Lalique Magazine 2026_ENG

The Magazine • 2026 Edition

Editorial

With each edition of our magazine, we invite you to (re)discover the world of Lalique: a world shaped by creativity, passion and people. Around the world, from New York to Wingen-sur-Moder, Paris to Courchevel, Lalique continues to expand its horizons while remaining rooted in its heritage. “Maison d’Artiste”, our new flagship in New York, embodies this spirit, a place where art, savoir-faire and emotion come together in perfect harmony.

With the reopening of our flagship store on Rue Royale in Paris, we return to a historic address that carries the spir it of our Maison, a place deeply connected to our history and to who we are today. The renewed space feels warm, open and filled with light. It has been designed to reveal the beauty of crystal in a contemporary and personal way, inviting visitors to expe rience Lalique with fresh eyes. The suspended swallows at the entrance express what guides us today: movement, clarity and renewal.

This issue celebrates the power of collaboration, featur ing projects such as the luminous Mikimoto fragrance and the bold Branson Cognac created with 50 Cent. Alongside these collaborations, we present the ethereal Air de Lalique collection, a creation that reflects our dedication to the timeless beauty of materials shaped by human hands. As we look at everything brought together in this edi tion, we also reflect on the ten years since the opening of Villa René Lalique, a milestone that continues to in spire our vision of art de vivre in all its forms.

This edition of our magazine follows the same intention. It offers a deeper look into the many voices that shape Lalique today and reflects our desire to share our world with greater openness. Through a refined visual language, closer storytelling and a more intimate approach, the magazine reveals the emotion, expertise and human sto ries behind our creations. It brings forward the people, ideas and inspirations that bring our vision to life, showing how our heritage continues to evolve through creativity, collaboration and curiosity. Rue Royale and this magazine embody a new chapter for Lalique, one that honours our past, celebrates the present, and opens the door to the future.

Silvio Denz Executive Chairman of the Board of Directors, Lalique Group

Nina Müller CEO, Lalique Group

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CONTENTS

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Meeting the Artisans Anaïs Hey, Guardian of Decorative Excellence

Mikimoto × Lalique When Ocean Meets Light, a New Radiance is Born

Curtis “50 Cent” Jackson × Lalique A Tribute to Legacy and Creation

Air de Lalique Collection A Breath of Light Inspiring Creations of Poetry and Lightness

Cabochon, the Reimagined Icon A Shape That Transcends Time Without Ever Losing Its Softness

Maison d’Artiste in New York On the Upper East Side, a Home for Elegance in the Heart of New York

11 Rue Royale, Paris A New Setting for a Legendary Address

The Lalique Museum in Wingen-sur-Moder In the Northern Vosges, a Cultural Landmark Celebrating the Heritage of a Creative Genius

Villa René Lalique A Decade Dedicated to the Art of Living

Maya Hotel Courchevel 1850 Serenity on Alpine Heights

Cover: Marc Larminaux, Artistic & Creative Director at Lalique holding the Alizé vase, medium size, clear with pink gold leaves, limited edition of 88 pieces.

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Meeting the Artisans Anaïs Hey, Guardian of Decorative Excellence Within the Décor workshop of the Lalique manufacture, ten artisans keep alive techniques that no school teaches. We meet Anaïs Hey, head of this workshop where savoir-faire is passed down like a treasure.

the brilliance of the crystal and the black mesh detailing the swirling forms. This imposing creation is a true tech nical challenge that few artisans manage to master. To produce such a piece, you must understand the material,” she emphasises, insisting on the importance of “feeling.” Passing Down to Preserve Reproducing, in series, something that borders on intui tion is a feat in itself. “Creating a piece is one thing, but being able to recreate it, to duplicate it while respecting the model and the Lalique standard of excel lence every single time, is

“Lalique? It was a dream!” Ten years ago, after earning a CAP diploma in glassblowing and decoration, followed by a vocational diploma in the arts, Anaïs Hey walked through the doors of the Lalique manufacture in Wingen sur-Moder for the very first time. “During my training in Sarrebourg and Nancy, the name René Lalique echoed everywhere; his creations are pure marvels,” she says softly. Her professional journey has taken her through several roles: “I worked as a polisher, then in stopper fitting and drilling. This allowed me to become intimately familiar with the ‘cold glass’ workshop, where the pieces crafted by artisans in the ‘hot glass’ workshop arrive once cooled.” The final step in this beautification process is the Décor workshop, which requires long and meticulous training. “It takes two to three years to master the gestures of the Maison,” explains Anaïs Hey. “Lalique uses decorative techniques that are not found anywhere else.” A Master of Bitumen Among these carefully guarded secrets is the application of bitumen, a black organic pigment that glistens like fresh tar, used to enhance the crystal’s reliefs. “You don’t learn this technique at school,” notes Anaïs Hey. On the spikes of the iconic Cactus perfume bottles designed by René Lalique in 1928, or on the sinuous lines of the Zèbre vase, a more recent creation, “the gesture must be abso lutely flawless,” she continues. “It takes dexterity, the right amount of enamel, and perfect precision in every stroke. There’s no improvising!” The days of the head of the Décor workshop unfold like a well-orchestrated score: “We start by preparing the tools, checking the pieces from the previous day, making any necessary touch-ups, then moving on to production, in an atmosphere deeply rooted in craftsmanship.” The Dé cor workshop works in close collaboration with the other workshops of the Maison – “including the design studio for new pieces in development,” she specifies. This synergy is what makes the décor so stunning. Asked to name a particularly memorable piece, Anaïs Hey’s eyes light up as she describes the Tourbillons grand vase with black enamel: “a magnificent creation thanks to

something else entire ly,” she acknowledges. “Quality checks are essential at every stage to maintain our level of ex cellence.”

