Lalique Magazine n°2 - English by Lalique Official

TIMELESS SINCE 1888

ISSUE TWO - 2015

introducing the ettore Bugatti collection

lifestyle-bugatti.com

| SOMMAIRE

NEW OPENING. LIFESTYLE BOUTIQUE LONDON, BrOmPTON rOaD

| CONTENTS

CONTENTS EDITORIAL 5 ART – DAMIEN HIRST

BEHIND THE SCENE – THE RENAISSANCE OF VILLA RENE LALIQUE

SHANGHAI CITY GUIDE

JEWELLERY – BACK TO THE SOURCES: JEWELLERY THAT INSPIRES EMOTION 24

DAMIEN HIRST – P. 6

WINE – SAUTERNES’ SUBLIME NECTARS

SAVOIR VIVRE – AN EXCEPTIONAL CASE

SIGNATURE – HAUTE ECRITURE

WINE – SEPPELTSFIELD – LALIQUE: AN EXCEPTIONAL ENCOUNTER

WHISKY – THE MACALLAN DYNASTY SENSORY GLASS

MIAMI CITY GUIDE

ART – THE WILD WORLD OF REMBRANDT BUGATTI

ZURICH CITY GUIDE

HERITAGE – LALIQUE, THE COLLECTOR’S PASSION

CHANDELIERS – YESTERDAY, TODAY AND TOMORROW: TIMELESS LIGHTING

JEWELLERY THAT INSPIRES EMOTION – P. 24

VILLA RENE LALIQUE – P. 14

MUST-HAVES 94 LALIQUE BOUTIQUES

ON THE COVER: DAMIEN HIRST AND L ALIQUE COLL ABOR ATION PHOTOGR APHED BY PRUDENCE CUMING ASSOCIATES © DAMIEN HIRST AND L ALIQUE, 2015

TIMELESS LIGHTING – P. 88

COPYRIGHTS (FROM TOP TO BOT TOM AND LEF T TO RIGHT): PHOTOGR APHED BY PRUDENCE CUMING ASSOCIATES © DAMIEN HIRST AND L ALIQUE, 2015 © ROL AND LE TSCHER © L ALIQUE SA © WINDFALL

100

M ESUR E ET D ÉMESUR E *

OVALE TOURBILLON

Rose gold oval case Hand-wound skeleton movement Hermès Alligator strap Made in Switzerland

www.parmigiani.ch

| EDITORIAL

The art of living past, present and future, Lalique style Firmly rooted in its time, Lalique keeps alive the memory of its past, while writing new chapters of the story with each day that passes. This all-embracing ambition is undiminished – embodied in our exceptional creations and functional objects. It transcends the passing years and punctuates the pages of this magazine. It finds expression in a space for living and sharing, a place where Lalique’s savoir-faire is brought to life through interior design, decorative objects, jewellery, fragrances and art. It is a vision that is also expressed through exclusive collaborative ventures. Lalique forms partnerships with prestigious luxury brands and designers who share the same values and standards of quality to create unusual objects which draw on this common savoir faire and expertise, wholly consistent with the eclecticism of the Lalique universe. As a consequence, art occupies pride of place in this second issue of our magazine. In the autumn of 2014, we produced commercial editions of rare works of art: animal sculptures by Rembrandt Bugatti. This year, our art publishing venture marks Lalique’s first collaboration with a contemporary artist, Damien Hirst. First unveiled in January at the Maison & Objet fair, the crystal butterfly panels that make up the collection by Damien Hirst and Lalique echo down the ages, marvellously reminiscent of the motifs immortalized for all eternity by René Lalique. Lalique’s new venture, among the vines of Château Lafaurie-Peyraguey in the Sauternes region, finds expression in the creation of a bottle that enhances the personality of the wine. Lalique has developed a number of customized products, such as the case designed with Salvatore Ferra gamo, the decanter for the Australian vineyard Seppeltsfield, the writing instruments created with the legendary Swiss company Caran d’Ache, and the collection of lamps devised with designer and manufacturer Windfall. Continuing the tour of the creations in prospect we arrive at summer 2015, entering the doors of Villa René Lalique at Wingen-sur-Moder, the former home of the Lalique family, next to the factory, transformed into a hotel, with interior design by the duo of designers Lady Green and Pietro Mingarelli. At the side of this house that embodies the art of living, a new building is being added in characteristic Lalique colours, designed by the celebrated architect Mario Botta, to accommodate a restaurant. Jean-Georges Klein, a talented chef with three Michelin stars, will preside over the menu and one of Europe’s finest wine cellars. The timeless modernity of these creative endeavours shapes our present and vision for the future, transcending borders. In tune with our convictions and our vision of the art of living, we are selling a dream with emotional resonance, one which is waiting to be discovered in these pages, to be shared and brought to life.

