Lalique 2017

ISSUE 2017

LOND ON PROPE R TY CONS ULTANTS F U LL P RO P ERTY IN V ES TMEN T SERVIC E

From search and acquisition through to design and refurbishment. From sales and lettings to management service.

Please contact Archie Riby-Williams:

Email: archie@portmanheritage.com Tel: +44 207 487 4994 Mobile: +44 7831 687 231 130A Wigmore Street, London W1U 3SB www.portmanheritage.com

Park Weggis – a heritage landmark on the shores of Lake Lucerne

PRIVATE SPA-SUITES SWISS NATURAL DETOX RETREAT A mere stone’s throw from Zurich at the foothills of the famous Rigi Mountain in Central Switzerland, the Sparkling Resort is an intimate getaway combining great and healthy food, magical Alp and lake views, traditional and contemporary suites and an award winning exceptional spa.

Switzerland’s most beautiful Private Spa Suites

Heated outdoor infinity pool overlooking Lake Lucerne

www.parkweggis.ch www.swissnaturaldetox.ch

The Macallan No6 The Macallan has a renowned obsession with wood. This has inspired No6. An exceptional single malt matured only in first fill sherry seasoned oak casks handcrafted by the master coopers of a single cooperage in Jerez de la Frontera, Spain. A celebration of richness and spice beautifully encased in exquisite Lalique crystal, for the truly selective.

Please savour responsibly. Follow us on

TheMacallan, 6

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CONTENTS 9 Editorial 10 News 12 Fragrances: must-haves 15 A look at the Pansy bracelet 16 Château Hochberg: contemporary elegance styled by Lalique 24 Lalique Museum Back to the sources: the world that inspired Lalique

48 – Sirènes, a Lalique odyssey by Terry Rodgers 64 – Jewellery A ballet of sparkling stones

28 Villa René Lalique Cuisine for every season 34 Anish Kapoor: crystal unbound 40 Beluga vodka Russian excellence 48 Sirènes, a Lalique odyssey

by Terry Rodgers 57 Delisle Exceptional lighting 64 Jewellery A ballet of sparkling stones 70 In expert hands 76 The Macallan Grande finale: Six Pillars collection

16 – Château Hochberg: contemporary elegance styled by Lalique

82 Zaha Hadid and the imprint of crystal 88 Between Art Nouveau and Modernism 94 Perfumes Lost wax, the art of crystal in all its splendor 101 Lalique boutiques 82 – Zaha Hadid and the imprint of crystal 94 – Perfumes Lost wax, the art of crystal in all its splendor

On the cover: © Frantisek Zvardon Copyright Château Hochberg: © Adeline Wagner

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EDITORIAL

I

n the life of a company, it is vital to keep moving forward, to adapt to changing times without ever forgetting our history or our heritage; and just as important to see that what we do now is building a bridge between

the past and the future. René Lalique was a visionary, an exceptional artist who is still a source of inspiration for our creative teams. Thanks to their formidable talents, we are contributing to the Art of Living, endeavouring to enrich people’s lives.

Following the great success of Villa René Lalique (a member of the Relais & Châteaux collection) in the village of Wingen-sur-Moder, Alsace (France), which opened in 2015, I was able to buy Château Hochberg, situated just opposite the Lalique Museum in Wingen-sur-Moder. The acquisition was supported by Philippe Richert, President of the French “Grand Est” Region. Like me, he is especially keen on preserving the heritage of Alsace.

We transformed the château into a hotel, which also features a modern bistro.

Strong bonds have since grown between the château and the Museum,

which attracts more than 50,000 visitors every year. I wanted to make Château Hochberg a place that offers guests peerless quality, as a complement to Villa René Lalique. Pavillon Hochberg, designed

by Swiss architect Mario Botta, opens for business in May 2017. The new venue will host private or professional events, such as weddings and anniversaries, for around 100 guests.

I am fond of combining savoir-faire and savoir-vivre – the Art of Living. Tableware, fine dining and cuisine are inextricably linked, as are perfume and jewellery, part of the heritage of Lalique.

For me, Jean-Georges Klein at Villa René Lalique is one of the world’s greatest chefs. His cuisine can truly be called an art, and art has always been my passion. My father was a great collector, so at home we were always surrounded by paintings and objets d’art. In the 1990s, I owned a gallery in Saint-Paul-de-Vence. It was there that I met the famous Arman, whose work I loved. He designed one of the very first perfume flacons I launched.

René Lalique was an artist of genius whose creations are unquestionably works of art. Until around 1930, he used the technique of lost wax to create some of his pieces. Eighty years on, we gave new life to the workshop practising this craft to create pieces that are unique. Later, I wanted it to be placed at the disposal of great contemporary artists, to enable them to realize works in crystal. In joint projects with the Yves Klein Archives, in collaboration with Rotraut Klein-Moquay and her husband Daniel Moquay, we produced a first piece in International Klein Blue (IKB) crystal, the superb Victoire de Samothrace, which was followed by La Terre Bleue. Since then it has been our pride and privilege to work with great figures of contemporary art such as Anish Kapoor, Damien Hirst and Terry Rodgers, as well as architects of world renown, including Mario Botta and the late Zaha Hadid. Fresh, equally inspiring and enriching adventures await in the years ahead.

Silvio Denz Chairman and CEO LALIQUE

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NEWS VENICE SIMPLON-ORIENT-EXPRESS The legendary Venice Simplon-Orient-Express continues to offer epic rail journeys across Europe: from London to Venice via Paris, but with itineraries that include Vienna, Berlin, Prague and Budapest, and reach as far as beautiful Istanbul. A true emblem of the Golden Age of rail travel in the 1920s and 1930s, each carriage has been painstakingly restored to match the splendour of a bygone age and offer its 188 passengers one of the most luxurious experiences of all time.

The Côte d’Azur 4141 restaurant car of the Venice Simplon-Orient-Express showcases the craftsmanship that Lalique brought to décor in the 1920s, with such features as its famous wall panels depicting the bacchantes, and its classic chandeliers in the form of tulips, celebrating René Lalique’s Art Deco heritage.

In early 2015, at the instigation of the teams at the two companies, it was decided to step up Lalique’s presence on board the train. As a result, passengers on today’s Venice Simplon-Orient-Express can choose from a list of vintage champagnes, which are served in Lalique flutes and kept chilled in Ganymede ice buckets, in amber and clear crystal, created by René Lalique in 1927.

A selection of articles made by Lalique is also available for sale from the train’s boutique.

For further information, please go to: belmond.com/vsoe +33 (0)1 44 50 17 71 reservations.france@belmond.com

OUTSTANDING LUXURY COMES TO HOTEL BATHROOMS A new line of cosmetic products from Lalique, combining sumptuous quality and refined perfume, is now available for guests at a selection of exclusive hotels. The line comprises five products: shampoo, conditioner, body lotion, shower gel and soap. The fragrance used in these smooth and gentle products is born of a perfect accord between the top note of bergamot and the heart note of ylangylang. Lalique’s iconic Hirondelles motif adorns the flacon and stopper.

The liquid soap and body lotion, in 300ml format, are available at Lalique points-of-sale.

These products contain no parabens or colourants.

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HATO RESTAURANT After Saint Moritz, Zurich. It was there that the Hato restaurant opened its doors to the public in November 2015. Stepping inside, you will discover a warm and cosy ambience, where subtle shades of brown and beige are beautifully melded. The restaurant has a bar and dining room, designed by Atelier Estimo.

The expertise of the interior designers is translated into elegant décor, in which the different styles mingle without ever clashing.

A Lalique Mossi vase takes pride of place in the centre of an imposing round table. The majestic Orgue chandelier, created for Lalique by Studio Putman, illuminates this dazzling setting. The glasses are from the iconic Lalique 100 Points collection, adding the final touch of fine crystalware.

Thanks to chef Nathan Dallimore and his team, Hato has a virtuoso flair for combining Asian flavours, exploring Asian fusion and coming up with sushi, dim sum and Korean barbecue. A subtle mix that gives rise to gastronomic delights in keeping with the image of the sumptuous décor and captivating the taste buds of all who try them.

HATO – Fine Asian Cuisine Brandschenkestr. 20, 8001 Zurich +41 44 280 18 80 zurich@hato-restaurants.com hato-restaurants.com

HATO – Restaurant, Bar & Lounge Posthaus, Via da Vout 3, 7500 St. Moritz +41 81 838 00 00 st.moritz@hato-restaurants.com hato-restaurants.com

LALIQUE AND FABRIC FRONTLINE CONTINUE THEIR SPECIAL PARTNERSHIP The collaboration between the two prestigious companies, Lalique and Fabric Frontline, began in 2015, producing an exclusive collection of scarves in silk and cashmere. Paying tribute to the silk scarves created

by René Lalique in the early 20th century, the two firms found a perfect accord between the qualities of excellence that are their hallmark.

Lalique and Fabric Frontline joined forces again in 2016, combining their savoir-faire to create an innovative design in the Art Deco style, so close to the heart of René Lalique. The composition of this new printed design, inspired by the motifs of the prism and the cabochon, unites the emblematic jewellery collections Charmante and Gourmande.

The Gourmande ring, an iconic and original piece of jewellery from Maison Lalique, created in 1931, and the Charmante ring, multiply endlessly in the pattern, creating a vivid kaleidoscope. The scarf comes in silk muslin, in rose or green, or silk twill, in beige or blue.

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MUST – HAVES

RÊVE D’INFINI

L’INSOUMIS

Sparkling, sensuous and colorful, Rêve d’Infini celebrates the eternal feminine with a bouquet of fresh flowers.

Pure, shimmering bergamot lights up the tangy flesh of a rose-scented lychee.

Impulsive and intense, basil announces L’Insoumis’ assertive personality in the top notes. With this fragrance for men, Lalique salutes the bold spirit of René Lalique. Like the artist, L’Insoumis (which means “the maverick”) is a modern-day adventurer who doesn’t follow trends: he creates them.

2017 LIMITED-EDITION CRYSTAL, COLLECTIBLE BOTTLE The crystal collectible bottle of the 2017 Limited Edition was inspired by the Bacchantes vase created by René Lalique in 1927. The flacon is adorned with the dance of the bacchantes, the young priestesses of the god of wine and feasts and contains the perfume Lalique de Lalique.

NOIR PREMIER

AMETHYST ÉCLAT

The Noir Premier collection highlights the milestones of Lalique’s history with six outstanding fragrances, composed of peerless ingredients.

A bright, radiant fragrance, enhanced by a sparkling peony, blooming majestically in a luscious berry garden.

ENCRE NOIRE À L’EXTRÊME A luminous opening, a darkly elegant, woody dry-down: Encre Noire à l’Extrême plays on contrasts to express every facet of masculinity through powerful, seductive accords.

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VOYAGE DE PARFUMEUR FOREST – CANDLE VASE With this crystal scented candle Lalique has captured the myth of an idyllic forest and combined essence of clove with hints of patchouli and birch, refined with a base of musky sandalwood.

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©THG - Photos Didier Grieu

Bath & Art de Vivre

Collection

PARIS

LONDON

« Panthère »

JCD Delépine 152, Boulevard Haussmann 75008 Paris Tel. +33 (0)1 44 20 09 20 info@delepine.com

Bathrooms International 4 Pont street London SWI X9EL Tel. +44 (0) 20 7838 7788 sales@bathroomsint.com

Dessinée et fabriquée en France

www.delepine.com

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design

Lalique’s Pansy collection of jewellery is an invitation to explore its repertoire of botanical motifs. The collection pays homage to the world of plants, which was such a rich source of inspiration for the artist-jeweller René Lalique.

’ - P rose

Lily of the valley, poppy, anemone, hawthorn... René Lalique devoted his talent to the simplest and most faithful representation of nature. To achieve this, he combined enamel, glass and mother-of-pearl with gold, opal and diamond. This bold vision was to make the reputation of René Lalique’s jewellery. He immortalized his vision in 1903 with the creation of the Pansy brooch in gold, set with pavé diamonds on delicate petals of glass and leaves of enamel.