“The gesture must be absolutely flawless. It takes dexterity and perfect precision in every stroke. There’s no improvising.”

Since 2023, Anaïs Hey has taken on re sponsibility for the workshop, a role the dynam

ic young woman embraced naturally thanks to the guid ance she received. The Lalique spirit crystallises in the act of sharing, which she now carries forward with new recruits: “This tradition of transmission,

which requires patience and pedagogy, is a priceless legacy handed down within the Wingen-sur-Moder manufacture for over a hundred years. When I see our pieces on display in boutiques, I feel immense pride.” In the simple joy of this glass and crystal enthusiast echoes the nobility of a profession where hands shape beauty, day after day.

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Ocean meets Light When pearls meet crystal, the ocean meets light. The collaboration between Mikimoto and Lalique is more than a partnership; it is a poetic dialogue be tween two legacies of beauty, craftsmanship and culture. One shaped by the sea, the other by skilled hands, both drawn from the depth of nature and the brilliance of light.

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Mikimoto × Lalique

Yasuhiko Hashimoto, président & CEO, K. MIKIMOTO & CO., LTD.

Together, Mikimoto and Lalique have created Fortune Leaves , Crystal Edition – a collector’s piece of extraordinary rarity, where fragrance becomes form and form becomes story. Born of shared vision and respect, the piece marks not only a debut, but a promise: to continue shaping a universe where tradition and innovation walk hand in hand. The collaboration began with light. Mikimoto first approached Lalique to create a chandelier for its bridal salon in Ginza, Tokyo. The resulting piece, Cloud of Clovers , became more than an installation; it was a spark. In the play of crystal and reflection, both houses

recognised shared values: nature as muse, elegance in restraint, and the quiet power of craftsmanship. From that first creative exchange grew an idea: what if this encounter could be transformed into something more intimate, more lasting? Something you could wear. Something you could feel. Hashimoto-san, President & CEO of Mikimoto, recalls: “We spoke less about products, more about philosophy. About how to capture the soul of the pearl in another medium.” Marc Larminaux, Artistic and Creative Director of Lalique, adds: “It was a true dialogue. Ocean and glass. East and West. Luminosity in two expressions.”

The Cloud of Clovers sculpture by Lalique on the sixth floor of the Mikimoto flagship, Ginza, Tokyo.

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Mikimoto × Lalique

A perfectly curved globe, mouth-blown by Lalique artisans, evokes the smooth roundness of a Mikimoto pearl. Above it, a crown of clovers – each vein sculpt ed with water and light – encircles the cap. Among them, one rare four-leaf clover lies hidden, an emblem of luck and quiet optimism. A message whis pered, not declared. Crafted using the historic lost-wax tech nique explored by René Lalique in 1893, each cap is unique in texture and finish. As light filters through the frosted crys tal, it reveals a quiet glow: the promise of discovery. Only ten pieces exist in the world, each hand-finished and subtly unique. A rare creation and a story held in form. And then, within, the scent of promise. Inside this sculpted form lives an extrait de Parfum, composed by perfumer Alex Lee. Its structure mirrors the flacon: fresh yet grounded, luminous yet lay ered. Clover accords open the scent with a green vibrancy, softened by floral notes that shimmer like morning dew. Orris and ambrette add softness and sensu ality, their mineral elegance echoing the iridescence of a pearl. The result is a composition that feels both intimate and radiant. Hashimoto-san describes it as “an olfac

Mikimoto Fortune Leaves , Crystal Edition.

The flacon of Fortune Leaves is not merely a vessel. It is a sculpture in crystal suspended in time, radiating quiet elegance. Conceived by Marc Larminaux in close collabo ration with Hashimoto-san, its form draws on the symbol ism of nature and the poetry of chance.

tory jewel, like wearing a pearl on the skin.” Larminaux adds: “Crystal captures light; here, scent cap tures emotion.” Together, object and fragrance become inseparable: a com plete expression of two houses, one vision.

What Comes Next Fortune Leaves, Crystal Edition is only the beginning. This first creation opens the door to a broader olfactory universe, where new fragrances will speak in varied tones, yet always in the shared language of purity, emotion and refinement. Launching mid-2026, a collection of five new scents will further explore the story initiated here. Each distinct, each crafted with the same dedication to artistry and substance. A new chapter, waiting to be revealed. Until then, the light lingers, and the story continues.

“Fortune Leaves, Crystal Edition, is an olfactory jewel, like wearing a pearl on the skin.“ Yasuhiko Hashimoto, President & CEO, K. MIKIMOTO & CO., LTD.

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WHEN 50 CENT MEETS LALIQUE: THE SPIRIT OF LEGACY AND ARTISTRY

When creativity and craftsmanship unite, beauty takes on new purpose. The 505 Edition Branson Cognac by Sire Spirits and Lalique celebrates strength, generosity and artistry in a creation that redefines modern luxury.