Silvio Denz Chairman and CEO LALIQUE

| ART

W R I T E R: S USA N N E VON M E I S S

DAMIEN HIRST Made famous by his shark in formaldehyde, diamond skull and series of exquisite butterfly paintings, British artist Damien Hirst discusses his life, work and exclusive new collection of crystal panels in collaboration with Lalique.

PHOTOGR APHED BY PRUDENCE CUMING ASSOCIATES © DAMIEN HIRST AND L ALIQUE, 2015

| ART

One of the most important living artists of this century is collaborating with one of the best-known crystal manufacturers in the world – Damien, what does the collaboration with Lalique mean to you? I’ve always loved crystal and it’s both beautiful and difficult to work with, so I’m really excited about the project. It’s amazing being able to use all the expert craftsmanship and incredible history of Lalique for something new, and the results are beyond all my expectations. I love that the panels have an almost religious feel, they make you think of stained glass windows which I’ve always adored, it’s the way they manage to capture colour and light so completely and then throw it back out at you. Crystal is an outstanding and demanding material. What sort of emotions does it evoke? Have you ever worked with crystal before? Crystals and minerals were the first things I ever collected as a child. I used to spend hours smashing up rocks to find them and then display them all in white boxes. I love how crystal works with the light – either sort of opaquely hinting at it, or throwing out millions of sparkling reflections like a diamond. There’s a massive difference between working with crystal or diamonds though, because with glass or crystal you have

Veneration (detail), 2007 Butterflies and household gloss on canvas

the freedom to just marvel at its beauty in a more direct way, without all the hysteria and connotations of wealth and extreme value that surrounds diamonds. I’ve made these little stained glass windows for my

BUTTERFLIES

home that incorporate butterflies and skulls and I never tire of looking at them when the sun’s shining.

The French jeweller and glassmaker René Lalique (1860–1945) and the British contemporary artist Damien Hirst both stand

You first began using butterflies in your work in 1989, after being in-

as famous admirers of the fragile and eternal beauty of the

spired by seeing flies get stuck on canvases in your South London stu-

butterfly. René Lalique began referencing the insect as early

dio. Taking this idea you started fixing the bodies of dead butterflies to

as 1895 in his design for an exquisite enamel brooch of a but-

monochrome gloss-painted canvases. Why did you choose the theme of

terfly in flight, a gift for his daughter Suzanne Lalique-Havi-

butterflies for the ETERNAL collection of crystal panels? And what do

land. From then on, the French artist continued to use this

butterflies stand for in your artwork?

symbol of beauty for his world-famous designs for perfume

I see butterflies as souls and part of a wider visual language. I’ve always

bottles and burners, vases and bowls, as well as for his ele-

described them as universal triggers; everyone loves them because of

gant jewellery.

their incredible abstract fragility and beauty. But there’s another element that interests me, which is the tension between the kitsch birthday-card

Since the late 1980s, Damien Hirst has repeatedly used the

kind of image, the power of love and the reality of the actual insect it-

butterfly in his work in a variety of different ways. Describing

self. It’s an interesting example of how we use nature to try and express

the insect as a “universal trigger” and professing his interest

the inexpressible: love, desire, belief and the eternal. They’re really old

in the appearance of life they retain in death, Hirst sees the

ideas, butterflies are used in Christian iconography to symbolize the res-

insect as an essential part of his “visual language”. Today,

urrection, and by the ancient Greeks, for the soul. I’ve always loved that

Hirst and Lalique have collaborated on three stunning crystal

they look identical in life and in death, but when the light shines through

panels, which capture the eternal beauty of this extraordin

these panels, it feels like they’re brought back to life in some way.

ary creature.