- Lalique attraction The finely sculpted pansy petals abound in a play

of space and light, animated by polished satin crystal – a true hallmark of Lalique savoir-faire.

On the silver bangle, a bouquet of seven flowers formed in crystal is tinted a vibrant fuchsia colour, highlighted by the polished finish of the silver.

The finely detailed work exemplifies the demanding nature of Lalique’s crystal-making arts and reflects the tradition of excellence the company’s craftsmen have built over more than a century.

Pansy bangle bracelet.

Pansy flowers in Lalique crystal, mounted on silver.

- F lower Power -

The stylish Pansy bangle bracelet is a sculpture in jewellery. The striking look of this exquisite and imposing accessory is an expression of unique craftsmanship.

Worn as a charm – with the flower of the pansy easily taken for a four-leaf clover – the Pansy jewellery collection comprises ring, pendant, earrings and chain bracelet.

An adornment also fashioned in vermeil, with floral motifs sculpted in the essential clear crystal, highlighted by a finish of gold lustre.

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CHÂTEAU HOCHBERG: CONTEMPORARY ELEGANCE STYLED BY LALIQUE Following the success of Villa René Lalique, which opened in 2015, Wingen-sur-Moder is celebrating the inauguration of Château Hochberg – a hotel with four stars in its sights, featuring a modern bistro-style restaurant.

T E X T A DI N E F IC HO T- M A R ION P H OTO S GR É G OI R E GA R DE T T E E T K A R I N E FA BY

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Pink sandstone belt courses, picture windows and small wrought-iron balconies are characteristic features of the mansion’s façade.

A

majestic presence just opposite the Lalique Museum, Château Hochberg stands amid 1.7 hectares of parkland.

The superb edifice was built from 1863 to 1866 and now com-

prises 15 bedrooms and suites with décor on three themes: Ombelle, Venise and Dahlia. The modern restaurant is inspired by ‘bistrot chic’.

The Teutsch family commissioned the château as their home, and it is a model example of pure Napoleon III style: ornate facades with pink sandstone belt courses; picture windows; and wrought iron balconies.

The building was put to various uses and classified as an historic monument in 1996. In 2014 Silvio Denz, Chairman and CEO of Lalique, bought the estate outright and decided to embark on upgrading work which would highlight the spirit of Lalique. Hot on the heels of the fabulous Villa René Lalique, inaugurated in September 2015, Château Hochberg rounds off the local provision of hotel accommodation.

Wingen-sur-Moder as a destination now leaves nothing to be desired!

The château’s renovation and decoration bear the stamp of close co-operation between Lalique Interior Design Studio and interior designers Borella Art Design. Theirs is a peerless achievement. Find out for yourself: as you set foot in the lobby, you enter the world of Lalique. No shortage here of Maison Lalique’s distinctive creations: at the forefront are the decorative Lauriers panels, created in 1923 to grace the carriages of the Orient-Express, and the reception desk, carved from a single block of white quartz. Your gaze may then light upon the Windfall chandelier. This mass of pendant crystals dominates the glass-topped bar ornamented with its seven Dahlia motifs: a centrepiece in its own right. Lalique decanters parade proudly behind the bar, arranged in a glass cabinet. The château’s decorative theme is apparent in the Versailles flooring, on which a scattering of armchairs adds a 1930s touch.

Dahlia bathroom fittings with crystal finish by the Paris manufacturer TGH, in co-operation with Lalique.

Even the toiletries, a Lalique Group innovation in 2016, bear the Hirondelles motif.

Upstairs, Dahlia motifs hold pride of place on the wall: the perfect appetizer for exploring the rooms and suites. There are fifteen rooms, in four categories. The Chambres des Verriers range in size from 18 to 21 sq. m; the Terrasses du Château, 19 to 23 sq. m, have small balconies looking out across the tranquil parkland; while the Joyaux master bedrooms offer 25 to 30 sq. m. Finally there are two Suites ranging from 38 to 41 square metres. The prints of jewellery are

by René Lalique himself. There is a mixture of textures and materials: leather head boards, velvet armchairs, wooden furniture and thick

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Guests fall for the ultra-cosy ambience and tasteful colours of the Chambres des Verriers rooms, size 18 – 21 square metres.

cotton curtains lend that essential homely touch to the ensemble.

Our favourites? Room 10, in the Terrasses category, is painted

The result is a highly contemporary ambience: both cosy and purist.

beige, with a balcony that gives onto the bathroom. Room 20, a mansard

Three delicate shades of colour distinguish the rooms. The pale green,

painted green, has exposed ceiling beams, adorned with the Ombelle

grey and beige are inspired by the Ombelle, Venise and Dahlia themes.

motif - one of the Joyaux category. Clever use of space is a feature

These three motifs, emblematic of the work of RenĂŠ Lalique, adorn the

throughout, and each room has its own plus points: one opens onto

mirrors in every bathroom. All these offer a bath tub or Italian-style

a mini-terrace overlooking the park; another (room 15) offers a desk

shower. We were very taken with the THG taps and bathroom fittings

tucked away in an alcove, ideal for working. The two Suites deserve a

and loved the toiletries in flasks embellished with the Hirondelles

special mention. Both have views across the park, and are guaranteed

motif, complete with matching stoppers. The ultimate in refinement.

havens of peace, quiet and light.

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Château Hochberg superbly complements Villa René Lalique and is one more reason for a trip to Alsace to discover the magical world of crystal.

The Orgue chandelier, centrepiece of the restaurant, and park view to the front of the château.

Typical Alsatian cuisine: special ingredients result in a new take on flammekueche.

Finally, delectable dining is not unusual in Alsace, a region fond of the pleasures of the table. Refined but affordable, the menu has been devised by Jérôme Schilling, head chef at Villa René Lalique.

His liberal use of seasonal and regional produce is clearly in tune with the topical ‘locavore’ movement. Alsatian recipes top the list, always with a Schilling twist: cod à la crème de haddock, à la choucroute and au Pinot Noir; brook trout in a quenelle of Alsatian fromage frais, a signature dish; or calf’s kidney à l’ancienne served with spätzle and fromage frais. For dessert: black forest cherry cake, reinvented in the shape of an éclair. The distinctive Alsace touch is ever-present, bringing the dish to life. The inspired pairings of food and wine are the brainchild of Romain Iltis. Head sommelier at Villa René Lalique, he has gained national titles as Meilleur Sommelier 2012 and Meilleur Ouvrier 2015 and is in charge of the cellar at the château. To save puzzling over the wine list, just go with his tips! He has put together a generous list of 80 wines from all over the world, all available by the glass. To make your task even easier, the menu features his selection of four wines per dish, ranging from simple to the most prestigious.

The restaurant has a scattering of iconic Lalique creations throughout the three light-filled dining rooms. There’s an Orgue chandelier, the mirrors are Dahlia and the panelling Eternal crystal, the outcome of Lalique’s co-operation with British artist Damien Hirst. Château Hochberg superbly complements Villa René Lalique and is one more reason for a trip to Alsace to discover the magical world of crystal.

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Swiss architect Mario Botta has built a 250 sq. m pavilion next to the château. It will be available for business and private events from May 2017.

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ADELINE LUNATI, DIRECTOR OF

A

deline explains that her work associates the unique and precious character of the world of Lalique with quite specific features. “The purpose

of our interior design work is to breathe life into the spaces we design,” she adds. At Hochberg, she had to imagine what Lalique could do in a contemporary interior. “My idea was to install high-end, sophisticated features which would meet present-day requirements while blending in to a historic building.” It was a chance to present Lalique expertise in a new light and use the venue to try out new features, such as the bar top and the corridor walls decorated with Dahlia motifs. In short, this is Lalique “living” in an innovative way, made for the present day.

View of the bar top devised by Lalique Interior Design Studio, with its interplay of opaque and clear material. The Dahlia motifs add a highly elegant touch.

This welcoming venue features several emblematic designs

by Maison Lalique: the Windfall chandelier, the Bacchantes vase and the showcased ranks of glassware.

Sketch of bar with Dahlia motifs and large-scale panelling; dimensions in mm.

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Sketch of the large-scale Lauriers decorative crystal panels; dimensions in mm.

“The purpose of our interior design work is to breathe life into the spaces we design.”

ADELINE LUNATI

Detail of the splendid Lauriers panel, created by René Lalique in 1923 for the official car of French President Alexandre Millerand.

Lalique Interior Design Studio has found a contemporary way of fitting the panels into the wall and reception desk.

As soon as guests set foot in the lobby, they find themselves in the world of Lalique.

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BACK TO THE SOURCES: THE WORLD THAT INSPIRED LALIQUE The exhibition entitled “Back to the Sources: The World that Inspired Lalique”, which is on at the Lalique Museum from 24 June to 5 November 2017, will explore the sources of Lalique’s inspiration.

The exhibition offers a new perspective on René Lalique’s artistic imagination, presenting his creations alongside works that may have inspired him.

T E X T V É RON IQU E BRU M M DI R E C T OR OF T H E L A L IQU E M US E U M

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Deux Paons (Two Peacocks) lamp Model created in 1920. Mould-blown glass, pressed and moulded tiara in Bakelite.

Lalique Museum, on loan from Shai Bandmann and Ronald Ooi. Š Shuxiu Lin

R

ené Lalique, a keen observer of the living and non-living world, found nature a rich source of inspiration. He dissected and examined it, exploring its particular lines, forms and

structures, searching for and finding the spark of living inspiration.

He scrutinized plants and flowers, studied aquatic life, observed reptiles and birds, and was fascinated by insects. But he did not confine his investigations to earth and sky, plants and trees, he also drew inspiration from a study of human beings, particularly the female face and form.

His genius lay in his ability to adapt and to compose his works with a fresh take. He did not copy nature or stylize the various elements, he transformed as he worked. Producing creations that bring to life the magic of the materials. While René Lalique poured all his creative sensibility into his interpretations, these were also nurtured by the great artistic movements. In 1900, the writer Pol Neveux asserted that “no keener eye than his had ever examined the masterpieces of the Egyptians and Italo-Greeks, nor scrutinized the art of Byzantium, Florence and Japan with greater attention”. Indeed, the influence of Japanese art on his representations of peacocks or prunus branches is hard to ignore. Similarly, that of Ancient Egypt on some of his beetles or lotus flowers.

Paysage soleil levant (Landscape with Rising Sun) comb c. 1900. Gold, blond horn, enamel.

Lalique Museum, on loan from Shai Bandmann and Ronald Ooi. © Shuxiu Lin

Paon et branche de prunus (Peacock and Prunus Branch) pendant c. 1900−1902. Gold, enamel, pearl.

Lalique Museum, on loan from Shai Bandmann and Ronald Ooi. © Studio Yves Langlois

Cléopâtre brooch c. 1897−1899. Gold, diamonds, enamel.

Lalique Museum, on loan from Shai Bandmann and Ronald Ooi. © Studio Yves Langlois

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“René Lalique had the gift of bringing a frisson of beauty to the world.”

Henri Clouzot

Ambre antique (Antique Amber) perfume bottle for Coty Model created in 1920. Mould-blown glass with patina, pressed and moulded stopper with patina.

Collection of Lalique Museum, acquired with the kind support of the Fonds régional d’acquisition pour les Musées (État/Conseil régional d’Alsace ) and the Conseil général du Bas-Rhin. © Studio Yves Langlois

Sketch for an Egyptian pectoral (brooch) Cockchafer with open wings, René Lalique c. 1898. © Lalique SA

When he turned to the medium of glass, his designs combined

Lagamar vase Model created in 1926, based on a design

by Suzanne Lalique-Haviland.

Enamelled, moulded and pressed glass.

Collection Lalique SA. © Collection Lalique SA

clean lines with decorative patterns that were often geometrical, setting up new rhythms with the syncopated cadences we associate with the mad whirl of life in those years. But if need be, he also knew how to temper his artistic imagination, creating highly naturalistic sculptures of plants, animals and the female form. Over time, René Lalique not only had the courage, but also the talent, to turn his imagination to new trends, though without compromising his originality.

