Alice Kim in Conversation with Opera Gallery’s Isabelle de La Bruyère
Isabelle de La Bruyère is CEO of Opera Gallery, the global gallery group with 14 locations spanning London, Paris, New York, and Seoul. After more than two decades at Christie’s—where she served as International Director of the Chairman’s Office and Head of Client Advisory for the EMEA region, playing a key role in launching the firm’s first office in Dubai—she stepped into the commercial gallery world in 2023 to lead a bold new chapter at Opera.
She is known for her extensive network, and sharp insight into the art market. La Bruyère plays a key role in the global art world, and is widely respected for her deep knowledge of the sector and her belief in curator-led programming, alongside her renown for advising private collectors in a rapidly evolving landscape.
In this conversation, she reflects on her transition from the auction house to gallery leadership, especially in leading a new chapter for Opera, centred on championing a dynamic roster of primary market artists, emerging talent, and estates through an artist-led approach.
Portrait of Isabelle de La Bruyère. Photo Courtesy: Erik Lasalle Studio.
On one of the first days of spring, the door of the gallery was wide open. Inside, sculptures were elegantly poised across the space—some fully wrapped, others half-unwrapped—as staff moved briskly in preparation for the next show. I walked up the stairs and met Isabelle de La Bruyère in a lovely room overlooking Hanover Square—in front of Watch House—where Manolo Valdés’ s Las Meninas sculptures blended seamlessly with passersby enjoying coffee in the courtyard below. Spring vibes and breezy smiles all around.
Isabelle greeted me with a warm, gentle handshake and immediately asked about MADE IN BED. She reflected on her own student days, when such opportunities didn’t exist, and said how glad she was to see them now. With that, we began our conversation.
Installation View of The Library. Photo Courtesy: Eva Herzog.
Alice Kim: You’ve had such an extraordinary career in the art world. Let’s rewind a little—how did you first find your way into it? Was there a defining moment or someone who helped guide that path?
Isabelle de La Bruyère: The art world… well, to a certain extent, I think I’ve known since I was sixteen years old that I wanted to work in it. That moment of clarity came quite early. Although, I have to say, my original dream was to be an Egyptologist. I had this real fascination with ancient Egypt: completely obsessed with it. But around the same time, I also fell in love with Impressionism. And for me, Impressionism wasn’t just about the paintings or the style, it was about everything surrounding it: the history of Paris, the history of France, this moment in time that completely broke the rules. It really marked a turning point in the cultural landscape from the 19th to the 20th century. So, there I was, torn between two obsessions Impressionism and Egyptology.
I got my first job in the art world at sixteen. It was a summer job at the Metropolitan Museum (Met), in the Impressionist department. Obviously, it was very junior—photocopying, getting coffee—but I was working under people like Gary Tinterow, Anne Norton, Susan Stein. It was a very small team. My desk was actually in the storage room, so I was literally surrounded by these masterpieces all day. It was magical. Just walking through the Met every morning, being in that environment was a formative moment for me. That’s when I knew. From that moment on, every summer I went back to the MET. I returned every year, until I graduated from university. I later volunteered as a researcher, then worked part-time while I was doing my master’s degree in New York. And I absolutely loved the research; I really do have an inner nerd. There’s something wonderfully investigative about it. It’s like solving puzzles. But at the same time, it’s a lonely job, you’re always in archives or libraries, very much on your own. I enjoyed it, but I also felt like I needed something more alive, more energetic.
Then, one day, I attended an evening auction at Christie’s on Park Avenue. This was in 1997 when they still held black-tie sales. I don’t even remember who brought me, but the whole thing was so glamorous. Everyone was dressed up, and there were incredible works of art right there in front of me. I was completely blown away by its energy and spectacle. That was the moment I thought: this is what I want to be a part of.
So, I applied to both Christie’s and Sotheby’s with great references from the Met. And I got rejected. Absolutely everywhere.
AK: Really?
IdLB: Oh yes, completely rejected! But I didn’t give up. I reached out to this extraordinary man, Marc Blondeau. He didn’t know me at all. But I picked up the phone and asked if I could have thirty minutes of his time. I knew he had strong ties with both auction houses and thought maybe, just maybe, he’d be willing to listen. He gave me an hour and a half. And at the end of it, he picked up the phone and called Christie’s. That’s how I got my first internship, in the contemporary department in London.
AK: That’s amazing. And you’d just come from years immersed in Impressionism at the Met?
IdLB: Yes, it was a huge contrast. This was back in 1998: Christie’s had just launched its new Contemporary Department, which covered works from 1970 to the present day. Suddenly, I was an intern in this cutting-edge new division. Having come from the Impressionist and Modern department at the Met ...I now found myself ordering candy for a Félix González-Torres installation. I remember looking at it and thinking: What is this? I also looked at Damien Hirst and couldn’t understand it. It wasn’t my world—not yet.
I went to the head of the Impressionist department at Christie’s and begged him to take me on as his intern. And he did. I was so happy. I became the intern who refused to leave. I just kept showing up. I worked late, stayed for catalogue deadlines until two or three in the morning, and was always back the next day first thing. I knew I had to make myself indispensable.