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50 Cent × Lalique

tures both movement and serenity, embodying the spirit of the two creators. The 505 Edition is rooted in rarity The blend itself draws from an extraordinary selection of Hors d’Âge cognacs sourced in 2019, including eaux-de vie aged for more than a century. To honour such prove nance, Jackson wanted a decanter worthy of the story in side it. Lalique answered that call, creating a handcrafted crystal work produced in France, limited to just 505 pieces worldwide – though, as Jackson notes, one is reserved for his own personal collection. From the start, Jackson challenged Lalique’s creative team to design something strong, timeless and iconic. The lion, a historic Lalique symbol of power and protection, became the heart of the creation. Its presence represents leadership, resilience and pride, reflecting both Lalique’s heritage and Jackson’s personal philosophy. During his time at the Lalique manufacture in Alsace, Jackson witnessed the discipline of true craftsmanship – the patience, the precision, the willingness to reject even beautiful pieces in pursuit of perfection. “They destroy crystal that most people would treasure,” he recalls. “They do it because legacy demands it.” Yet the 505 Edition is more than artistry or rarity, it car ries purpose. With the launch of the 505 Society , each collector joins Jackson in advancing philanthropic work that supports education, mentorship and community em powerment. For him, luxury is not just what one acquires, but what one elevates.

Curtis “50 Cent” Jackson and Silvio Denz, Executive Chairman of Lalique Group, have given form to a creation that bridges two worlds: the precision of French crystal and the rhythm of American vision. Revealed in Octo ber 2025 at the Lalique Townhouse in Manhattan, the 505 Edition Branson Cognac by Sire Spirits and Lalique stands as one of the most remarkable expressions of con temporary craftsmanship. For Silvio Denz, this collaboration reflects Lalique’s en during spirit of audacity and innovation. “I am honoured by this collaboration with Curtis ‘50 Cent’ Jackson, a true visionary. Though we come from different worlds, we share the same values: audacity, excellence and creativity. Together, we have surpassed the boundaries of imagina tion.” When Curtis “50 Cent” Jackson launched Sire Spirits in 2018, his goal was clear: to create spirits that reflect am bition, excellence and authenticity. That vision reached its peak with the 505 Edition Branson Cognac, a collabora tion between Sire Spirits and the legendary French crystal house Lalique. The collaboration began with a shared belief: that true luxury lies in meaning. From their first meeting in 2020, Curtis “50 Cent” Jackson, Silvio Denz and Marc Larmin aux, Lalique’s Artistic and Creative Director, imagined a decanter that would be more than a vessel. It would be a sculpture, a story in crystal, a symbol of legacy. Inspired by René Lalique’s early perfume bottles, the design combines purity and power. A lion, sculpted in relief, crowns the decanter, a timeless emblem of courage and mastery. Its bold silhouette, softened by satin-polished surfaces, cap

Silvio Denz, Marc Larminaux & 50 Cent at the Lalique manufacture in Wingen-sur-Moder, in Alsace.

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Manufacturing process of the 505 Edition Branson Cognac in the hot glass workshop at the Lalique manufacture.

In an exclusive conversation with 50 Cent What made you want to collaborate with Lalique? What caught my attention right away was their passion. I knew Lalique stood for luxury, but once I saw how much emotion and energy go into what they create, it felt differ ent. It’s not just design, it’s art. Every piece has a purpose. I wanted to bring that kind of craftsmanship and soul into Sire Spirits. It’s about time, patience, and creating some thing that really means something. You’re known for being very involved in your projects. How much input did you have on the 505 Edition bottle? I was in it from the jump. We looked at some of Lalique’s old perfume bottles to get ideas, and that’s where we found the direction. I liked the shape, the balance, all of that. From there, we built something new. The lion’s head was important to me because it stands for strength and leadership. The team at Lalique understood that right away. Everything on that bottle is done by hand. It’s not just about luxury, it’s about respect for detail. Tell us about the cognac inside the bottle. This is the real deal. It’s from the Grande Champagne re gion, which is the top of the top when it comes to cognac. Some of those blends have been aged for more than a hun dred years. When I tasted it, I knew it was something spe cial. It’s rare, powerful and smooth. That’s what I wanted to share with people – something that represents time, heritage and excellence.

What does the 505 Edition mean to you personally? It means legacy. The cognac, the design, the craftsman ship – it’s all about what lasts. There are only 505 bottles, so it’s exclusive, but it’s also about patience and purpose. It shows what happens when two worlds come together. Can you walk us through your experience at the Lalique manufacture in Alsace? When I first landed in Alsace and stepped into the Lalique workshops, I realised real quick this was a whole other level. The artisans there breathe the craft. They use tech niques passed down for generations. We went through the archives, looked at vintage perfume bottles, talked about shapes and finishes. I asked questions, compared sketch es, and watched how they blew and shaped the crystal by hand. When I saw the lion’s head being formed, I knew we were creating something special. The atelier wasn’t just a visit – it was a lesson. I learned what legacy really looks like. Beyond craft and design, what do you hope collectors feel when they lift that bottle? I want them to feel power. I want them to feel story. I want them to feel time. When you lift the 505 Edition, you’re holding more than a cognac bottle. You’re holding a centu ry of ageing, a tradition of crystal-making, and my vision. You see that lion’s head, and you know you’re part of some thing rare.

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Air de Lalique, a Breath of Light

Having explored the depths of the earth, Lalique now turns to the intangible. The Air de Lalique collection captures breath and motion in luminous vases, delicate bird sculptures, and an unprecedented coral palette. Between cutting-edge craftsmanship and poetry, this second chapter of an odyssey through the four elements will be unveiled in March 2026.

Winter makes the great green firs tremble. In the South, it whis tles so fiercely that even the cicadas fall silent. Laden with sand, it stings our eyes; heavy with water, it chills our skin. Air is every where, blowing and being blown. A creature of nature, air is elusive by essence, resisting all attempts to be tamed. Yet Lalique captures the impossible, giving shape and weight to what has none, in the purity of crystal. A vertiginous challenge, Air de Lalique has been met by the historic manufac ture of Wingen-sur-Moder in Alsace. This new collection, set to blossom in spring 2026, continues the elemental journey that be gan in 2024 with Terramineral . After earth, comes air.