In your work you explore the big issues of death, life, religion, beauty and science. Will you ever have finished this Herculean task? I’m more interested in asking questions than giving answers. They’re the issues we’ve been thinking about since the very beginning of time and perhaps there are no answers. Obviously the way we think about them has changed dramatically, particularly science and religion. But

| ART

“It’s amazing being able to use all the expert craftsmanship and incredible history of Lalique for something new, and the results are beyond all my expectations.” DAMIEN HIRST

PHOTOGR APHED BY PRUDENCE CUMING ASSOCIATES © DAMIEN HIRST AND L ALIQUE, 2015

| ART

ETERNAL ETERNAL is the title of an exclusive new collaboration between Damien Hirst and Lalique. The series consists of three crystal panels, each rendered with a different intricate depiction of a butterfly, produced in twelve different colours. The three styles have been titled by the artist as: Love, Hope and Beauty. The 37.5 x 41 cm panels can be displayed in a number of ways, either framed and hung on the wall, placed on an easel or integrated into an existing wall. This timeless collection by Damien Hirst and Lalique has been produced in a limited edition of 50 panels of each colour and are individually numbered, signed by the artist and accompanied by an Edition certificate.

| ART

ultimately, I think they’re all just tools for finding human pathways through the very real darkness. It’s why I love the skull, and why skulls recur in my work so much. They embody all those huge questions of mortality and they just keep on asking. They’re so humbling. Art is constantly reinventing itself and meanings are always shifting and being turned into something else, but those big questions are always going to remain the big questions. Your work is not only presented in exhibitions and collections around the world but also shown in chapels and cathedrals. Mortality is a very essential part of your work – are you a religious artist? And what does religion mean to you? I was brought up initially as a Catholic and although I don’t think I believe in God, all that Catholic imagery of crucifixions and flagellations and flayed saints will stay with me forever. I often reference it in my For the Love of God, 2007 Platinum, diamonds and human teeth

work, as I do a lot of Christian iconography. I think a lot of religious art is difficult to separate from anything else because it’s all fundamentally about the same thing: Who? What? Where? When? Nowadays, I think science has tried to replace religion for many people. For some, medicine just offers a faint glimmer of light at the end of the tunnel, something to feel an unquestioning faith in, even though, if you’re realistic, it’s ultimately futile.

The Physical Impossibility of Death in the Mind of Someone Living, 1991 Glass, painted steel, silicone, monofilament, shark and formaldehyde solution

| ART

In 1991 you began work on your iconic 'Natural History' series of ani-

is, and what it could be, and that there are no rules. It made me want

mals preserved in formaldehyde. Over the years the series has includ-

to invent the future. I still read a lot of factual books and biographies,

ed cows, sheep and pigs as well as more exotic creatures such as zebras

more than fiction. I love that books are completely democratic and can be

and tiger sharks. Will the series continue and what is the significance

looked at by anyone, anywhere and that they’re still so important even

of each animal?

though they’re such an old-fashioned technology next to computers.

Yes I’m still working on it. I’ve always wanted ‘Natural History’ to be like a zoo of dead animals, which is why I’ve done so many different crea-

As a father of three children – what do you consider the most important

tures. It relates to the Victorians – who had this unbelievably arrogant

advice for a child?

belief in man’s dominance over nature – and also the failure of having

Kids are our greatest artists because they’re totally fearless and have a

to kill something in order to look at it. The series is also about commu-

freedom that’s hard to ever replicate, so I’d say just believe in yourself

nicating an idea though, about making art that’s actually real. With the

and keep going; drawing, painting or whatever. There’s no such thing as

shark (The Physical Impossibility of Death in the Mind of Someone Living,

making bad art when you’re a child.

1991) it had to be big enough to eat you, because it’s an attempt to express the greatest fears of all, mortality. The ‘Natural History’ works all

You once said: “I’ve always looked at art as being the map of a person’s

have different characters, so the lamb in Away from the Flock, 1994, is

life.” When you look at your own map – what do you see?

sort of tragic – floating there, isolated from the world like a self-portrait,

I see how amazingly lucky I’ve been. It feels like I’ve been on a roller

and the cows Mother and Child (Divided), 1993, were about the violence

coaster and I still can’t quite believe it. But of course my work is always

of relationships. The later works incorporate ideas about myth and leg-

an expression of life because that’s what all art is, and it can’t really be

end, glory and hubris. The Golden Calf, 2008, references the Biblical story

about anything else as that’s all we truly know. So the diamond skull

that warns against worshipping false idols, it’s an expression of all the

(For the Love of God, 2007), for instance, came out of a time of total confu-

madness which you can risk losing yourself in, the King Midas effect.

sion for me, there was all this money and all I could think of was how to put it back into art in the most concentrated, powerful way possible. Ultimately, it's all about the art and I can’t separate my life from that.