We should also recall the influence of his daughter Suzanne, who worked alongside him over many years, bringing a breath of modernity to Lalique’s creations in the 1920s. She, too, like numerous artists of this period, drew inspiration from the art of other lands.

For instance, Pre-Columbian or African art, which she discovered through the collections of her husband and her brother-in-law, Paul and Franck Burty Haviland. Nor should we forget the influence of the New York skyline at the beginning of the 20th century. Her husband was an avid photographer of the city during a period spent living there.

In the same context, we should also cite the influence of Khmer art, which Suzanne discovered through Paul Morand, a childhood friend.

Thus it is that, for several months, the Lalique Museum is proposing to take you on a voyage of discovery through the artistic world, through the history of art.

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CUISINE FOR EVERY SEASON “Each season has its particular aromas.

The vegetables, fruits, herbs and flowers combine to express the quintessential character of the soil.”

JEAN-GEORGES KLEIN

TEXT ANNEMARIE MAHLER P H OTO S R IC H A R D H AUGH T ON

Michelin-starred chef Jean-Georges Klein (right) and his head chef Jérôme Schilling (left) in the kitchens of the restaurant at Villa René Lalique. © Lionel Flusin

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Spring Veal filet mignon is Jérôme Schilling’s signature dish: tenderloin steak wrapped in stuffing, with a breadcrumb coating flavoured with sepia ink and a touch of garlic and thyme.

Triple cooked. Detail is everything: even the peas are skinned.

A word of advice: cut the filet mignon with an electric knife.

J

ean-Georges Klein, the Michelin-starred chef of Villa René Lalique, asked his head chef, Jérôme Schilling, to present their seasonal cuisine, which is highly colourful, constantly evolving, refined

and rich in contrasts.

A native of Alsace, Jérôme Schilling gained his spurs with

“I have a great team around me.

In particular, Jérôme Schilling, my head chef. A native of Alsace, he has travelled widely.

He is a master of technique, bringing his sensitive touch and skill to the complementary methods of my cuisine.”

some of the great names of French gastronomy, the likes of three-star chefs Joël Robuchon, Roger Vergé and Thierry Marx. In September 2015, he was involved in the opening of Villa René Lalique alongside chef Jean-Georges Klein. The restaurant at the Villa was awarded two stars by Guide Michelin within four months of opening.

The Villa’s chefs use lots of aromatic spices such as cumin, ginger, curry and curcuma, along with blends they put together themselves. To take one example, foie gras is served with a mixture of coriander, cinnamon and Sichuan pepper. Quality products are an essential prerequisite for good cuisine; at Villa René Lalique most of these come from local sources. The restaurant even has a small producer in Alsace who grows crocuses for saffron, and one of the cooks goes out searching for wild herbs in the nearby fields. The herbs he gathers

JEAN-GEORGES KLEIN

are also used to prepare flavoured oils. These are based on grapeseed oil, which is neutral in flavour and relatively stable when heated or in the cold. The process starts with maceration, usually accompanied by a rise in temperature. The period of maceration varies according to the aromatic substance being infused.

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Summer A dozen varieties of tomato are delivered by a small producer close to Wingen-sur-Moder.

The fruits have a really distinctive flavour. Sweeter-tasting yellow pineapple tomatoes are served with green and black varieties, as well as cherry tomatoes.

“Jean-Georges Klein, a true son of his native region, the Vosges mountains, is an eloquent example of a chef who has been able to propel himself forward as part of the avant-garde while drawing on the best from his roots.”

FERRAN ADRIA, SPANISH RESTAURATEUR FROM CATALUÑA, ONE OF THE WORLD’S LEADING CHEFS

Autumn It is high season for the lisette, the young Atlantic mackerel.

This is an excellent fish, whose flesh is even more subtle and tender than that of its big brother; the restaurant receives deliveries from Loctudy in Brittany. Still raw, it is treated with a kitchen blowtorch to remove the fine skin, then immersed in an escabeche – Asian white vinegar with added honey – and left overnight to marinate. Two lisette dishes are served, prepared in two different ways: one sweet and tangy, the other salted with seaweed.

Jérôme Schilling underlines the importance of acidity in the

When autumn and winter come around, black truffles are

composition of a dish. This can be introduced by adding orange, lemon

gathered in Périgord. At that time of the year, Villa René Lalique

or kumquat, which also reveal sweet flavour notes. Otherwise, by

offers truffle dishes on what is called “The Black and White Menu”.

means of sherry vinegar, Asian or balsamic vinegars or – somewhat

The presentation of a dish is as important as the taste, and when a

surprisingly – spruce vinegar. “It’s like a heartbeat, with a high and

plate is served to a client, he or she is advised to savour the food in a

a low point, a curve that rises and falls. A dish should never be linear,

certain order, to respect the combination of flavours.

otherwise nothing would be imparted, there would be no emotion. There

“In my career, before working with Jean-Georges Klein, I encoun-

are several ways to introduce the note of acidity,” confides Jérôme Schilling.

tered numerous chefs who produced a quite classic style of cuisine. He

“I really like to add a drop of spirits to the sauce: calvados, cognac or

is far more adventurous. Working alongside him, with his experience as

a touch of raspberry eau-de-vie, even a little shot of absinthe flambé in

my guide, I have developed a completely different spirit, an openness

a sauce to accompany foie gras. It’s superb! Of course, there are other

to new discoveries. We got on well straight away. I enjoy his confidence

ingredients that can be added to flavour dishes: dark chocolate, hazelnuts,

and that is a huge opportunity for me.”

grilled almonds or the smoky taste of bacon or eel.”

“When it comes to Jean-Georges Klein, you have to understand that what might appear simple, straightforward or a matter of mere technique on the surface is actually the fruit of intensive research and supreme patience.”

GILLES PUDLOWSKI, FRENCH JOURNALIST, AUTHOR AND FOOD CRITIC

Winter The truffle season gets underway as early as October and lasts all winter. Potato and truffle emulsion is one of the signature dishes of Jean-Georges Klein. He offers this tip: “The black truffle (Tuber melanosporum) exudes the very essence of the soil.

Before serving, add a few drops of truffle oil to the dish and sprinkle it with Maldon salt crystals.”

Lalique continues its olfactive voyage around the world with three new mini sets.

This year’s journey is complemented with two inspiring stops of the perfumer in Bolivia and Nepal.

Chili CHILI candle la paz - bolivia The mysterious Bolivia… Part of the Ancient Incas Empire, it is believed to be a chili pepper motherland. This hot fruit inspired Incas myths and folktales.

Revered as a deity, Ayar-Uchu, or “Brother Chili Pepper”, was one of the four brothers emerged at the inception of the Incas world.

The Perfumer is traveling through the endless wild landscapes of Bolivia in pursuit of the sweet pungency of chili, exuding tenderly smoky cedar wood notes surrounded by an intriguingly gentle accord of mineral paprika.

OSMANTHUS candle himal aya

-

nepal

A shrub that produces small white flowers, osmanthus gives off a delicate scent tinged with floral, fruity and oriental notes full of poetic refinement. This fragrant beauty grows in Asia, particularly on the slopes of the Himalayas, a region full of natural treasures and rich with countless legends and mysteries. Used in fine perfumery, osmanthus releases fruity hints of apricot and peach and evokes the warmth of exotic faraway lands. Here, osmanthus heart notes are joined by notes of tea and patchouli. The base reveals a woody accord combining sandalwood and labdanum, enveloped in musk scents.

Mini Candle Sets Select olfactory destinations are now also being presented as 75g minis in a set of three. The box containing the mini sets retains the established simple and elegant appearance of the collection. But with the imprint of the swallow map of the world, the design focuses on the concept of the perfumer‘s journey.

In these three different sets, three olfactory or geographically linked references come together and offer extended insight into Lalique‘s diverse home fragrances.

Anish Kapoor in his London studio. © Jean Garcin

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ANISH KAPOOR: CRYSTAL UNBOUND He is one of the foremost artists of our age.

Wherever they are displayed, his vast works impress and pose technical challenges in equal measure.

Working with Anish Kapoor takes Maison Lalique back to the essence of its heritage and original vocation: artistic creation and pushing materials to their limits.

T E X T M A L I K A BAU W E NS

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C

lose up, with all those curved lines, you would say it was moving.

This crystal work by Anish Kapoor is fashioned by fire and sculpted with light. Its reflections convey more than it is possible

to write down: a feeling. Its author, one of the foremost personalities of contemporary art, does not enlarge on this. He flatly states, as usual, that he has “nothing to say”. It is an oblong crevice, a long pavilion,

or the receptacle of whatever dreams you may wish to leave there. You could keep on and on trying to work out how Anish Kapoor’s fantastic creation came to meld with the expertise of Maison Lalique in one sculpture. Each piece of crystal, weighing 20 kilograms, is a one-off: clear, black, amber, violet or midnight blue. It does not matter that Untitled has been fastened to a marble or Plexiglas base: this is a work that suspends space. It is unpredictable, like the material from which it is made.

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Anish Kapoor, who has experimented in steel, in mirrors, in synthetic resin and in wax for 30 years, has long sought to capture the magic of crystal as a material. As he has often explained, “To create, you need to draw on new forms, new spaces and new temporalities.

I think that’s beyond all discussion. However, novelty doesn’t necessarily come from innovation: it may come from the past.” Quite right.

Thanks to the expertise of Maison Lalique, and with the support

“To create, you need to draw on new forms, new spaces and new temporalities.”

ANISH KAPOOR

of Galleria Massimo Minini, the artist’s potential has crystallized into achievement.

He took up the challenge with the age-old lost-wax technique.

Untitled uses this process invented in ancient Egypt 5000 years ago. Rediscovered and practised by René Lalique at the dawn of the 20th century, the technique of lost wax is kept alive at the Lalique crystal works in Wingen-sur-Moder. Behind its walls, built in 1921, the company’s glassmakers, seven of whom bear the coveted title of Meilleurs Ouvriers de France (France’s “best workers”), place their talents at the service of the creativity of contemporary artists, designers and architects.

The technique dates back millennia. Traditionally deployed to cast bronze sculptures, lost wax involves pouring investment (refractory plaster) around a wax model. Placed in an oven, the wax then melts in the heat, leaving a hollow mould. This holds the crystal before it passes through the door of a furnace where the temperature rises to the melting point of 1,450°C.

Untitled 2016 Marble, violet or midnight blue Lalique crystal One-off pieces Art Basel 2016 – Galleria Massimo Minini stand © Andrea Rossetti, Courtesy of Galleria Massimo Minini

Anish Kapoor had already tried his hand at smooth monumental works, especially Cloud Gate in Chicago, inaugurated in 2006. © Songquan Deng

Close-up of Untitled, 2016, Plexiglas, clear Lalique crystal. One-off piece.

It took the craftsmen of the Lalique crystal works nearly two years to crystallize the unfettered imagination of Anish Kapoor, the master of empty spaces and fullness, and an expert illusionist. Their starting point was a resin pattern from Kapoor’s London studio. In Wingen-sur-Moder time was of the essence, as always: dozens of tests, tooling development and specific techniques. It took 23 hours in total to design the mould for the work, using a thick investment of 630 kg of plaster. Stoving the pure crystal took no less than 24 days, while removing the cooled piece required 9 hours. Up to 150 hours were spent on operations in the “cold glass” workshops, where finishing takes place. There, in the patient hands of the craftsmen, the crystal, polished to the extreme thinness of a few millimetres stretched over 1.2 metres, suddenly began to make the lines move.

Untitled, 2016, Plexiglas, clear Lalique crystal. One-off piece.

Anish Kapoor and the engineer Cecil Balmond made the ambitious and controversial Orbit Tower in London, also known as the ArcelorMittal Orbit, for the Olympic Games in 2012. It is 115 metres tall, and dominates the Queen Elizabeth Olympic Park. © Ron Ellis

ANISH KAPOOR Born in Bombay, India, in 1954, Anish Kapoor has lived and worked in London since the 1970s. After studying at the Chelsea School of Art and Design, he made his debut on the British art scene in the early 1980s. He gained a reputation for minimalist works, simple forms in search of the sublime, of time and of space. He is an artist of light and of material. His works are preserved and exhibited in museums and galleries worldwide.