AK: How did you achieve that?
IdLB: Determination, hard work, and humility. I gave it everything. I’ve always believed in paying your dues. If you want something, you must show people that you’re worth investing in, that you care enough to go the extra mile. And back then—I don’t know if it’s the same today—but for me it was just completely normal to stay at the office until two or three in the morning on catalogue deadlines and be back first thing the next day. I didn’t even think twice about it. That was my way of saying: I’m here, I want this, and I’ll earn it.
Installation View, The Whole World Smiles with You, Opera Gallery, London, 2024. Photo Courtesy: Eva Herzog.
AK: That brings us closer to your current role: how did you make the leap to Opera Gallery?
IdLB: In some ways, it was very natural. I’d known Gilles Dyan, the founder of Opera Gallery, for almost twenty years. We’d worked together while I was still at Christie’s, and I always respected what he was trying to do. He really believed in making art accessible, in breaking down the intimidation that so often surrounds the art world. And because I had opened new markets, like the Middle East, I understood just how intimidating it can be, especially for new collectors. The headlines always focus on the big-ticket sales, the records, but there’s so much more to it. There’s a whole universe of art that’s powerful, meaningful, and very accessible.
And I admired what he’d built over thirty years. Honestly, it felt like it was only a matter of time before we worked together. After so many years in one place, it just felt like the right moment to turn the page and take on a new challenge.
AK: It seems like you constantly seek new challenges.
IdLB: I think it’s important. One should never be afraid to feel outside of their comfort zone. Because if you don’t take risks, you don’t grow. And the worst thing, really, is to be afraid of trying. Calculated risks, of course, but risks, nonetheless. They keep you moving forward.
AK: I have to say, for our readers—especially the students and early-career professionals—this is incredibly inspiring. The art world can feel so inaccessible, so overwhelming. You need to be well-rounded, constantly moving between places, and speaking to so many different people.
IdLB: I remember what that feels like, I really do. To be in that place where you want something so much, and it feels just out of reach. I still have my rejection letters; I’ve kept them all these years. They remind me where I started. And I think what’s really changed, what’s so important, is that mentorship is much more open today. Your generation is lucky in that way. People are willing to share their time now, to listen, to help. That just didn’t really exist when I was beginning.
And that’s why it’s become so important for me to give back. I’ve always participated in mentorship, whether through the programme at Christie’s or more recently through a wonderful initiative called Art Market Mentors, which was started by a former colleague of mine. ...It really matters that we help guide the next generation. To say, listen, it’s okay. One door might close, but another will open. And your path might look different from someone else’s, but that doesn’t make it any less meaningful. There are so many ways to be part of this world.
AK: Do you see that same ethos in how you lead Opera Gallery?
IDLB: I do. I think artists are what define a gallery’s identity. Their voices, their work, their ideas—that’s what we’re here to support. My role is to create the kind of platform that lets their stories travel—to collectors, to institutions, across borders.
Something you mentioned earlier was about how we merge historical and contemporary artists, and I think Opera is really about that. We specialise in modern and contemporary art, from the postwar 20th century right through to today. So yes, we show the greats, Soulages, Botero, Dubuffet, but we also support younger voices who are just as compelling.
Take Gustavo Nazareno, for example. He’s a wonderful Brazilian artist, entirely self-taught, just thirty years old. We’re supporting him now for an upcoming exhibition at the DuSable Black History Museum and Education Center. That’s what it’s about for me, creating space for these younger voices to be seen on a global stage.
Gustavo Nazareno, Revelation, 2025. Photo Courtesy: the artist and Opera Gallery.
But that doesn’t mean we leave the past behind.... There’s always a dialogue happening between the great masters of the 20th century and the emerging artists of today. I’m a great believer in that, because to a certain extent, we’re all always looking back. Even the most contemporary artists are referencing something—be it art history, literature, or philosophy.
Look at Manolo Valdés. We just finished his show called The Library: two monumental wooden libraries that explored knowledge, tradition, and the act of looking back. He’s one of Spain’s most important living artists, and still, he’s constantly revisiting Velázquez and classical iconography. Then there’s Anselm Reyle, whose exhibition Sunrise Mission opens in June. He draws on Duchamp, on Warhol, on Pop Art—he’s part of a lineage.
So yes, I think it’s incredibly important to balance both. You can’t really separate them. The dialogue between 20th- and 21st-century artists is natural, and collectors respond to that. They’re interested in both. One doesn’t cancel out the other. They enrich each other. For us, it’s about honouring legacy while giving voice to those shaping the future.
Manolo Valdés, Libraría, 2024. Photo Courtesy: Eva Herzog.
AK: Opera Gallery has such a global presence, with spaces from Seoul and Singapore to Geneva and New York. How do you approach programming and strategy across such diverse cultural and commercial contexts?
IdLB: First and foremost, it’s about the team. We have 14 locations across three continents and present, around 35 exhibitions a year, not counting art fairs. Despite our scale, we operate as a very tight-knit group. There’s constant internal dialogue, and a real spirit of collaboration across locations.