You are known as a connoisseur of literature – which is your favourite book and why? The book of interviews between Francis Bacon and David Sylvester is

Details of Damien Hirst’s latest projects and exhibitions can be found at

probably my favourite. I first read it when I was about 15 and it changed

damienhirst.com. His work is on permanent display at numerous public col-

my view of art. I couldn’t believe how visceral Bacon’s words were, I’ll

lections around the world, including: Astrup Fearnley Museum, Oslo; The

never forget him talking about the smell of fear coming off the cows at

Israel Museum, Jerusalem; Graves Gallery, Sheffield; Museum of Fine Arts,

a slaughterhouse, the universal fear of death. As a kid growing up in

Houston; Museum Brandhorst, Munich, and in Ilfracombe, Devon (outdoor

Leeds, books were my way into art and that book taught me what art

installation of Verity, 2003–2012) amongst others.

DAMIEN HIRST Damien Hirst was born in 1965 in Bristol and grew

a varied practice of installation, sculpture, painting

up in Leeds. In 1984 he moved to London, where he

and drawing to explore the complex relationships

worked in construction before studying for a BA in

between art, life and death, explaining: “Art is about

Fine Art at Goldsmiths College from 1986 to 1989.

life and it can’t really be about anything else … there

Whilst in his second year, he conceived and curat-

isn’t anything else.” Since 1987, over 80 solo Da

ed a group exhibition entitled “Freeze”. The show is

mien Hirst exhibitions have taken place worldwide

commonly acknowledged to have been the launch-

and the artist was awarded the Turner Prize in 1995.

ing point not only for Hirst, but for a generation of

Damien Hirst lives and works in Gloucestershire,

British artists. Since the late 1980s, Hirst has used

Devon and London.

WWW.DAMIENHIRST.COM © ANTON CORBIJN

Arabesque | ART

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by DAKOTA JACKSON

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W R I T E R: A N N E M A R I E M A H L E R

THE RENAISSANCE OF VILLA RENE LALIQUE In 1920, RenĂŠ Lalique had a villa built in Wingen-sur-Moder where he would live with his family. Now, thanks to Silvio Denz, Chairman and CEO of Lalique, the villa is getting a new lease of life as a luxury hotel, complete with a gourmet restaurant.

| BEHIND THE SCENE

LADY TINA GREEN & PIETRO MINGARELLI © AGI SIMOES AND RE TO GUNTLI

What were your feelings when you

What we hope to achieve is the same

entered for the first time this almost

for the Lalique hotel making lux

100-year-old villa where René Lalique lived with his family? We tried to imagine how René Lalique lived there. We have been involved in the process of the renovation of the hotel which is exciting to watch. The Villa is absolutely reborn. René Lalique must have loved the beautiful forests

Lady Tina Green and Pietro Mingarelli are currently working on the interior decoration of the new hotel and restaurant Villa René Lalique in Wingen-sur-Moder in Alsace.

urious, comfortable suites where the René Lalique spirit will continue to reflect his art. As we have said before, the Villa is being reconstructed exactly as it was in René Lalique’s time, however, the restaurant is a modern concept with floorto-ceiling glass giving beautiful views

that surround the property and the magnificent views from the rooms.

of the forests and surrounding area. It is in total contrast to the villa. In-

Pietro and I are looking forward to seeing the villa come alive once more.

side will be a continuation of René Lalique’s spirit.

Outside the villa remained completely unchanged. Did you imagine im-

You and Pietro Mingarelli have created LALIQUE MAISON, Art Deco in-

mediately what kind of interior design the hotel rooms and suites should

spired furniture and home accessories. You like the Art Deco style as

have?

did René Lalique who left his mark on ocean liners, trains, buildings or

The exterior of the villa will be restored as it was originally even to its blue

private homes – as you do. What captivates you about Art Deco?

shutters which have been renovated. The process has been very compli-

Art Deco was and still is a captivating era. We learn so much from it. Pie-

cated and to achieve a five-star hotel without destroying or modifying the

tro and I enjoy everyday creating new pieces looking back into the era of

property has been a challenge. We have created six beautiful suites and

yesterday and making it into today.

one of them is a two-bedroom suite with a cosy salon. Each suite will be named after an iconic creation representing the years of René Lalique’s life. We have used crystal as decoration in all the suites and bathrooms and have integrated them into the LALIQUE MAISON furniture.