Left-hand page: Marc Larminaux, Artistic and Creative Director of Lalique. Right-hand page: Alizé vase, medium size, coral-patina.

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Air de Lalique

Inspiration and Breath It is present in our first gestures, connecting us to life from the moment we are born. To translate the movement of air, Marc Larminaux, Artistic and Creative Director of Lalique, let him self be guided by inspiration. His pencil traced threads and lines, strokes and curves: “Everything always begins with a drawing,” he explains. “Each undulation is distinct, designed with precision to create a har monious whole.” Sketched lines become invisible waves that make a veil dance, folds on fabric are stirred by a discreet breeze, all brought to life by the artisans of Lalique through motifs engraved into the crys talline mass. The irregular lines are not accidents but character: the essence of air itself, “ever present, yet intangible.” “We sought to make the invisible visible,” adds Marc Larminaux. The Haute Couture of Crystal The Alizé vases, named after the gentle trade winds, embody the balance between technical mastery and sensual form. Light dresses these volumes as if the crystal were a couture fabric, rem iniscent of Fortuny pleats or Madame Grès’s sculptural drapery. The artisans’ savoir-faire lies at the heart of this illusion. After the blowing process came the cold-work techniques: sandblast ing, satin finishing, and meticulous repolishing. At least eight steps are required before “light makes the satin-finished crystal vibrate, exalting the impression of movement,” as the Lalique ar tisans explain. Between matt and gloss, opacity and transparen cy, motion flows – the eye lingers, captivated. Air, once invisible, becomes a tangible source of wonder. Available in four sizes, from intimate to monumental (weighing up to 15 kilos), the Alizé vases come in clear or coral-patinated crystal. The coral hue, a new addition to the Lalique palette, en hances the radiance of air: “At sunset, the sky filters out the blues of daylight, leaving only the fire of reds and oranges,” says Marc Larminaux. A velvety, soothing tone that evokes both the Mediterranean summer and the golden serenity of a late Rothko canvas. The Gold of Time Produced in limited editions, the Alizé vases glow with 22-carat rose gold leaf applied by hand to preserve transparency through a subtle “brushed” effect. Two hundred and forty leaves for the monumental vase, four days’ work for the large Alizé , 21 days of varnish drying – 16 operations in total, each demanding expert precision. These figures remind us of the essence of true luxury: time – given, dedicated, and spent without counting. Alongside the vases comes the Alizé bowl, a wide basin delicately balanced on three sculptural feet integrated into the design, a feat of equilibrium achieved through Lalique’s unrivalled know how. Placed on a table, it becomes a miniature pool of light, a theatre where sunlight performs its daily dance.

Manufacturing process of the Alizé vase, mouth-blown in the hot glass workshop at the Lalique manufacture.

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Air de Lalique

A Heritage Bestiary What could better evoke freedom than a bird in flight? The Piou-Pious , a trio of crystal birds, bring a touch of whimsical tenderness to Air de Lalique. “They are the masters of air, taming it to defy gravity,” ex plains Marc Larminaux. “One preens its feathers, another pecks at the present moment, while the third, head raised to the sky, seems to listen to the song of the wind.” Entirely sandblasted then repolished, these miniature sculptures recall Lalique’s early days as an animalier art ist. A keen observer of nature, René Lalique adorned his Art Nouveau jewels with dragonflies and swallows, a her itage that continues to take wing. The collection also features a coral-hued crystal candle, its wax holding a bouquet of white flowers with aldehydic, ozonic and wild herb notes. As though, after sculpting air, Lalique had also given it a scent. An Invitation to Contemplation Available from March 2026, Air de Lalique invites si lence, pause and contemplation, to let the light perform its changing ballet throughout the day. This reverence for beauty and transformation has been at the heart of Lalique’s story since 1888: turning the ordinary into the extraordinary. Continuing its voyage through the four elements, Lalique looks ahead to the next challenge: capturing fire and flame in crystal. The Maison, ever luminous, burns with imagination.

“Each undulation is distinct, designed with precision to create a harmonious

whole.” Marc Larminaux , Artistic and Creative Director of Lalique

Piou-Piou sculptures: wing up in coral-patina cristal, head up in clear crystal, head down in clear crystal. Right-hand page: Alizé desk lamp, clear crystal, satin gilded.

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CABOCHON, the Reinvented Icon

Its perfect roundness, born from a child’s wish, has travelled through a century. In 2026, Lalique reinvents its jewellery icon, offering it new forms of expression. It is a return to the roots of a House whose founder was “the inventor of modern jewellery.”

fashion trends and stylistic shifts. Where so many crea tions faded into oblivion, Cabochon asserted itself as an object whose form refuses to age. Today, nearly a century later, Lalique has chosen to rein vent it without betraying it. For Spring–Summer 2026, three new pieces of jewellery pay tribute to René Lalique’s original design while proposing new ways to wear this miniature sculpture: as earrings, a double-wrap leather bracelet and a pendant. The ring itself now comes in nine teen shades.

