15th Arrondissement

The 15th is basically a huge dorm filled with bourgeois gentilshommes and dames and their excruciatingly bored children. Not really worth the detour unless you’re an obsessive tourist who absolutely wants to set foot in ALL arrondissements. If you DO find yourself over here, the main draw is the triangle area formed inside the Cambronne/Felix Faure/La Motte-Picquet Grenelle métro stations, with Rue du Commerce as its main drag. Since the streets immediately surrounding the Eiffel Tower (in the neighboring 7th) are overflowing with tourist traps we recommend heading straight west to Commerce for a more dignified dining and shopping experience. Tourists flock by the millions to the Eiffel Tower for the best city views, but how about a view WITH the Eiffel Tower in it? Head to the top floor of Tour Montparnasse, that tall, black eyesore dominating the 15th, and you’ll be able to see every gorgeous monument in the city without a black monolith to ruin your Paris-ing selfies.


Skip the res­i­den­tial tow­ers and head straight to Parc André Cit­roën, with its moored hot-air bal­loon that offers city views and lots of ‘chill-out’ lawn space. Propped in the mid­dle of the Seine is the Stat­ue of Lib­er­ty, a repli­ca of the one gift­ed to the U.S. 


This area, espe­cial­ly Rue du Com­merce, is great for shop­ping and din­ing in an oth­er­wise res­i­den­tial and unevent­ful arrondisse­ment. Quaint parks are scat­tered through­out for a leisure­ly after­noon away from the crowds. 


This quar­ter, strad­dling the 6th and 14th arrondisse­ments, is a con­tin­u­a­tion of the com­mer­cial mix of shop­ping, movie the­aters, crêperies and bistros found by Tour Mont­par­nasse. If the price to basi­cal­ly ride an ele­va­tor (38 sec­onds to be exact) and access a ter­race doesn’t turn you off, go ahead and get that unob­struct­ed panoram­ic view (Eif­fel Tow­er includ­ed!) for that *chef’s kiss* of a pho­to. You’ll be the envy of Insta­gram. Also check out the near­by Musée Bour­delle show­cas­ing sculp­tures by Antoine Bour­delle, one of the most suc­cess­ful of Rodin’s students.