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RUSSIAN EXCELLENCE Distilled in the wilds of Siberia, the new exclusive limited-edition Beluga Epicure by Lalique can claim to be one of the world’s finest vodkas, inspired by a unique collaboration with the French master craftsmen of Lalique, who have created an elegant, flawless crystal decanter that transforms this sublime symbol of Russian excellence into nothing less than an ‘objet d’art’ that will seduce connoisseurs around the globe.

T E X T JOH N BRU N T ON P H OTO S BE L UGA

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B

eluga Noble Russian Vodka is recognized the world over as the finest premium vodka producer in Russia, their brands an immediate symbol of luxury and success. The story begins in

the depths of Siberia, where the historic Mariinsk Distillery is located in one of the most environmentally pure and tranquil areas of Russia.

The distillery dates back to 1900, but one of the secrets of Beluga’s success in creating a vodka with a unique refined, velvety flavour, is to combine Mariinsk’s ancient secrets and traditions, passed down from generation to generation, with state-of-the-art modern equipment, cutting-edge technology and the strictest quality controls. The first element that makes a great vodka is the most basic, the most pure.

Water. At Beluga’s distillery, spring water is pumped up 300 metres from an artesian well, deep below in the quartz bedrock of Siberia.

The other principal ingredient is the finest wheat grown on Russia’s plains. The grain for Beluga Epicure is carefully selected from the

The elegant stopper of the decanter is decorated with delicate designs of ears of wheat.

best harvest, gathered only over several days of the year, with the

Siberia’s wild landscapes offer an unspoilt natural beauty.

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The first element that makes a great vodka is the most basic, the most pure. Water.

The other principal ingredient is the finest wheat grown on Russia’s plains.

The timeless elegance of Lalique’s decanter for Beluga Epicure has been created for true connoisseurs and passionate collectors.

wheat drying naturally in the fields rather than using thermal processing or artificial ferments. Once harvested, the grain is left to mature for another six months, ensuring a finely balanced taste and aroma with light bread flavours. Before a complex triple distillation process begins, Beluga’s team of experts have formulated a unique recipe that creates a mild, silky vodka, with fine notes of pear. Then comes a crucial period of ‘resting’ the vodka in aluminium tanks, normally over 60−90 days, but in the case of Epicure, for an unprecedented 100 days of what Beluga term ‘Marriage, Smoothing and Marrying’, to perfect this unique ‘noble’ taste. The final product can be described as a gastronomic vodka, a pure spirit that does not need to be mixed with anything, but is best appreciated neat or on the rocks, perfectly paired with caviar.

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The creation begins on the drawing board with intricate pencil sketches.

Lalique craftsmen produce each decanter by hand, blowing the crystal pieces individually in an iron mould to create its distinctive shape.

There may be thousands of kilometres separating the wide open plains of Siberia and the rolling vine-clad hills of Alsace, but the project for a first-ever venture between the creators of Lalique’s legendary French crystal and jewellery and Russia’s leading premium vodka, took shape the moment Beluga Brand Director, Katerina Mechetina, met Lalique Artistic Director and Creative Director, Marc Larminaux. The pair immediately began to develop Epicure’s concept and exquisite design over a series of lengthy discussions, where it became clear that Lalique and Beluga share common values: heritage and history, attention to every nuance and detail, commitment to deliver unprecedented quality. As Lalique invests passion into every piece it creates, so Beluga is on a constant quest for unrivalled quality in the art of creating its noble vodka. Hence, it was only natural they should collaborate in the creation of an irresistible decanter for the ultimate vodka. In designing the Epicure decanter, Marc Larminaux drew inspiration from Lalique’s history and meticulous production process, as well as the crucial ingredients that go into making Beluga vodka. The Beluga Epicure decanter elegantly revisits Lalique’s

In designing the decanter, Marc Larminaux, Lalique Artistic Director and Creative Director, drew inspiration from its history.

iconic ‘Three F’ themes, Female, Flora and Fauna, and its sublime form, designed in timeless Art Nouveau style, features an enigmatic,

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hand-drawn female nude figure, surrounded by ears of wheat, the symbol of harvest and fertility. Lalique craftsmen produce each decanter by hand, blowing the crystal pieces individually in an iron mould to create its distinctive shape. Master polishers then refine the contrast between the clear and satin-finished crystal, emphasizing its monumentality and vulnerability. The final touch is a unique serial number engraved on the bottom of each decanter. Then the decanters leave the historic Lalique workshops in Alsace and traverse Europe to the Mariinsk Distillery in Siberia, a place lost to the world, with the nearest town over three hundred kilometres away. Once filled with the precious Beluga Epicure, they will soon become sought-after by luxury collectors of crystal and fine vodka, though the edition is limited to just 1,000 decanters.

The image of vodka is something that has changed dramatically over the centuries since it was first distilled, probably as far back as the 15th century. The origin of its name is connected to both the Slavic word ‘vada’, meaning water, and the Latin ‘aqua vitae’, water of life, because initially, the distillation of spirits using copper alambics was the work of monastic orders for medicinal purposes, who slowly spread their knowledge over Europe. It was only later that the same principles of distillation would became the tool for the Scots to make whisky, the French cognac and Russians their emblematic vodka. And today, there is a genuine renaissance of vodka around the world. Not only has it become the most widely sold spirit in America, dwarfing sales of local favourites like bourbon and rye, but bartenders have moved on from proposing the classic Vodka Tonic, Bloody Mary or Moscow Mule. Instead a new generation of premium producers have transformed vodka into the epitome of luxury and elegant class, whether it is James Bond ordering his favourite shaken-not-stirred Vodka Martini, or millionaire movers and shakers from the world of art at the exclusive opening party of the Russian Pavilion’s exhibition at the Venice Biennale sipping chilled Beluga Vodka. And now, with

Lalique’s stylised Art Nouveau female nude is surrounded by ears of wheat, the symbol of harvest and fertility.

the arrival of Epicure, Beluga’s collaboration with Lalique, privileged connoisseurs can add a unique vodka to their collection of decanters of the world’s finest spirits.

Beluga Epicure is a unique gastronomic vodka, a pure spirit that does not need to be mixed, but is best appreciated neat or on the rocks.

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You can’t get more privacy.

But everyone knows your name.

SWISS First

In SWISS First we greet you by name. Because here it’s all about you and your needs.

swiss.com/ďƒžrst

Made of Switzerland.

Terry Rodgers is inspired by photos of naked models that he has photographed in his studio in Columbus. Š Estelle Rodgers

SIRÈNES, A LALIQUE ODYSSEY BY TERRY RODGERS They offer themselves, loose hair flying, all round the vase.

Here a flash of jewelry, there a shimmer of fabric touching delicate skin, caressing nimble waists.

Terry Rodgers’ Sirènes dancing in the round.

After two years of intensive exchanges with Lalique, his outstanding creation emerges from the furnace.

It is a contemporary reinterpretation of the legendary Bacchantes vase, created by René Lalique in 1927. Here, we explore the origins of a metamorphosis.

T E X T M A L I K A BAU W E NS

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Terry Rodgers in his studio in Columbus, Ohio (USA). Portrait by Brad Van Tilburgh.

MODEL

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he American realist wanted these nine silhouettes sculpted in bas-relief to appear as brazen and unabashed as their ancestors, the bacchantes, the young priestesses of Bacchus, dancing

around the vase in one of René Lalique’s emblematic creations: “Ninety

years ago, when the master glassmaker created a mold of the Bacchantes in his factory at Wingen-sur-Moder, he intended the figures as an ode to femininity. My Sirènes deconstruct the myth, forming a new image

—

of the female figure. I wanted each face and hairstyle to be different; no pose should be alike. Because what interests me is the woman as

BACCHANTES VASE

individual.” In Terry Rodgers’ imagination, the bacchantes become

240 x 189 mm Clear crystal. Created by René Lalique in 1927.

In 2017, Maison Lalique is celebrating the 90th anniversary of this iconic vase.

sirens. In Greek mythology, these fantastic creatures of the sea embody enchantment and delusion: the song of the sirens lured mariners onto the rocks.

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MATERIAL

R

enowned as a painter, Terry Rodgers is also a photographer.

He makes videos, experiments with 3D using a light box, draws, and so it goes on. “Crystal always held a fascination for

SIRÈNES VASE 240 x 205 mm Clear crystal, numbered and signed edition —

me,” he says. “The material acts as a mirror whose distorting reflections

reveal hidden aspects of reality, which is exactly what I try to capture in my paintings.” In fact, the artist has been known to include emblematic Lalique pieces in his canvases: a chandelier suspended from a ceiling, a sparkling jewel against skin, a vase resplendent on a little table – on occasion, not just any piece: the Bacchantes, for example.

“Crystal is brilliance itself, transparency,” says Terry Rodgers. He picks up the Sirènes vase, which has just emerged from the Lalique factory: “Look at the interior of the vase: the facial expressions on the inside are different from those shown on the outside. This contrast is a central theme for me. In the search for insight, my works explore the equilibrium between the interior and the exterior.”

PREPARATIONS

J

ust as when he paints a large-scale canvas with his palette, Terry Rodgers starts with shots of models posing naked in his studio in Columbus, Ohio (USA). He spreads the prints on his

worktable and puts them together like a puzzle: a collage, then a montage around the vase, “to evaluate the proportions, the movement, the positioning,” he explains. Second stage: “Nine months spent working on the project in modeling clay, with the aim of producing a mold for lost wax.” In the end, as an anatomist of the world of appearances, Terry Rodgers knows how to give substance to flesh.

Terry Rodgers, Eternal Love, 122 x 127 cm, oil on linen, 2011. © Terry Rodgers

“Crystal always held a fascination for me.

The material acts as a mirror whose distorting reflections reveal hidden aspects of reality, which is exactly what I try to capture in my paintings.”

TERRY RODGERS

MOLD AND FIRING

F

rom the very start, Lalique has created all its own cast-iron molds, a key part of its know-how. For the unlimited edition of the Sirènes vase, clear crystal was pressed in a cast-iron mold.

The limited editions of eight unique pieces were produced in black, midnight-blue, green or violet crystal using the lost-wax technique, which René Lalique perfected in his day. This process requires the creation of a mold in refractory plaster mix. “I spent an entire week at the factory, getting the details of the plaster mold just right – the eyes, the fineness of the legs, the movement of the fingers,” says Terry Rodgers. Faithful to the world of Rodgers’ paintings, with their luxurious décor, the Sirènes vase has been enhanced by fine polishing with touches of platinum, applied by the craftsmen in a cold process before refiring.

Creation of a plaster mold for the Sirènes vase, using the lost-wax technique, which makes every piece unique. © Estelle Rodgers

— SIRÈNES VASE, LIMITED EDITION 320 x 280 mm Green, violet and black crystal, lost-wax technique Limited and signed art edition of eight copies for each model

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— SIRÈNES VASE, LIMITED EDITION 320 x 280 mm Midnight-blue crystal, lost-wax technique Art edition, limited and signed edition of eight

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Terry Rodgers watches Éric Harter, awarded Meilleurs Ouvriers de France title in 2015, at work in the engraving and sculpture workshop where each piece is processed for two days. © Estelle Rodgers

TERRY RODGERS

“I spent an entire week at the factory, getting the details of the plaster mold just right – the eyes, the fineness of the legs, the movement of the fingers.”

TERRY RODGERS

Born in New Jersey (USA) in 1947, Terry Rodgers has built an international career with large-scale paintings, using shock realism. His canvases are widely exhibited in museums and galleries and at art fairs across Europe and America. Inspired by the realism of Diego Vélasquez, as much as, say, the delicacy of Toulouse-Lautrec’s rendering of a brothel scene, Terry Rodgers exhibits flesh to focus our gaze on the world, like a face-lift trying to hold back time. “I use realism to portray fiction,” he continues. You have to get close up to Terry Rodgers’ canvases to get behind the mask of erotic illusions: in the context of the Western world, which would have us believe in the miracle of youth, in the triumph of beauty and money, the artist strips reality bare and concentrates it in a seemingly intimate gathering, in which no one looks at or touches anybody else.