Lady Tina Green is the wife of Sir Philip Green and ranks among the wealthiest

Unfortunately there was nothing left inside the villa which we could use.

women in the UK. A most successful Monaco-based businesswoman, mother of four children. In 2011, she created the interior decoration and furniture collection

The original staircase has been replicated with crystal inserts. We have

LALIQUE MAISON and co-founded with the architect Pietro Mingarelli her com-

renovated all the windows and anything we could in the style of the ori

pany Green & Mingarelli Design, also famous for the interior and exterior design

ginal villa. As each suite will be named after one of the crystal pieces. The

of megayachts. In August 2014, the Motor Yacht Illusion V was launched. No

interior of the whole hotel and in each suite will transcend each decade

fewer than 480 Lalique Roses crystals are used on Illusion V, in the floor, the ceil-

of René Lalique’s life. René’s suite will be decorated with one of his most

ings and the walls. The whole yacht was designed around the motif of the rose.

famous creations, Merles et Raisins. Is this the first time you imagine the interior decoration of a small luxury hotel and a gastronomic restaurant? Our background is designing and constructing large yachts. A yacht is like a ten-star hotel on the sea.

| BEHIND THE SCENE

MARIO BOTTA © SUZ ANNE SCHWIERT Z

Without disclosing too much about the

You already designed the new winery

project you are working on, we would

for Château Faugères in the Bordelais

like to know how the restaurant is tak-

for Silvio Denz. Now you are creating

ing shape that you are designing and

a huge cellar under the Villa René Lali-

constructing next to the former René

que. Do these projects demand a par-

Lalique villa at Wingen-sur-Moder. It

ticular approach?

is being spoken of as a temple of gas-

Yes, for this project the cellar is con-

tronomy.

structed entirely underground. It is

That is a metaphor … it is a pavilion

not a huge space. But the central din-

reminiscent of temples in antiqui-

ing room will be surrounded by a wine

ty with their columns, today transformed into pillars supporting a vast

cellar with all the bottles collected by Silvio Denz, presented and stored

roof. The roof will be planted with vegetation for aesthetic as well as eco-

in the best possible conditions.

logical reasons, given the location of the new complex in the midst of the forest of Alsace.

You often use locally sourced material in your projects. Is this the case

The restaurant itself is very simple, comprising a large rectangular din-

at Wingen-sur-Moder?

ing room, with fully glazed partitions on three sides, giving directly onto

We chose the same red stone that is widely found in the surrounding

the surrounding parkland, and one large partition wall separating the

area. The region is rich in this red rock, known as Vosges sandstone,

dining room from the kitchen and its annexes.

which has been used, down the ages, to build all the principal edifices of Alsace, such as churches, town halls and museums. I used this stone,

Adding a modern extension to a villa dating back to the 1920s seems

which I find magnificent, because it articulates the memory of the earth

quite a challenge…

on which the new restaurant is built.

Our day is the modern day! We have a duty to be contemporaneous. The history of architecture is made up of different periods existing side by side. René Lalique’s villa dates from the early 20th century, whose character it embodies. By contrast, the restaurant that is under construction

Mario Botta is a Swiss architect of great renown, whose work has been the sub-

will reflect the sensibilities and the mode of expression of the present

ject of exhibitions and received more than 50 international awards and distinctions. His most celebrated works include: the Museum of Modern Art in San Francis-

day. Clearly, we wanted to avoid historical pastiche. The only way to pay

co, the cathedral at Evry, the MART Museum of Rovereto and Trento in Italy, the

due respect to the past is to be authentically modern.

