashion designer’s other, more opulent, antique-filled homes—with simple stretches of bright colors and a stripped-back approach to furnishings and decor. London-based Peter Mikic homed in on the sea-facing bedroom, taking inspiration from the ocean for the aquamarine Murano glass pendant light and shell mirror, and adding ornate touches such as the metal fire screen and carved wooden picture frame. The bright yellow of the 3D-printed chair reflects Saint Laurent’s own aesthetic, as do the brass bedside tables by Scarlet Splendour and the ceramic Ettore Sottsass Totem in white and aqua, a nod to YSL statement bangles.

Palais des Études courtyard, École nationale supérieure des Beaux-Arts, Paris, by Lee Mindel, SheltonMindel

AD100 designer Lee Mindel took inspiration from the notable alumni of the 350-year-old École des Beaux-Arts in Paris, focusing on the courtyard that is used today to exhibit students’ work. A miniature reproduction of Auguste Rodin’s Le Penseur sits in the middle, with characters from paintings by pop artist Julian Opie milling about. “They’re racially diverse and six feet apart,” notes New York–based Mindel. Someone carries an umbrella, in reference to Georges Seurat’s painting A Sunday Afternoon on the Island of La Grande Jatte. The final touch is an assemblage of paper lanterns by Japanese-American designer Isamu Noguchi, who Mindel notes voluntarily interned himself at a detention camp in Arizona during World War II to help fellow detainees design and build recreation areas.

Grand Salon, Yves Saint Laurent and Pierre Bergé’s Apartment, by Brigette Romanek, Romanek Design Studio

Unlike his Moroccan home, the apartment in Paris that Yves Saint Laurent shared with his partner Pierre Bergé is opulence embodied, packed with antique and modern treasures, from neoclassical bronzes to furniture by Eileen Gray—which together fetched $500 million in a 2009 auction by Christie’s. AD100 designer Brigette Romanek felt it was futile to compete on those terms, so instead she stripped back the layers, textures, and objects (except the oak-paneled walls) to create a graphic, minimalist room for everyday life. The few key objects added include sofa, chairs and Tongue chaises by Pierre Paulin, all upholstered in cream; marble coffee tables by Angelo Mangiarotti; and a blue-and-white abstract artwork by Joanne Freeman. “My design brief to myself was to create a space where people could relax, hang out, feel inspired,” the L.A.-based designer says. “The room itself is a conversation. It breathes, but every piece is a statement.”