“Then you’ll make me a ring with the most beautiful blue in the world.” These words were spoken in 1931 by one of René Lalique’s granddaughters. The request was as much a plea as a challenge: how does one set a celestial vault? How can the azure be crystallised in a ring? The artist, at the height of his fame, let his imagination flare. He de signed a cabochon of radical elegance: a glass half-sphere, smooth as a pebble polished by the sea. No claws, just a glimmer held captive within the material. That ring endured. It survived the Second World War,

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Cabochon , the reinvented icon

A legacy of form What makes a jewel stand the test of time? Before becoming the master glass maker celebrated by the world of Art Deco, René Lalique was, in the words of Émile Gallé, “the inventor of modern jewellery.” At the turn of the 20th century, while the world of jewellery focused on the brilliance of gemstones and diamonds, the artist innovated by introducing glass, enamel, horn, and mother of-pearl. What interested him was form, volume — a gesture in matter. After his triumph at the 1900 Paris Exposition Uni verselle, when Art Nouveau gave way to Art Deco in the 1920s, Lalique pivoted. Turning to glass, he built his manufacture in Wingen-sur-Moder, Alsace, and began producing vases, lighting, and perfume bottles — until Cabochon , a ring born from a child’s wish, emerged naturally as a creation. A timeless signature With its bold roundness, Cabochon embodies a universal style. In this spirit, Marc Larminaux, Artistic and Creative Director at Lalique, has im agined three new jewels that extend this timeless signature. The earrings play on the harmony of volume and softness, where crystal – set on either rhodium-plated silver or yellow gold-plated metal – captures the light with every movement. The leather bracelet, with its slightly padded edges and thin gold-plated buckle, adds a touch of discreet refinement. As for the pen dant, it is a suspended drop of crystal, fluid and transparent in its round ness. Resting gracefully against the neckline, it is offered on an adjustable round-link chain. A Wide Palette of Colours Lalique has always displayed its mastery of colour. The Cabochon collec tion, unveiled in spring 2026, confirms it by offering the original ring in nineteen hues, ranging from the softest translucency to the most vivid tones. The bracelet, pendant, and earrings come in four distinctive shades. First, Cap Ferrat blue — the emblematic colour that fulfils the original wish: “the most beautiful blue in the world.” Then, gold lustre: col ourless crystal enhanced with a hand-applied powdery gold sheen, a technique of true craftsmanship. Deep green, an unexpected and sophisticated expression, offers a bold alternative. Finally, red – charismatic and vibrant – becomes a luminous signal. These tones interact with the crystal, a living material that captures the light, transforming each jewel into a tiny lantern, a fragment of min iature stained glass.

The Cabochon 2026 collection is a reminder that Lalique has never separated art from daily life. René Lalique’s creations were never meant to slumber behind glass but to inhabit interiors, to adorn and elevate silhouettes. This savoir-faire aligns with a savoir-être, an

ethic. Within this House, for over a century, each piece has been crafted by hand in Wingen-sur-Moder, Alsace, perpetuating a French tradition of excellence.

Cabochon earrings.

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LALIQUE NY Maison d’Artiste: A Home for Elegance in New York

At 21 East 63rd Street, a door opens to another world. Between Fifth and Madison Avenue, Lalique has unveiled its most ambitious expression yet: Maison d’Artiste. More than a flagship, it is a home – a place where visitors step out of the everyday and into a realm of light, artistry and timeless refinement.

The setting itself is steeped in history. The Beaux-Arts townhouse was first built in 1884, then reimagined in 1900 as a private mansion. Owned by the Chopard family since 2002 and used for their corporate offices, its ornate interiors hosted soirées and secrets of New York’s cultur al elite for decades. Today, Lalique breathes new life into these storied walls. With Artistic and Creative Director Marc Larminaux, the Maison d’ Artiste has been reimagined as a journey – not through rooms, but through the many dimensions of Lalique’s universe. Crossing the threshold, one does not enter a store but a residence. Light flows across crystal surfaces; curated art and textures unfold with quiet sophistication; and each detail reveals the culture and timeless elegance of Lalique. Maison d’Artiste is designed not only to display beauty, but to host encounters. Here, collectors, artists, design ers and friends of the House gather around creations that invite conversation. It is part showroom, part salon, part gallery – but above all, it is human. Silvio Denz, Executive Chairman of Lalique Group, cap tures the essence: “Maison d’Artiste is not a boutique. It is a home. It is a place where Lalique’s artistry can be expe rienced as part of life itself.” The walls carry more than décor, they tell stories. In the central stairwell, a mural by New York artist Chris “DAZE” Ellis rises through the levels. His interpretation translates Lalique’s motifs of flora, fauna and femininity into a dia

Facade of the Maison d’Artiste in New York.

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Maison d‘Artiste New York

The Jewellery Salon.

now crafted in white gold and diamonds. It is a modern echo of the House’s DNA. On the next floor, the Veranda d’Essences introduces fra grance. Lalique perfumes and candles are presented in filtered light, where air and aroma create a sanctuary for the senses. At the heart of the townhouse lies the Art Gallery, the larg est Lalique Art exhibition space in the world. It hosts col laborations with leading contemporary artists including James Turrell, Damien Hirst and Zaha Hadid, showing the infinite adaptability of crystal. Here, art is not simply possessed but experienced. On the upper floors, the Bar & Lounge offers conviviality, inspired by the golden age of the Orient Express. Crystal chandeliers cast a warm glow over mahogany and velvet, while vintages from Vignobles Silvio Denz are shared among friends. The journey culminates with the Lalique Interior Design Studio (LIDS), the first to be established outside Paris. This atelier for architects and designers offers crystal pan els, fixtures and architectural elements, opening new dia logues between heritage and innovation.