END OF THE ODYSSEY: THE COLD-GLASS WORKSHOP

T

wo full days of treatment for each piece. To remain true to the intention of the artist, any minor imperfections left by the hot processes – the slightest wrinkle, or seams caused by the division

of the mold – can be corrected during cutting and retouching. The next stage is polishing or buffing, which is always done by hand at Lalique.

And the final touch: the signatures of Lalique and Terry Rodgers, meticulously engraved on each piece.

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V E N I C E S I M P LO N - O R I E N T- E X P R E S S , E U R O P E

BE PART OF THE LEGEND E M B A R K O N T H E WO R L D ’ S G R E AT E S T J O U R N E Y T H R O U G H B R E AT H TA K I N G S C E N E RY W I T H T H E VENICE SIMPLON-ORIENT-EXPRESS. OUR JOURNEYS TAKE YOU TO GREAT EUROPEAN CITIES INCLUDING VENICE, PRAGUE, BUDAPEST, BERLIN AND ISTANBUL.

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The Ginkgo collection is inspired by the timeless beauty of Ginkgo biloba, the sacred tree of the Orient. There are three types of light in the collection: wall sconce, chandelier and ceiling lamp.

EXCEPTIONAL LIGHTING The traditional French companies, Delisle and Lalique, have joined forces to create light fittings in bronze and crystal.

Founded only a few years apart, the two firms have worked together in the past and recently renewed their fruitful cooperation.

I N T E RV I E W A N N E M A R I E M A H L E R P H OTO S DE L I S L E PA R I S

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What do you know about your great-great-grandfather, Henry Delisle?

He was born in Saint-Quentin in 1865, though the family originated from Normandy. He was a painter and designer, trained at the prestigious École Boulle. Henry Delisle was well-versed in styles and knew them all. He founded the company with his brother, Gaston, in 1895. It was the heyday of Art Nouveau, a style he detested. On the other hand, he loved anything classical. Henry did a lot of drawing work and was a purveyor of light fittings and furniture to an elegant and elite clientele. One prominent client was Grand Duke Paul of Russia, Tsar Nicholas II’s uncle. He designed the lights for the Duke’s Parisian palace, then for Tsarskoye Selo near St. Petersburg. He was also master watchmaker to King Albert I of Belgium. With the advent of Art Deco, he became a fan of the style, which suited him perfectly.

In 1920, the Delisle brothers were creating metalwork and artistic bronzes as Les Frères Delisle (LFD). Their clients were wealthy American families – the new business aristocracy. He also designed and manufactured park gates and banisters. Henry served as Art Director at Delisle until his death in 1942.

Jean Delisle, Managing Director of Maison Delisle, represents the fifth generation.

Jean Delisle, you’re Managing Director of Delisle, an historic company, which celebrated its 120th anniversary in 2015.

You represent the fifth generation.

After graduating from business school, I worked at Lalique in New York for a couple of years. When I rejoined our company in 2009, I discovered how modern bronze can be. As experts in classic styles, we naturally

Jean’s great-great-grandfather Henry Delisle, photographed in 1925.

He founded Delisle in 1895.

gravitated towards the contemporary scene and updated many Art Deco and 1950s designs. Delisle had worked with the greatest decorative painters of those periods, especially Gilbert Poillerat and Jean Royère, great friends of our Maison. I love the style of Art Deco, with its typical contemporary lines, though it calls for absolute mastery of technique.

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You and Lalique have much common ground. You’ve recently co-created a magnificent set of light fittings, pooling the expertise of your two companies. How did the project come about?

We were inspired by a 1930s chandelier which Delisle had fashioned for the Intercontinental Hotel. We went on to design and sculpt every item in the Ginkgo collection consisting of a chandelier, ceiling lamps and wall sconces in bold, deliberately geometric shapes. This is the spirit of Art Deco. The sparkle of satinated crystal is the perfect foil for the precise lines of the engraved bronze.

Why Ginkgo?

We called it Ginkgo after the sacred tree, of great beauty, from the Far East. It is the emblem of Tokyo, but also a symbol of longevity, hope and prosperity. Its exquisite flower is long-lasting and said to have medicinal properties. This plant was a very popular design in Art Deco. We’ve reworked it into a bolder, more modern design.

Assembled entirely by hand in the workshops of Maison Delisle, each piece is unique and exceptional.

— GINKGO CEILING LAMP The confidently Art Deco styling of the Gingko ceiling lamp combines the purity of crystal with harmony of form. It epitomizes rigorous design and perfect proportions. © Lalique SA

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Paris, City of Light, owes a lot to Maison Delisle. You’ve made a major contribution to the magic of this capital city by night.

That’s right. We’ve created and made or restored large numbers of lights for the historic sights of Paris: from the street lamps of Place de la Concorde to the grand chandeliers made for Yves Saint Laurent, but also for the Elysée Palace, Les Invalides, the Versailles Opera and the Grand Trianon, not forgetting the lanterns of the Palais-Royal, designed at the end of the 19th century.

You’ve always been sought-after by a prestigious and exacting clientele. From the very beginning of the 20th century, Delisle Frères were suppliers to the French high aristocracy and to illustrious foreigners. You are present in Brussels, St. Petersburg, London, Tokyo, Los Angeles, Jeddah and many other cities. Who are your clients nowadays?

Nowadays, most of our clients are interior designers working for a demanding private clientele, the most prestigious international hotels and restaurants and stately homes. We place our skill and our experience at the service of decorators and designers, to help them create the interiors this clientele wants.

Close-up of the chandelier, showing the interplay of light between the flower sculpture in satinated crystal and the engraving of the nickel-plated bronze.

— GINKGO CHANDELIER Highly contemporary, the Ginkgo chandelier is testimony to high-precision craftsmanship. As an ornament, it will embellish the most creative spaces of present-day decoration. © Lalique SA

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“We designed and sculpted every item in the Ginkgo collection.

This plant design was very popular in Art Deco.”

JEAN DELISLE

The lanterns of the Palais-Royal in Paris date from the 19th century. Delisle has been maintaining them regularly or replacing them since the end of the Second World War.

Your Paris headquarters is in the remarkable hôtel de Canillac, a 17th-century town house.

It was our family home: we’ve been there since 1935! This quarter started springing up during the reign of Henri IV. Clusters of craftsmen formed around the homes of the nobility. In our showroom, we display chandeliers, wall sconces and antiques accumulated over more than 120 years. We also display order books and drawings from our archives, miraculously preserved since June 1901 – a real treasure trove.

Tell us about these precious Delisle archives, which you are constantly bringing back to life.

We hold around 10,000 drawings of light fittings and furniture – all originals – around 6,000 drawings “for show”, elegant oil-painted or water-coloured boards depicting chandeliers, wall sconces or lanterns.

We’ve also found more than 3,000 real-size technical blueprints revealing the manufacturing secrets of our more complex models.

My father, Jean-Michel, also discovered an exceptional collection of thousands of bronze master models which we now keep in our workshops in Montreuil. 90% of the documents have been scanned and are valuable working documents. This is a real treasure trove: the living

Advertisement for a magazine, around 1925, drawn by Henry Delisle.

memory of our company.

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“Our DNA has survived unaltered for 120 years: made-tomeasure art.”

JEAN DELISLE

Do you work the same way as your great-great-grandfather, over 120 years ago?

It’s practically the same, yes. New technology has enabled us to supplement our hand sketches and drawings with 2D Large chandelier in gilt bronze with crystals, designed

by Henry Delisle in 1912 for the Palace of Grand Duke Paul of Russia in Tsarskoye Selo near St. Petersburg.

and 3D plans for some models. One single item sometimes involves 15 highly qualified craftsmen: draughtsmen, sculptors, smelters and bronze assemblers. Then there are engravers, polishers and gilders. The secret of our long existence lies in our pursuit of excellence and our creativity, which remain Delisle’s core values. Our DNA has survived unaltered for 120 years: made-to-measure art.

Your workshops are based in the outskirts of Paris, in an old factory in Montreuil. The fire is crackling in the ironmaster’s forge, and there are huge chandeliers just inside the entrance to the premises that seem to form a guard of honour.

They’re just off to a private project in London. There’s a room over the workshop where you can admire bronze copies of every model made by Delisle since 1895, thousands of original pieces undaunted by the passage of centuries, collected by five generations of Delisles.

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— FIREBIRD NECKLACE Yellow gold, diamond, sapphire, fire opal, cornelian, white and black jade, braided silk and gold thread.

Lalique and Paris Opera Collection, 2016. © Lalique SA

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A BALLET OF SPARKLING STONES One man rewrote the rules of ballet.

The other invented modern jewellery. Daring visionaries Serge Diaghilev and René Lalique revolutionised the art world because they shared a burning ambition to make their mark on a new era, and the pioneering genius to achieve it. Today, Lalique jewellery draws inspiration from their work. And thus the Vertiges collection was born.

T E X T JO S É PH I N E S I MON - M IC H E L

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I

t makes perfect sense that Maison Lalique should have sought inspiration from Diaghilev’s Ballets Russes for its new jewellery collection, Vertiges. Original, graphic and audacious, the collection

makes a break with the tradition of the Place Vendôme. This collection is no whim of fashion. It began life as a creation by René Lalique, an illuminated table centrepiece called Oiseau de Feu. He made it in 1922 as a tribute to The Firebird Suite, which Igor Stravinsky had composed for the Ballets Russes. When lit up, the sculpted crystal bird bursts into a flamelike display, shining red and orange via a colour filter concealed in its bronze base. The costume from the original ballet inspired René Lalique to design his own Firebird, resplendent in a feather costume of spectacular size and sophistication.

A century on, Maison Lalique is bringing this brilliant bird

back to life in three bejewelled flights of fancy: The Thunderbird, The Mockingbird and The Firebird. Common to the three designs are their Art Deco style and a mix of materials which is the true hallmark of Lalique jewellery. The blueprint for this unique genre juxtaposes precious and non-precious materials in a dazzling display of creativity.

Handwoven silk braiding sets a tone redolent of ballet costumes. The bold appearance and layout of the stones evoke the colours both of the costumes and scenery of these modern ballets directed by Diaghilev.

The collection’s keynote pear shape is a reinvention of the feather of the original crystal Firebird which embodied the meeting of the inventor of modern jewellery and the creator of the Ballet Russes, nearly a century ago.

Oiseau de Feu table centrepiece on a luminous bronze base, pressed glass, René Lalique, 1922. © Y. Langlois – Musée Lalique. Coll. S. Bandmann and R. Ooi.

— MOCKINGBIRD NECKLACE White gold, silver, marble, diamond, quartz, and silk thread trimmings.

Lalique Jewellery 2016. © Lalique SA

— THUNDERBIRD BRACELET White gold and silver, diamond, lapis lazuli, aquamarine, azurite/rock crystal doublet, lacquer.

Lalique Jewellery 2016. © Lalique SA

The scenery for the Rite of Spring (Ballets Russes, 1913) owed its lush shades of green to the fertile imagination of Nicolas Roerich.

Inspired by his work, The Thunderbird calls forth the power and relentless force of nature. Its azurite-malachite, enhanced with rock crystal, bathes us in the enchantment of vanishing horizons. In deep bluish-green hues, these jewels reflect all the ethereal beauty of Earth viewed from space. Sapphires, aquamarines and lapis lazuli hint at the colours of the water which the necklace evokes in its braided blue silk trimmings and cascade of pearls. Here and there, white gold and diamond underline the architecture of this new and dazzling style.

Revolutionary in its turn, The Mockingbird takes up the theme of the costumes created by Henri Matisse for The Nightingale (Ballets Russes, 1920). But Lalique likes to keep some surprises up its sleeve.

