Magazine LALIQUE 2025

NEWS

But even before this, René Lalique had long been sure of the major role glass would play in architecture. As of the very start of the century, he was involved in the design of mansions, particularly the one on Cours Albert-Ier, which he had built for himself from 1902. He would quickly be called on to decorate boutiques as well, including the boutique of perfumer François Coty in New York in 1912. The design involved glass walls, doors, decorative panels, chandeliers, wall lights, mirrors, and even tapestries. His range extended to fountains, such as those in the roundabout on the Champs-Élysées, a commission from the city in the early 1930s indicative of the reputation René Lalique enjoyed at the time. His remarkably malleable talent was similarly evident in the number and diversity of his creations for the International Exhibition of Modern Decorative and Industrial Arts of 1925. The hundred-year anniversary of this emblematic event, which bore witness to a major stylistic renaissance, is the perfect opportunity for the Musée Lalique to shine a light on René Lalique’s taste for architecture and interior design, in all its many forms and with its all its many inspirations.

GLASS: SHINY OR SUBTLE AS WE DESIRE IT, SOLID AND LENIENT, SUITABLE FOR AN ALMOST INFINITE RANGE OF UTILITARIAN OR ORNAMENTAL USES

From top to bottom: Jet d'eau panel created in 1925, Musée Lalique – Long-term loan from Shai Bandmann and Ronald Ooi © Studio Y. Langlois Le Verrier panel created in 1925, Musée Lalique – Long-term private loan © Studio Y. Langlois

12