logue with the city’s vitality. Guests pause, realising this is not a static museum, but a living house – a place that speaks to its surroundings. The townhouse opens its doors not only to clients, but also to the community. Private dinners, cultural events and gallery openings give the rooms their pulse. Lalique revives the tradition of the salon – a setting for exchange, creativity and the celebration of life. Maison d’Artiste unfolds as a progression of experiences, each floor offering a new chapter in Lalique’s story. The Salon d’Exploration welcomes visitors with an at mosphere of discovery, where the latest creations are displayed in flowing, light-filled arrangements. From there, one enters the Iconic Collections Atrium, where contemporary designs converse with timeless signatures. Illuminated crystal walls and floating swallows create a dialogue between past and present, reminding us that Lalique’s history is always in motion. Ascending to the Jewellery Salon, the scale shifts. Pre cious necklaces, rings and bracelets shimmer under discreet lighting, recalling René Lalique’s origins as a jeweller. A highlight piece, the Manhattan necklace, is reinterpreted from a century-old sketch by René Lalique,

The Veranda d’Essences.

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Maison d‘Artiste New York

Beyond intimate objects, Maison d’Artiste demonstrates Lalique’s mastery of scale. Entire walls and ceilings be come luminous artworks, reasserting crystal as an archi tectural medium. The Lauriers wall, composed of 36 illu minated panels, shimmers as though stirred by light itself. On the ceiling, 62 crystal swallows soar in mid-flight, fro zen yet alive. And crowning the dome, 177 glowing anem ones radiate with celestial brilliance, recalling René Lali que’s love of nature translated into modern light. Each work is handcrafted in Wingen-sur-Moder in Alsace, France, where Lalique has preserved its glassmaking tra dition for over a century. Shaped and polished by hand, these pieces carry the breath of French craftsmanship across the Atlantic, inhabiting the townhouse with ele gance and permanence. These monumental installations remind us that Lalique is not only about treasures held in the hand, but also about environments that shape the way we live. The relationship between Lalique and New York stretches back a century. In the 1920s, René Lalique’s glass adorned the Coty Building on 23rd Street, a landmark that still “Maison d’Artiste transcends retail. It is hospitality, culture and artistry – all under one roof.” Silvio Denz , Executive Chairman of the Board of Directors, Lalique Group

bears his mark. For decades, Lalique’s creations whis pered through the city’s architecture, restaurants and pri vate collections. Maison d’Artiste now renews this bond, writing a new chapter in the dialogue between Paris and Manhattan. In spring 2025, the opening of the townhouse was cele brated in true New York style. More than 250 guests – col lectors, designers, cultural figures, and celebrities – filled the rooms. Among them was Curtis “50 Cent” Jackson, symbolising the city’s vibrant energy. Between wines of Bordeaux and glimpses of crystal light, guests discovered that Lalique’s world belongs as much to New York as it does to France.

Lalique Townhouse | Maison d’Artiste 21 East 63rd Street, New York, NY 10065

The team of Maison d’Artiste.

The Bar & Lounge.

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Ninety years after René Lalique moved into this emblematic Parisian street, the Maison reinvents its historic flagship. A renewed setting where light and material crystallise the Lalique philosophy. 11 Rue Royale, Paris A New Setting for a Legendary Address

The Lalique boutique at the Liberation of Paris, August 1944.

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11 Rue Royale, Paris

carpet, dotted in places with embedded fossilised shells, marks the beginning of a journey through seven distinct worlds, the seven pillars of the Maison: decorative objects, interior design, tableware, jewellery, art, fragrances and hospitality. At the entrance, backlit brass display cases illuminate a selection of small objects, like a precious Cabinet of Cu riosities where one can find gifts for others and for them selves. Nearby, the Library, crowned with arches, houses the new collections and the iconic crystal creations from the Bacchante s vase to the Tourbillons vase. Through sketches, samples, and bespoke projects, the Lalique In terior Design Studio workshop also reveals some of its secrets. A spectacular bed of dahlias, their symmetrical petals unfurling, evokes this craftsmanship, transforming nature into decorative art, a signature of René Lalique. To try on jewellery, visitors head to the Boudoir, where you’ll find the timeless C abochon ring (see p.27) along side shimmering long necklaces, pendants and earrings. In an adjacent space lined with gleaming zelliges, Lali que fragrances are arranged by olfactory family. The Bar, where Art Nouveau meets Art Deco, embodies Lalique’s art of living and pays homage to the Maison’s gastronomic world, now home to three Michelin two-star restaurants. The visit concludes in the Winter Garden: gently illumi nated by natural light, open to a paved courtyard and clad in Paris stone, it features the majestic Orgue and Perles chandeliers and the iconic Cactus table, with transparent legs and a wooden tabletop. Before leaving 11 Rue Royale, the eye inevitably rests on a wall where several heritage pieces showcase Lalique’s precious legacy. The Paris boutique is the only one in the world where historical pieces can be found: perfume bottles, sculptures, ice buckets, vases and lithographs by René Lalique. All bear witness, across eras, to a centu ry-old savoir-faire and a spirit the Maison is committed to preserving. Ninety years after its opening by its founder, the Rue Royale flagship remains a manifesto of emotion.