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Thus The Mockingbird reproduces the geometric shapes of Art Deco

THUNDERBIRD NECKLACE

in a medley of white marble and black lacquer, smoky quartz and diamonds. Graphic in its impact, this carved design exploits contrasting

White gold, doublet of azurite-malachite and rock crystal, diamond, sapphire, aquamarine, lapis lazuli, chalcedony, spinel, cultured freshwater pearls, and trimmings of silk thread.

Lalique Jewellery 2016. © Lalique SA

blacks and whites in direct allusion to the Matisse costumes. On the necklace, the silk threads of the trimmings repeat the bicoloured pattern, adding an original feature: three sections of this ornamentation are detachable for use in three different lengths (long necklace, short necklace and bracelet).

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The final act of the Vertiges collection celebrates the co-oper-

René Lalique’s favourite stone during his years as an artist-

ation between Maison Lalique and the Paris Opera. In 2015 the two

jeweller was, of course, opal. In the ornamentation of this piece, Lalique

institutions came together to pay tribute to René Lalique’s friend and

Jewellery gives it a majestic setting. Beside this fiery opal, radiant in

muse, Sarah Bernhardt. In 2016, she receives the accolade of a jew-

its oranges and yellows, are yellow gold, sapphire, lacquer and cornelian.

ellery collection which alludes to The Firebird ballet – and includes

They fire the seven jewels of this collection in a blaze of colours. On

costume jewellery.

the necklace and bracelet, the braided silk thread is intertwined with

This jewellery is new, yet faithful to the original work of René

gorgeous threads of gold. In a new departure, the black jade motifs

Lalique. Its bold colours and exciting lines come from the costume for

stand out and merge with the rows of pearls, punctuated with white

the title role in The Firebird ballet, devised by Léon Bakst. Echoing the

jade carved in spirals. The result is an unrestrained dance in jewellery,

bold modernity of both creators (Lalique and Diaghilev), the necklace

reminiscent of the extraordinary revolution wrought by the Ballets

plays on asymmetry, with contrasting colours and motifs.

Russes themselves.

Design by Léon Bakst, 1910.

Costume for Igor Stravinsky’s Firebird, performed by the Ballets Russes. © Bibliothèque nationale de France.

Common to the three designs are their Art Deco style and a mix of materials which is the true hallmark of Lalique.

— LE BAISER BROOCH Silver and glass, René Lalique, 1904−1906.

Musée des Arts Décoratifs, Paris, Jewellery Galleries. © Photo Les Arts Décoratifs, Paris / Laurent Sully Jaulmes.

Lalique and the Paris Opera are also the signatories of a collection of costume jewellery. Dubbed Le Baiser (The Kiss), these creations are inspired by a brooch of that name which René Lalique made in 1904. They draw on the Opera’s romantic repertoire to pay tribute to the choreography of Romeo and Juliet by Rudolf Nureyev. “I dream of kisses which last for ever,” said René Lalique longingly. So the artist immortalised this kiss in a glass brooch with a silver setting. The carved piece of costume jewellery depicts a couple whose lips touch in a kiss. Only one example of this piece is known, and it is on display in the Musée des Arts Décoratifs in Paris. It is a treasured memory of René Lalique’s secret love affair with a young Frenchwoman in London.

Now the master’s wish has been fulfilled. The Lalique and Paris Opera collection of costume jewellery, introduced in 2016, is a

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reinvention of the original Le Baiser. This inspiration delves deep into LE BAISER BRACELET

the Art Nouveau heritage of Maison Lalique to retell the legendary tale of the lovers of Verona. As a romantic symbol depicting love, Le Baiser

Vermeil and clear polished satin crystal.

Lalique and Paris Opera Collection 2016. © Lalique SA

is depicted in a motif of clear crystal in a collection of seven jewellery items in silver and vermeil. The same kiss hangs in a carved medallion from each piece (necklace, ring, pendant and bracelet), with radiating gadroons.

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IN EXPERT HANDS For a hundred years the passion of the Lalique craftsmen has kept the glassworks furnaces blazing brightly.

To this day, the devotion to excellence of nearly 180 men and women feeds the fires. We pay tribute to their most valuable tool: the human hand.

T E X T M A L I K A BAU W E NS P H OTO S F R A N T I S E K Z VA R D ON

T

ime may fly by but, for these master-glassmakers, it counts for

involves pressers, grinders, blowers and others taking their turn at

nothing. They hold time in the palms of their expert hands.

the crucible. Cutters, engravers, specialists in the skills of masking

At the start, it is no more than dust that they work with: a few

and glossing ... Each part of the operation corresponds to a particular

grains of sand, a little potassium and lead – base materials they are

craft, a dozen of which are represented at the Lalique glassworks.

intent on turning into gold. The hand of the alchemist guides the process

Each pair of hands brings years of experience to bear. For example,

of smelting crystal, like the sole metronome beating time in this

the skill of blowing a large piece takes ten years to perfect. But as you

orchestrated process, but the viscosity of the crystal itself dictates

know, time is not important. It is as though the hand that holds and

the tempo. Too hot and the material melts; too cold and it snaps. When

shapes the workpiece had independent power of thought. However

the crystal is ready for its metamorphosis, the hand of a ‘gatherer’

much time it takes, the hand never wearies.

draws it from the fire. The intricate choreography of the teamwork

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IT IS HOT WORK – The molten crystal is gathered with a blowpipe and worked to eliminate tiny bubbles and impurities. The technique in most widespread use is to blow the crystal and shape it with the help of metal tools such as tweezers, which enable the craftsman to squeeze, open and stretch the material.

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LOST-WAX TECHNIQUE – On behalf of the artists, designers and architects with whom Lalique collaborates to create exceptional pieces, the craftsmen at the crystal works have revived centuries-old techniques such as “lost wax”. This method requires great expertise to form a plaster mould as the cradle of a unique work of art – in this example, La Terre Bleue (The Blue Earth), a crystal piece Lalique produced in homage to Yves Klein.

THE CUT – Cutting demands patience and meticulous care.

The crystal is worked on grindstones with fine granules to hone the edges, create decorative motifs or a new shape.

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THE CUT – The design and dimensions of the piece are refined by hand using a diamond-tipped tool upon which a jet of water is sprayed to flush away the glass dust and cool the grinders and the object being cut.

THE INTERPLAY OF LIGHT AND DECORATIVE MOTIFS – The matting process, using an acid immersion or sandblasting, endows the work with a matt surface, a distinctive and instantly recognizable feature of Lalique creations. The pieces can also be enhanced by applying enamel, gold or platinum. Polishing is the final stage of the finishing process, imparting a brilliant shine by means of a polishing grinder.

QUALITY – At every stage of the manufacturing process, each piece is inspected to check for imperfections. The slightest defect will result in the piece being retouched or rejected. A quest for perfection that is Lalique’s pride.

It is as though the hand that holds and shapes the workpiece had independent power of thought.

THE CAST-IRON MOULDS – Lalique makes its own moulds in cast iron, each one worked with precision, down to the finest detail, to ensure the hot crystal process attains absolute perfection.

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GRANDE FINALE: SIX PILLARS COLLECTION T E X T C H A N DR A K U R T P H OTO S T H E M ACA L L A N

The fruitful collaboration between the Scottish whisky distillery The Macallan and Lalique has reached its culmination: the launch of the sixth and final masterpiece to grace the Six Pillars Collection. This rare and exclusive crystal decanter contains a 65-year-old single malt.

E

very whisky distillery is imbued with its unique history and the traditions of its founders. The Macallan distillery dates back to 1824 when Alexander Reid, a teacher and farmer, leased

twenty acres (eight hectares) of land from the Earl of Seafield. Now, almost 200 years on, The Macallan has a worldwide reputation as one of the leading producers of Scottish single malt whisky. The foundation stones of the distillery are what it refers to as the Six Pillars.

These embody a strong link with the land and the property, coupled with long years of experience in the craft of distilling and a constant striving to achieve the finest quality and distinctive character. Every whisky created by The Macallan is based on the six pillars: Spiritual Home, Curiously Small Stills, Finest Cut, Exceptional Oak Casks, Natural Colour and The Macallan itself – the Peerless Spirit.

At the origin is the Spiritual Home – Easter Elchies House, built in 1700, which is in the midst of the distillery complex, still to this day the spiritual home of The Macallan’s Speyside estate. The house stands on a hill overlooking the River Spey. The second hallmark of The Macallan are the small copper stills, which are quite low and produce a whisky that is full-bodied and complex. This is because the more steeply the stills run upwards, the lighter and thinner the whisky gets. To make The Macallan, there are 14 of these small stills, each with a capacity of 3,900 litres. Only around 16% of what flows

Marc Larminaux, Artistic Director and Creative Director at Lalique, based the design around a single peerless drop of The Macallan and the iconic inverted Macallan triangle.

from the stills goes into the wooden barrels for storage and maturation. This proportion is extremely low: it is thus only the heart of the production, the very finest, that is kept and earns the name The Finest Cut. This new-make spirit is the basis of all The Macallan whiskies. Of course, the wood of the barrels in which the spirit is kept also plays an essential role. Just as years of storage is vital in allowing the full flavour of a top-class Bordeaux to develop, so it is with the aromatic complexity of a single malt.

Since its modest beginnings in 1824, the distillery has gained world renown, not least because production of the highest quality and unique character is central to the brand.

The talented Lalique craftsmen have incomparable technical virtuosity. Each piece requires meticulous work.

Easter Elchies House, built in 1700, is still to this day the spiritual home of The Macallan’s Speyside estate.

Only 450 examples of these decanters will be available worldwide. Each bears a hand-written Lalique signature.

The Macallan is mostly aged in Spanish and American oak barrels in which sherry and bourbon have been kept. During the years of storage, a process of osmosis occurs, with the whisky absorbing colour and flavour notes from the wood of the barrels.

Spanish sherry barrels endow the spirit with flavours of chocolate, orange, dried fruit and spices, while American bourbon casks provide sweeter notes of citrus fruit and coconut. The colouring of each whisky is also perfectly natural. Depending on the barrel used and the period of aging, it will vary from light oak to dark mahogany.

Last but not least of the pillars is the The Macallan itself – the Peerless Spirit. Since its modest beginnings in 1824, the distillery has gained world renown, not least because production of the highest quality and unique character is central to the brand.

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As a homage to these six hallmarks of quality, Lalique joined

Ken Grier, Creative Director at The Macallan, says that this stunning collection of decanters is the result of two kindred spirits united in a shared passion for craftsmanship and attention to detail.

forces with the distillery in 2005 to start the Six Pillars Collection.

A crystal decanter was created in a strictly limited edition to symbolize each pillar of quality. Now the sixth and final masterpiece has been unveiled – only 450 examples will be available worldwide. Peerless Spirit contains a 65-year-old The Macallan whisky, one of the world’s oldest. Ken Grier, Creative Director at The Macallan explains: “This strikingly beautiful series of decanters sprang from the collaboration between a manufacturer and a distiller who share the same passion for meticulous attention to detail and celebration of the finest craftsmanship.

The sixth and final pillar of the collection epitomizes the uncompromising ambition of the master craftsmen at Lalique and The Macallan to create an exceptional work of art. With this latest creation, the collection is complete.”

The design of the decanter draws its inspiration from a technique often deployed by René Lalique to create the famous Lalique perfume flacons: hand-blown and decorated with a fan-shaped motif.

The design of all the decanters features a special motif or a specific technique from the legacy of René Lalique.

This collection of decanters has captured the imagination of collectors around the world. According to a report in Whisky Magazine, the ten most expensive decanters sold at auction were all from The Macallan distillery. Eight of these were Lalique creations.

The price of the Peerless Spirit Decanter containing 65-year-old Macallan single malt whisky is USD 35,000. Only 450 examples are available worldwide.

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COME AS YOU ARE ®

THE VENET IAN LAS VEGAS

v e n e t i a n . c om

The Visio and Manifesto vases, along with the Fontana bowl, were shown at the Art ÉlysÊes - Art & Design salon in October 2016 in Paris.

