Lalique Magazine 2026_ENG

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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