His name appeared on the pediment in glass letters: R. Lalique. On 6 September, 1935, the master glassmaker was proud to inaugurate his new boutique at 11 Rue Royale. Leaving Place Vendôme, where the celebrated jewellery designer had set up shop thirty years earlier, René Lali que now anchored himself on this iconic thoroughfare of Parisian refinement stretching from Place de la Concorde. The new address quickly became a must-visit, beloved by collectors and by passersby wandering the cobblestones. Feeling at Home In 2025, the Maison celebrates the 90th anniversary of this mythical address with a completely reimagined space. “It is a return to our roots, but also a projection into the future,” says Marc Larminaux, Artistic and Creative Direc tor of Lalique. “The idea was to echo the poetry of René Lalique by translating his repertoire, light, material and emotion, into today’s language. This new Rue Royale space is not just a boutique; it is more like an apartment, a home,” explains the man who wished to create an environ ment where visitors can imagine themselves living with these objects. “We imagined the story of a couple of cosmopolitan gal lery owners or artists inviting us into their Parisian apart ment,” Marc Larminaux adds. “We pulled on that nar rative thread to shape an intimate, warm and, above all, inspiring atmosphere.” It took a year of work to bring this new concept to life, the culmination of several years of re flection on the Maison’s identity. What emerges is a haven of peace in the heart of Paris, a luminous setting renovated in a neo-Art Nouveau style. At the entrance, around sixty crystal swallows, an emblem of the Maison and a symbol of renewal, appear to take flight. This Lalique spring also takes shape through illuminated arches adorned with the Lauriers motif, creating a majes tic pathway leading to the 115-square-metre heart of the boutique. “Beyond its archives, Lalique’s main source of inspiration is nature,” Marc Larminaux emphasises. “It permeates all our creations, but it is also a tangible reality, as our Win gen-sur-Moder manufacture, whose furnaces have been firing in Alsace since 1922, is surrounded by forests.” The Vosges blue that dresses the library directly echoes these verdant landscapes. Noble materials such as Burgundy walnut, Jadore quartzite, brass, and terrazzo are given pride of place, celebrating tactile beauty. These harmoni ous combinations recall René Lalique’s philosophy, the in ventor of modern jewellery according to the descriptions of his time, who did not hesitate to mix materials like glass, horn and hardstone to enhance and bring colour to his creations, notes Marc Larminaux. From the Cabinet of Curiosities to the Winter Garden The terrazzo flooring is a nod to cullet, a by-product formed during the crystal-making process. This mineral

Lalique, 11 Rue Royale, Paris 8 th

The Boudoir.

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11 Rue Royale, Paris

“Blending modernity, craftsmanship and poetry, our boutique Rue Royale reveals the soul of Lalique — an intimate space where everyone can feel welcomed into the artists’ apartment we once dreamt of.” Nina Müller, CEO Lalique Group

Left-hand page: The Library and the flight of swallows. Right-hand page, from top to bottom: The Vanity and the facade of the Lalique boutique Rue Royale.

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Chapter

The Lalique Museum in Wingen-sur-Moder In Wingen-sur-Moder, nestled in the Northern Vosges, the Lalique Museum shines a light on the legacy of a creative genius. Guided by its director, Véronique Brumm Schaich, we discover exceptional craftsmanship and over a century of artistic heritage.

Véronique Brumm Schaich, Director of the Lalique Museum.

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The Lalique Museum

The road winds through the dense forests of the Northern Vosges before revealing a quiet village bathed in shades of green. Here sits Wingen-sur-Moder, Lalique’s beating heart for more than a hundred years. Just steps from the still-operating crystal manufacture, the Lalique Museum immerses visitors in the world of the House founded by René Lalique, the visionary artist who transformed both jewellery and glassmaking. Preserved with great care, this artistic and cultural adventure unfolds inside an architec tural gem seamlessly integrated into a protected Natura 2000 landscape. “We are on the former Hochberg glassworks site, active in the 18th and 19th centuries,” explains Véronique Brumm Schaich, who has led the Lalique Museum since its open ing in 2011. After an architectural competition, Jean Michel Wilmotte was chosen to design the home of the permanent collections, with several environmental con straints in mind. Semi-buried beneath a green roof, the building blends seamlessly into the terrain. Green stone, glass, concrete – the materials converse quietly with the surrounding fir trees. From Art Nouveau jewellery to contemporary creation Upon entering the museum, a monumental chandelier by Marc Lalique, René’s son, glimmers above the vesti bule. “This three-metre-high cascade of crystal, weigh ing 1.6 tons, was created in 1951 for the exhibition The Art of Glass at the Musée des Arts Décoratifs in Paris,” Véronique Brumm Schaich explains. “Sixty years later, the museum entrusted it to us, and the Lalique manu facture fully restored almost 120 pieces right here in Wingen-sur-Moder. It’s symbolic: a chandelier that has finally come home.” The visit begins with the jewellery that made René Lalique famous during the Belle Époque. In a carefully orchestrated half-light, a bronze Femme Ailée (Winged Woman) draws the eye. “This exceptional piece, created for the 1900 World’s Fair, was one of five sculptures that adorned the Lalique stand in the jewellers’ pavilion,” notes Véronique Brumm Schaich. Around her, cases display Art Nouveau jewels filled with enameled dragonflies, iridescent glass and translucent horn. “Tired of being copied, René Lalique sought new hori zons,” Véronique Brumm Schaich continues, leading us into a section where glass takes centre stage – a success story born from Lalique’s meeting with perfumer François Coty. Together they pioneered the mass-produced yet beautifully designed perfume bottle, democratising a new art form. From perfume bottles to decorative objects, the exhibition unfolds both chronologically and thematically, taking visi tors through the 1900 World’s Fair, the 1925 International Exhibition of Decorative Arts, sacred art and more. Films, photographs and documents bring these milestones viv idly to life.