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ZAHA HADID AND THE IMPRINT OF CRYSTAL Two years after its first collaboration with Zaha Hadid in the Crystal Architecture collection, Lalique is proud to present two vases – Visio and Manifesto – in midnight blue crystal. But also the final piece, the Fontana bowl, one of the last creations completed by the architect in 2016, shortly before her death.

T E X T JO S É PH I N E S I MON - M IC H E L

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I

t could be said that the encounter between Lalique and Zaha Hadid was written in the stars. As a child, Zaha collected glass and crystal. Pieces of all shapes, sizes and colours. In 2014, she created

two vases for the Crystal Architecture collection, working in both black and clear crystal, materials over which Lalique alone has artistic mastery: the Visio vase, which reaches upwards to almost infinite skies; and the Manifesto vase, sublimely beautiful with its more

generous curves. Two vases that stand out for their contrasting satin and polished finishes. At the launch of this collection, Zaha Hadid spoke of her enthusiasm about collaborating with Lalique: “Lalique is a byword for elegance and fluid, timeless lines which compromise neither the integrity of the material nor the distinctive touch of the artisan. Each piece celebrates the unique characteristics of the crystal.”

And in inspiring this original collection, Lalique has achieved the zenith of artistic expression in crystal glass. Resplendent in the midSketch of the Fontana bowl, Zaha Hadid Architects © Zaha Hadid Architects

night blue so close to the heart of Iraqi-born Zaha Hadid, the Visio and Manifesto vases, complete the Crystal Architecture by Zaha Hadid collection. Emerging like two buildings from the earth, these vases were forged in an extraordinary imagination. Considered one of the greatest architects of all time and the first woman to win the Pritzker Prize, the Nobel of architecture, Zaha Hadid was the principal figure of the deconstructivist movement. Curves were her fascination and hallmark. She was able to express the quintessence of her talent in her final creation for Lalique, the Fontana bowl, which is wrought in clear, black and midnight blue crystal. The aesthetic appeal of the pieces includes the effects of light refracting in the crystal and the unique use of curves.

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—

FONTANA BOWL

MANIFESTO VASE

Crystal Architecture collection 185 x 410 mm midnight blue crystal

Crystal Architecture collection 460 mm midnight blue crystal

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“The Fontana bowl evinces our artistic philosophy in terms of the contemporary approach to Art Nouveau.”

MARC LARMINAUX, ARTISTIC DIRECTOR AND CREATIVE DIRECTOR AT LALIQUE

London Aquatics Centre (2008-2011), Zaha Hadid Architects © Luke Hayes

— VISIO VASE Crystal Architecture collection 590 mm midnight blue crystal

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The Fontana bowl represents a significant stylistic step forward inspired by the nature and treatment of the curve. Like a drop of water that falls from the sky, undulating slowly as it flirts with the earth. A superb piece with lines that are both fluid and mineral, a sense of constant movement, heightened by the contrasting finish of satin and polished crystal.

For Marc Larminaux, Artistic Director and Creative Director at Lalique: “The Fontana bowl evinces our artistic philosophy in terms of the contemporary approach to Art Nouveau. If René Lalique were still with us, he would have been able to imagine this piece. In drawing so much inspiration from the beauty of nature, Zaha Hadid has created the new Art Nouveau.”

Crystal Architecture by Zaha Hadid, a collection for those who love the exceptional unconditionally.

The architect Zaha Hadid (1950-2016) © Mary McCartney

“Lalique is a byword for elegance and fluid, timeless lines which compromise neither the integrity of the material nor the distinctive touch of the artisan.

Each piece celebrates the unique characteristics of the crystal.”

ZAHA HADID

Heydar Aliyev Centre, Zaha Hadid Architects (2007-2012) © Hufton Crow

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BETWEEN ART NOUVEAU AND MODERNISM A René Lalique creation of great importance in the history of art has been acquired for the Lalique Heritage Collection and is on exhibition at the Lalique Museum in Wingen-sur-Moder.

T E X T C H R I S T I E M AY E R L E F KOW I T H P H OTO S S T U DIO Y V E S L A NGL OI S

Goblet created by René Lalique around 1897 – 1898, consisting of a layer of opalescent glass blown into a silver mounting, decorated with a row of ten rhinoceros scarabs with translucent intense blue enamel and opaque black enamel.

Height 15.8 cm, diameter 9 cm.

T

he multitude of visitors attending the 1900 Universal Exhibition in Paris were spellbound by the display of René Lalique jewelry.

People were so crammed together and stayed so long that it

was nearly impossible to approach his showcase. However, it was not the first time that the artist had encountered such great success, having exhibited almost continually since 1895. He was already famous and had been made “Chevalier de la Légion d’honneur”. In

1900, he was named “Officier de la Légion d’honneur”, was awarded the Grand Prize of the Jewelry Section, and became celebrated worldwide.

His jewels, intended primarily for the intellectual and artistic Parisian elite, were precious items to be displayed, true “objets d’art”, created in the high Art Nouveau style – a style for which René Lalique had been one of the pioneers. The sinuous forms of his jewelry evoked poetic images, and the unexpected juxtaposition of precious and modest materials in shimmering colors was captivating – inspiring dreams.

Among these magnificent creations, René Lalique presented a most unusual objet d’art, an exceptional goblet, almost 16 cm tall, which was made of a silver openwork mounting with three rows of apertures into which a layer of opalescent glass had been blown from the inside toward the outside – a genuine masterpiece by a master glass The Eiffel Tower, at the time still called

artist. A row of ten identical, enameled rhinoceros scarabs was inte-

“the 300-meter tower” had been inaugurated eleven years before. On the 19th July 1900, the first metro line of Paris was opened. Along five kilometers of the Seine one could admire magnificent pavilions built only for the Exhibition. © Neurdein Frères / Neurdein / Roger-Viollet

grated into this silver mounting. The primary decorative motif consisted of each rhinoceros scarab climbing up a narrow, elongated blade of grass, and this primary motif was repeated all around the goblet.

A secondary decorative motif, alternating loops and stylized scarabs, was molded repetitively to form a frieze around the base of the goblet.

Consequently, the overall design has no beginning, and no end.

The crowd in front of the Lalique display at the 1900 Universal Exhibition in Paris. Woodcut by Félix Vallotton (1865-1925). © Petit Palais / Roger-Viollet

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From April to November 1900 more than 50 million visitors came to Paris. The Alexander III Bridge, built in honor of the Tsar, a work of art of the Belle Époque, was inaugurated on the opening day of the Universal Exhibition. © Léon et Lévy / Roger-Viollet

Several other artists, notably Hector Guimard, the protégés of Siegfried Bing and the members of the School of Nancy also exhibited masterpieces in the Art Nouveau style. As for the rest of the Exhibition, a wide range of contrasting styles, as well as imitations, could be seen. The authentic high Art Nouveau style required creators who were geniuses, artisans who were artists, and the use of precious

The visitors attending the Universal Exhibition in Paris were spellbound by the display of René Lalique jewelry.

materials. It was not a style for the middle class. Already, before the Exhibition, the market had been flooded with cheap reproductions, and the public had begun to turn toward more practical and simpler creations. Also the new industrial products – factories, machines, trains, cars – were astonishing because of the rigidity of their geometric lines and the absence of superfluous embellishment.

From 1892 on, a new artistic movement emerged in some countries neighboring France, such as Germany (with the Munich and Berlin Secessions), Britain (with the School of Glasgow) and Austria (with the Vienna Secession). This movement would break with tradition, affirm the need for simplification (which related to the simplification of daily life) and take hold, giving rise to Jugendstil – the art movement preferred by the youth.

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René Lalique must have felt the need for renewal as well, because at the same time, around 1897 – 1898, he created this goblet with typical Art Nouveau decorative motifs (the plant and the insect), but interpreted in the Glasgow modernist style, a style enhanced by the decors of Margaret MacDonald with their slightly curved vertical lines (represented here by the blades of grass), surmounted by ovals or circles (represented here by the scarabs). The Art Nouveau style is characterized by asymmetry and the diversity of decorative motifs within a single work. In regard to this goblet, it is the opposite. Nevertheless, the fluidity of the design evokes the Art Nouveau style, while the symmetry of the repetition is its antithesis, and is closer to the Vienna Secessionist style, but without its austerity or the monotony of its rational geometry. The art of René Lalique was evolving, and perhaps it was for this reason that he selected the theme of the scarab, the ancient Egyptian symbol of transformation, of renewal,

Close-up of a rhinoceros scarab.

of rebirth. And yet the artist continued to express the fantasy and the richness of his own style, even as his vision was moving toward Modernism. This mythical object, with its lineal rhythm, anticipated the dynamic paintings of Gino Severini and the wild cadence of “The Rite of Spring” by Igor Stravinsky – works which would only be created many years later.

Now it is exhibited at the Lalique Museum in Wingen-sur-Moder, where the public can finally admire this goblet, a landmark in the history of art.

The goblet would be exhibited again in 1902 at the Salon organized by the Union centrale des arts décoratifs. Afterwards, it was purchased by a private collector and was not seen again until 2015, when, fortunately, it was discovered in an auction, and was acquired for the Lalique Heritage Collection. Now it is exhibited at the Lalique Museum in Wingen-sur-Moder, where the public can finally admire this goblet, a landmark in the history of art.

Close-up of the frieze of loops and stylized scarabs molded around the base of the goblet.

The Lalique signature is engraved above the frieze.

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LOST-WAX, THE ART OF CRYSTAL IN ALL ITS SPLENDOR Known from earliest antiquity, the lost-wax technique allowed René Lalique to create one of his most iconic pieces: his first perfume bottle. Today, the master glassmakers of the Lalique factory in Wingen-sur-Moder, Alsace (France) use this extraordinary know-how to produce exceptional pieces and artworks.

T E X T L OU I S E YOU NG P H OTO S GI L L E S PE R N E T, BA P T I S T E L IGN E L A N D I A N A BE L A

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A subtle balance between the abstract and the figurative, the Limited Edition Deux Cigales bottle, in the Noir Premier collection, was produced using the rare, demanding lost-wax process.

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t is a limpid, majestic column, holding a lavender-scented nectar whose honeyed hue delineates the bodies of two cicadas. How did the delicate creatures, iconic in René Lalique’s bestiary, get

caught in this transparent block of crystal? How did the veins of their

elegant wings magically etch themselves inside this spectacular flacon?

“When you see a piece by Lalique, you shouldn’t be able to understand how it was made”, says Frédéric Bour, head of the Lalique factory’s “cold glass” workshops. Presented in a precious coffret reprising the filigreed design of its cicada wings, the Deux Cigales flacon, a Limited Edition of eight pieces in the Noir Premier collection, was produced using the lost-wax technique. Invented some five millennia ago in Ancient Egypt, this complex, sophisticated process was first explored by René Lalique circa 1893. Initially, the artist perfected the technique in order to make the pieces that were the first by a jeweler to mix glass with precious metals, stones, and other materials. It soon enabled him to move on to a new creative field: glass. Between 1893 and 1905, while experimenting with lost wax, he cast what may well be his first pure glass piece, the Poissons flacon, a small, amphora-shaped phial

Each piece cast with the lost-wax process is unique; when the object comes out of the annealing kiln, the plaster mold must be carefully broken to reveal it.

which was also his very first perfume bottle.

The flacon’s stopper, sculpted with four cicada heads, is sandblasted before being polished and satin-finished. Each of these finishing stages is carried out by a seasoned craftsperson.