We rely heavily on local expertise. Our directors know their cities, their clients, their markets. Take Singapore, for example, our director there, Stéphane Le Pelletier, has been with Opera Gallery for over 22 years. He knows that audience better than anyone. Every show is developed in close collaboration with our local teams, so each exhibition truly reflects its context and community. At the same time, we strive to maintain balance across our programming. We showcase both 20th-century masters and emerging contemporary voices. That dialogue between the historic and the new is essential.
Singapore, in fact, holds a very special place for us, it’s where it all began. Opera Gallery’s very first space opened in Singapore in 1994. Gilles Dyan, our founder, was living there at the time. He was French and had taken part in a small art fair called Tresors. It went so well, and he enjoyed it so much, that he decided to use the proceeds to open a permanent gallery. That tiny booth grew into what would become the first Opera Gallery, and it set the foundation for everything that followed.
AK: What do you bring into this role at Opera?
IdLB: I try to bring a broader perspective. Opera Gallery has always had the ambition to be a serious, engaged player in the global art world, and I see my role as strengthening and expanding that position. We are investing deeply in our primary market program, discovering new artists, and participating in major international art fairs. But it’s not just about presence—it’s about intention. Our exhibitions are increasingly curatorially driven. A recent example is The Whole World Smiles With You, a beautiful show featuring a Black artist and an incredibly thoughtful curator. It was so well received. We’re also preparing a major Bernard Buffet exhibition for the autumn, curated by the author of Buffet’s biography, and we’ll be collaborating with Dusable Museum for Gustavo. For me, it’s all about aligning these efforts with a sense of meaning, of long-term value.
Installation View of The Whole World Smiles With You. Photo Courtesy: Eva Herzog.
AK: You’ve worked closely with some of the world’s most significant collectors. In light of global uncertainty, what shifts are you seeing in collecting behaviour?
IdLB: Collecting behaviours have changed dramatically over the years. Of course, we have many more collectors now, which is wonderful, but even more significantly, I feel that frontiers, both geographic and categorical, are dissolving. Meaning that the traditional boundaries that once structured the market no longer hold in the same way. When I began at Christie’s, we often assumed that Middle Eastern collectors would gravitate toward Middle Eastern art. That’s simply not the case anymore. Today’s collectors are globally minded, intellectually curious, and eager to build dialogues across time periods, cultures, and disciplines. Categories are less and less relevant.
And we’re seeing how collaborations, partnerships, can amplify those dialogues. A great example is our artist, Anthony James, who recently collaborated with Aston Martin in Los Angeles. These partnerships attract new audiences and create new contexts in which artists can be experienced.
Digitalisation has also transformed how collectors engage with art. Many of them now discover works independently through social media, online platforms, and digital exhibitions. It’s a much more fluid and horizontal ecosystem.
Anthony James Collaboration with Aston Martin. Photo Courtesy: the artist and Opera Gallery.
AK: What excites you most in your role?
IdLB: Engaging with living artists—and especially younger artists. The energy, the hunger, the keenness, the ambition they bring is extraordinary. They want to be part of the future. They want to contribute something meaningful, and I find that immensely inspiring. The young members of the team, too, bring so much drive and spirit. I learn every single day from my team. I am very lucky to have them. Everything we do here is the result of genuine collaboration. That collective ambition to be part of something lasting—a shared legacy—it moves me deeply. And frankly, it excites me every single day.
AK: Finally, what advice would you give to young professionals entering this massive, global art world?
IdLB: First: don’t give up. Be patient. You can’t jump straight to the top of the ladder. You have to take every step. Make yourself indispensable. Work hard, really hard, and wait. Because things will come into your life when they’re meant to.
And make connections. Go to private views. Talk to people. Present yourself. One of the biggest breakthroughs in my life came from someone who didn’t even know me. Maybe he was just doing the good deed of his day, but he believed in me, even just for five minutes. And that five minutes meant something. That’s all it takes sometimes.
What lingered with me after our conversation was Isabelle’s quiet intensity: the way she spoke about each regional director with such admiration and how she leaned in whenever discussing energy, art, and accessibility. Openness sat at the heart of everything she said, from her own path to her belief in making the art world less intimidating and more human. It’s this philosophy: “passion comes with knowledge"—that seems to shape her leadership at Opera Gallery, where artists are championed, and collectors are understood as evolving individuals.
Before I left, Isabelle tucked a handful of catalogues into my big bag. As I stepped outside, the road was still warm with spring, and I left not just with printed pages but with a clearer sense of how a gallery—global as it may be—can feel close, considered, and human.
MADE IN BED extends its warmest thanks to Isabelle de La Bruyère for her time and participation in this interview. A special thank you also to Opera Gallery.
Inner Child, a two-artist exhibition by Niki de Saint Phalle and Yayoi Kusama, is showing at Opera Gallery London until the 27th of May 2025.
Sunrise Mission by Anselm Reyle is showing at Opera Gallery London from the 3rd of June to the 4th of July 2025.
Alice Kim
Interviews Co-Editor, MADE IN BED