exhibitions each year. “During the museum’s January closure, our team replaces almost 70% of the pieces in the permanent exhibition,” she explains. This turnover is made possible by the 703 works in the museum’s own collection, which has grown thanks to generous recent donations. In total, 3,110 pieces are showcased, including prestigious loans from the Musée des Arts Décoratifs in Paris, the Mobilier National, and private collectors. Among them is Silvio Denz, Executive Chairman of Lalique Group, and one of the world’s fore most perfume-bottle collectors, with around 250 pieces on display. The museum multiplies initiatives to reach every audi ence. “We run many programmes for children, with work shops that let them discover the museum in a playful way,” Véronique Brumm Schaich notes. In summer, the muse um even turns into a seaside resort during the “Vive les vacances” programme, exploring glassmaking through beach-themed games: “Wingen-sur-Moder becomes Win gen-sur-Mer!” she laughs. Before leaving, visitors can breathe in the peaceful gardens where lilies, dahlias and anemones – flowers beloved by René Lalique – bloom freely. One leaves with a full heart.

The secrets of crystal “The skill of the region’s glassmakers is one of the reasons René Lalique settled in the Northern Vosges in 1919, built his villa here, and opened his factory in 1922,” Véronique Brumm Schaich reminds us. She activates a touchscreen table that breaks down the 30 hours of work required to create the Bacchantes vase, an icon of the house since 1927. This section reveals the ancestral gestures: sculpting the mould, gathering molten crystal on a blowpipe, press ing, acid baths that achieve the matt finish, and polishing – each step culminating in Lalique’s signature satin-fin ished brilliance. A film shot inside the manufacture showcases the grace ful choreography of the glassmakers, the precision of their movements, the controlled rotation of molten crystal. “Today, nearly 150 artisans continue to uphold these tech niques,” Brumm Schaich adds. “Five of them hold the title of Meilleurs Ouvriers de France.” A museum for everyone With 52,000 visitors each year, the Lalique Museum has become a cultural landmark in Alsace. “We welcome visitors from France, Germany, Switzerland, the Benelux countries – even from America and Asia,” Véronique Brumm Schaich says proudly. “And our local public is very loyal, with a strong rate of return.” The secret? A rich and ever-renewed offering, with no fewer than four temporary

The Lalique Museum, exterior views.

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The Lalique Museum

René Magritte, James Turrell, Nic Fiddian-Green, Rudy Ricciotti… so many renowned artists have worked with Lalique crystal, creating unique art editions. After a first exhibition in 2018, Lalique Art returns to the Wingen-sur-Moder museum in summer 2026. This new exhibition reveals the behind-the-scenes collaboration between contemporary creators and traditional craftsmanship. How do artists work with the manufacture’s artisans? How do their visions converse with René Lalique’s heritage? “The exhibition explores the creative process – from the first sketch to the finished piece – highlighting exchanges with Marc Larminaux, the Maison’s Artistic Director, and the technical challenges met by the Lalique artisans,” Véronique Brumm Schaich explains. A Lalique Art exhibition in summer 2026 Lalique Art exhibition - 12 June to 1 November, 2026 Musée Lalique – 40 Rue du Hochberg – 67290 Wingen-sur-Moder www.musee-lalique.com

Purple Sage, limited edition of 100 pieces, James Turrell × Lalique collaboration.

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Chapter

Villa René Lalique

A Decade Dedicated to the Art of Living

Once the family residence of the master glassmaker in Alsace, Villa René Lalique is a a two-Michelin-star refuge where crystal, refined cuisine and the French art of living come together. Ten years after its opening, the establishment continues the legacy of a creator who placed beauty above luxury.

nomy, design and crystal come together,” he explains. The restoration was entrusted to Lady Tina Green and Pietro Mingarelli, interior architects and creators of the Lalique Maison collection, with the mission of bringing the Villa into our time. For the contemporary extension housing the restaurant, Swiss architect Mario Botta conceived a sandstone building with vast picture windows opening onto nature like a living canvas, an architectural gesture that extends the spirit of Lalique without betraying it. In 2015, Villa René Lalique reopened its doors. Just three months after its inauguration, in February 2016 the res taurant was awarded two Michelin stars. Ten years on, with six intimate rooms adorned with Lalique crystal and a wine cellar of more than 60,000 bottles, the Vil la embodies excellence without ever sacrificing warmth. A member of Relais and Châteaux since 2016 and of Les Grandes Tables du Monde, the 45-seat restaurant has made a name for itself in French gastronomy. The Imprint of Crystal in Every Detail Crystal is the soul of Villa René Lalique. It adorns the mirrors, is set into bed frames, consoles and even bedside tables. Chandeliers suspended from the ceilings capture

Its walls still hold the pencil sketches of three generations of designers. If it could speak, the Villa would surely re count long conversations about fire and materials. Nest led in the forests of the Northern Vosges, this family home crystallises a memory that spans a century. When Silvio Denz acquired the property in 2008, he knew he had inherited a treasure. For seventy years, the Villa had remained in the hands of the Lalique family. In 1920, René Lalique completed its construction in Wingen-sur-Moder. The Art Deco master glassmaker had one idea in mind: to anchor his company in this region of glassmaking tra dition, where he would find skilled artisans while bene fiting from post-war government incentives for industry. Situated close to the manufacture he inaugurated in 1922, the Villa became a sanctuary where he found inspiration in the heart of nature. After René Lalique’s death in 1945, his son Marc and granddaughter Marie-Claude continued to stay there. A Family Home Rather than turning this history-laden house into a mu seum, Silvio Denz chose to enchant it anew: “Transfor ming it into a place of exception where art de vivre , gastro

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Chef Paul Stradner in the garden of Villa René Lalique.