ANCESTRAL KNOW-HOW FOR UNIQUE PIECES

O

n the 150th anniversary of its founder’s birth, the Lalique factory revived the technique at the initiative of Lalique’s Chairman and CEO Silvio Denz. Since 2010, a workshop specifically

dedicated to lost wax, headed by Didier Richard, has been producing

between five and ten new models each year, either as one-off artworks or limited editions. Artistic collaborations such as Yves Klein’s Victoire de Samothrace or Rembrandt Bugatti’s Dancing Elephant, as well as exceptional pieces by contemporary artists like Damien Hirst and Anish Kapoor, and re-editions of some of René Lalique’s masterpieces, for example the poetic Perruches vase. Models created by Lalique’s design studio, for instance Music is Love, a statue of a lyre-playing angel, a project conceived with Elton John… These complex, very finely detailed pieces could not have been produced without the lost-wax technique. Indeed, rather than pouring molten crystal into a steel mold to cast it, a wax sculpture is used to create a mold made out of refractory (heat-resistant) plaster. A solid block of crystal is then placed on top of this single-use mold and slowly heated until it takes on the texture of honey, seeping into the mold and gradually filling in the model’s tiniest hollows and spaces. In this highly time-consuming process – it takes twenty-two days to produce a Deux Cigales flacon – the most critical stage is bringing the piece back to room temperature. “When it’s cooled off too quickly, the plaster retracts and breaks the piece, especially the thinner parts”, Didier Richard explains.

It is only after breaking the plaster mold that the artisans find out whether the piece is perfect. “You have to respect the material. It calls the shots”, adds Frédéric Bour.

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A BOUNDLESS FIELD OF EXPRESSION FOR THE ART OF CRYSTAL

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or Marc Larminaux, Artistic Director and Creative Director, “the moment when the object is revealed is always suspenseful, since you can never completely predict the result. But when

everything works out, it’s like a miracle!” Despite the element of uncertainty, the designer enjoys the creative freedom afforded by the technique, and appreciates the inimitable, living, “crystal skin” texture whose slight variations make each piece unique. “Lost wax allows us an even more artistic approach than pieces produced with steel molds, which impose more production constraints when we design the object”, he explains. “The field of expression is boundless: we can create very complex shapes, work on volumes. Since these are extremely high-end pieces, designers can truly express themselves like artists: freed from constraints, we just try to create the most beautiful objects possible.”

Lalique’s Artistic Director and Creative Director, Marc Larminaux, enjoys the freedom afforded by lost-wax casting, which is solely used for exceptional pieces.

A luxurious showcase for a work of art, the coffret reprises the elegant design of the flacon, with two filigree cicada wings that open when a button, decorated with the House’s signature Hirondelles emblem, is pressed.

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THE PROCESS

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First, the core and outer envelope of the Deux Cigales flacon, designed by Lalique’s design studio, are made in plaster. In the final flacon, the motif will be molded on the interior of the bottle, and the amber hue of the precious fragrance will reveal the cicadas.

Inspired by René Lalique’s first black fragrance bottle Quatre Aigles (1911), the outer shape of the flacon, whose facings form the Roman numeral “I”, is also made out of plaster.

he complex and exacting lost-wax technique is solely used for the most exceptional pieces. The production of the majestic Deux Cigales flacon

requires twenty-two days.

“The moment when the object is revealed is always suspenseful, as you can never completely predict the result.

But when everything works out, it’s like a miracle!”

MARC LARMINAUX, ARTISTIC DIRECTOR AND CREATIVE DIRECTOR

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The artisans use these plaster sculptures to fashion two elastomer molds, one of the outer shape and the other of the core. The flexibility of elastomer allows the demolding of the most intricately detailed shapes, such as the delicately veined wings of these cicadas.

Poured into the elastomer mold, the wax takes on the shape of the flacon. This wax sculpture is then placed inside a plaster case, into which refractory plaster is poured. The wax melts away in the heat. The resulting hollow reveals the shape of the piece.

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A block of crystal is then placed inside a plaster cup, on top of the mold. Heated in the kiln, it slowly melts into the imprint. It is then very gradually cooled and the plaster removed. As the plaster mold is destroyed at this stage, a new one must be made for each piece.

The unfinished piece moves on to the “cold glass” workshops. At Lalique, the finishing stages make up two-thirds of the production process. The piece is cut, sandblasted and chiseled to remove surplus crystal, before being polished and satin-finished. Every piece being unique, each flacon is permanently paired with its own stopper.

WINE, ART AND LALIQUE

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René Lalique, 1928

Merles et Raisins René Lalique, 1928

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Femme et Raisins

LALIQUE BOUTIQUES Non-exhaustive list. To find all Lalique points of sale (show-rooms, shops within shops, corners, etc.), please refer to our website: www.lalique.com

E-SHOP www.lalique.com

EUROPE PARIS 11, rue Royale, 75008 Paris, France – Tel. +33 1 53 05 12 81– shop.paris.rueroyale@lalique.fr Boutique Lalique Joaillerie – 20, rue de la Paix, 75008 Paris, France – Tel. +33 1 42 65 03 04 – shop.paris.ruedelapaix@lalique.fr Printemps Haussmann – 64, boulevard Haussmann, 75009 Paris, France – Tel. +33 1 42 82 64 33 – shop.paris.printemps@lalique.fr CANNES 87, rue d’Antibes, 06400 Cannes, France – Tel. +33 4 93 38 66 88 – shop.cannes@lalique.fr STRASBOURG 25, rue du Dôme, 67000 Strasbourg, France – Tel. +33 3 88 75 55 52 – lalique.strasbourg@orange.fr WINGEN-SUR-MODER Musée Lalique – 40, rue du Hochberg, 67290 Wingen-sur-Moder, France – Tel. +33 3 88 89 08 14 Villa René Lalique – 18, rue Bellevue, 67290 Wingen-sur-Moder, France – Tel. +33 3 88 71 98 98 Château Hochberg – 2, rue du Château Teutsch, 67290 Wingen-sur-Moder, France – Tel. +33 3 88 00 67 67 MONTE CARLO 17-19, avenue de Monte-Carlo, 98000 Monte Carlo, Monaco – Tel. +377 93 25 05 02 – laliquemc@mc-monaco.com ZURICH Talstrasse 27, 8001 Zurich, Switzerland – Tel. +41 44 212 02 22 – boutique.zuerich@lalique.ch GENEVA 65, rue du Rhône, 1204 Geneva, Switzerland – Tel. +41 223 123 666 – contact@touzeau.com LONDON 47 Conduit Street, London W1S 2YP, United Kingdom – Tel. +44 207 292 0444 – shop.london.cs@lalique.fr 42 Burlington Arcade, London W1J 0QJ, United Kingdom – Tel. +44 207 409 08 64 – shop.burlington@lalique.fr Harrods 2nd floor – 85-135 Brompton Road, London SW1X 7XL, United Kingdom – Tel. +44 207 730 1234 BERLIN KaDeWe 4th floor – Tauentzienstrasse 21-24, 10789 Berlin, Germany – Tel. +49 302 186 883 – shop.berlin.kadewe@lalique.fr FRANKFURT Goethestrasse 37, 60313 Frankfurt, Germany – Tel. +49 6 921 997 770 – shop.frankfurt@lalique.fr MOSCOW Nikolskaya 19/1, Moscow, Russia – Tel. +7 933 33 74 Tsum – ul. Petrovka 2, Moscow 125009, Russia – Tel. +7 692 40 20 UZBEKISTAN Matbuotchilar Street 17, 70000 Tashkent, Uzbekistan – Tel. +998 712 320 630 – shedevr185@yandex.ru

NORTH AMERICA NEW YORK 609 Madison Avenue, New York, New York 10022, USA – Tel. +1 212 355 6550 – newyork@lalique.com BEVERLY HILLS 238 North Rodeo Drive, Beverly Hills, California 90210, USA – Tel. +1 310 271 7892 – beverlyhills@lalique.com BAL HARBOUR 9700 Collins Avenue, Suite 103, Bal Harbour, Florida 33154, USA – Tel. +1 305 537 5150 – balharbour@lalique.com CHICAGO 222 Merchandise Mart Plaza, Suite 6129, Chicago, Illinois 60654, USA – Tel. +1 312 867 1787 – chicago@lalique.com LAS VEGAS The Shops at Crystals, 3720 Las Vegas Blvd, Suite 266, Las Vegas, Nevada 89109, USA – Tel. +1 702 507 2375 – lasvegas@lalique.com

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ASIA CALCUTTA Ganga Expression PVT-LTD, Forum Courtyard, OC Ganguly Sarani, Sreepally, Bhowanipore Kolkata, West Bengal, 700020 Calcutta, India – Tel. +91 334 007 1408 – tarundaga74@gmail.com HONG KONG M1, Baskerville House, 13 Duddell Street, Central Hong Kong, Hong Kong – Tel. +852 2259 6641 Shop 104, Ruttonjee Centre, 11 Duddell Street, Central Hong Kong, Hong Kong – Tel. +852 34 886 028 IFC Shop 2025, Podium Level 2, IFC Mall, Central Hong Kong, Hong Kong – Tel. +852 2234 7333 12/F, Sogo Department Store, 529-555 Hennessy Road, Causeway Bay Hong Kong, Hong Kong – Tel. +852 2892 0709 – customerservice@laliqueasia.com SHANGHAI Shop 42, Level 2, Phase 2, IFC Mall, 8 Century Avenue, Shanghai, China – Tel. +86 21 5034 2504 Shop 429, Level 2, IAPM, 999 Huai Hai Road, Middle Shanghai, China – Tel. +86 21 5456 1243 Shop 1056, Level 1, Cimen International Decoration Materials Brand Center, 407 Yi Shan Road, Shanghai, China – Tel. +86 21 6456 9208 JAPAN Royal Boutique, Rihga Royal Hotel 1F., 5-3-68, Nakanoshima, Kita-Ku, 530-0005 Osaka, Japan – Tel. +81 6 6449 0663 SINGAPORE Paragon Mall, #04-45, 290 Orchard Road, Singapore 328859, Singapore – Tel. +65 6100 2124 – crystal@lalique.com.sg VIETNAM Sofitel Grand Metropole Hanoi Hotel, 15 Ngo Quyen Street, Hoan Kiem District, Hanoi, Vietnam – Tel. +84 4 3266 8737 – crystalmetropole@lalique.com.vn Sheraton Saigon Hotel & Towers, 88 Dong Khoi Street, District 1, Ho-Chi Minh-City, Vietnam – Tel. +84 8 3915 9179 – crystalsheraton@lalique.com.vn PHILIPPINES Ayala Center, Ayala Avenue, Makati City 1226, Metro Manila, Philippines – Tel. +63 2 813 3739 – makatimainconcierge@rustans.com.ph

MIDDLE EAST ERBIL Shoresh Street facing Zein Telecom, Erbil, Iraq – Tel. +964 75 08 99 34 18 MUSCAT G-34, Royal Opera Galleria, Royal Opera House Shatti al Qurum, Muscat, Oman – Tel. +968 2440 4240 – lalique@omantel.net.om TEHRAN Ava Bell Roya, Mellal Boutique Mall, 67 Fereshtesh Street, 3rd Floor Unit #303, Tehran, Iran – Tel. +98 196 593 5449 BEIRUT Général el Hajj street Mina el Hosn, downtown Beirut, Lebanon – Tel. +961 1 985098

AFRICA CASABLANCA 13, boulevard Abdellatif Ben Kaddour, quartier Racine, Casablanca, Morocco – Tel. +212 522 94 29 91 – infos@lalique.ma

PUBLISHER: Lalique SA, 11, Rue Royale, 75008 Paris, France CHAIRMAN AND CEO OF LALIQUE: Silvio Denz HEAD OF COMMUNICATIONS: Cerise Guisez MANAGING EDITOR: Annemarie Mahler EDITORIAL CONSULTANT: Regina Maréchal ART DIRECTION: Florian Spierling, Geyst AG, Zurich ACCOUNT EXECUTIVE: Florian Walz, Geyst AG, Zurich

PROOFREADING: Sophie Boucher Delesalle and Peter Thomas Hill PRODUCTION MANAGER/LITHOGRAPHS: Geyst AG, Zurich PRINT: Bechtle Druck, Stuttgart CIRCULATION: 35,000 copies PRINTED IN JANUARY 2017 EDITION: 2017 E-MAIL: communication@lalique.fr

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Tonda MĂŠtrographe

Manufactured entirely in Switzerland parmigiani.com

Were there to be only one