Tinguely Museum in Basel and Hotel Tschuggen Bergoase in Arosa…

WWW.BOTTA.CH

What are the characteristics of the new restaurant? The two elements hotel and restaurant will constitute an integral whole. They are physically connected, surrounded by forest, opening onto the valley. This is the heart of the project. On entering the restaurant via the reception area you already encounter the external projection: to your left is the former residence, Villa René Lalique, meticulously reconstructed as a hotel and to your right, the restaurant, as a new complementary presence.

| BEHIND THE SCENE

JEAN-GEORGES KLEIN

It can’t have been an easy decision

You have frequently been quoted as

to leave your family’s multi-starred

saying your inspiration has been

establishment, the restaurant your

great chefs such as Ferran Adrià and

grandmother founded.

Pierre Gagnaire.

I wanted to take on a new challenge

Yes. They have been a great inspir

and the project with the Villa René

ation, liberating me from the classi-

Lalique that Silvio Denz proposed to

cism our restaurant previously ad-

me captured my imagination. What

hered to. In fact, I am a “young” chef,

a fantastic idea: to start again from

because when I first stood behind a

scratch, in a new place, like being

stove, just 20 years ago, I had already

given a second lease on life. I’m not 20

spent several years front of house,

years old anymore, but I’m still pas-

and it is a great advantage to know

sionate about my profession, extreme-

both sides of the restaurant business.

ly motivated and, even though it means moving to a different départe-

I have a great passion for this profession in which I do not set myself

ment, I know I will feel at home in Wingen-sur-Moder, so close to my

limits. My homeland is the whole world. And my cuisine encompasses

birthplace. I will stay in the natural surroundings I am used to, the Parc

all four seasons. I take a spice which comes from afar, a herb from the

Régional des Vosges du Nord. My wife Nicole will look after the hotel at

neighbouring forest and I cook them with a fish from the Mediterranean

the Villa René Lalique. And together we will do everything in our power

or the Atlantic.

to make the venture a success. Silvio Denz has said that Villa René Lalique, the hotel and restaurant, Is this restaurant, which will be very modern, in tune with the image

will be a showcase of excellence, of the great savoir faire of Lalique.

of your cuisine?

It is a great responsibility for you.

Oh yes! It shares the same spirit as my cuisine – which is itself quite con-

I am of course anxious, so I take a perfectionist approach – but to do

temporary and always evolving. Outwardly, the old villa, which exudes

things well, don’t we need a measure of uncertainty and stress? Nicole

tradition, will retain its original appearance, while the restaurant next

and I will do our best to make a success of this venture and be worthy

to it strikes out in a completely new direction in architectural terms. It

bearers of the heritage of René Lalique.

will extend to 200 square metres, with 35 to 40 covers – what a luxury to have so much space! The kitchen team will initially be just under a dozen strong, with another dozen front of house. Jean-Georges Klein, former chef at the three-star restaurant L’Arnsbourg, Baerenthal (Lorraine), left his role as director of his family’s establishment to take charge

Won’t leaving your restaurant mean you will lose your Michelin stars?

of the restaurant at Villa René Lalique, set to open in 2015.

The stars belong to the Guide Michelin – not the chef or the establishment

A modest autodidact, recognized by his peers, perfectionist and passionately com-

where he or she works. But the stars are very important for us. Once you

mitted, Jean-Georges Klein is playfully creative in his cooking, taking his clientele

have three stars, there is clearly a gourmet clientele who will follow you.

on an incredibly diverse culinary journey of discovery, with tastes ranging from

And I and my team have every intention of returning to the status quo. Of

traditional to modern.

course, we will again have to undergo evaluation, but in any case there

In 2010, his first book of recipes, “L’Alchimie des Eléments” (published by La Mar-

won’t be a new classification before the 2016 edition of the Guide. I will,

tinière), offered a digest of his creations.

of course, be very happy if I can “win back” the stars, and I have no doubt that Silvio Denz will be very happy, as well!

| SAVOIR VIVRE

| CITY GUIDE

W R I T E R: A N N E M A R I E M A H L E R

SHANGHAI Gourmet Discoveries

L ALIQUE STORE OPENED IN 2013 Shop 42, Level 2, Phase 2 IFC Mall 8 Century Avenue, Shanghai, China 20

| CITY GUIDE

COMMUNE SOCIAL The “no reservation, no service charge” res-

COMMUNE SOCIAL

taurant is the latest creation of chef Jason Atherton and was conceived in 2013. The casual atmosphere allows guests to pick and choose the elements they wish to combine. The former police station in brick feels a bit like a miniature Manhattan subway station. Dark wooden furniture in every narrow room. A contemporary open-kitchen tapas, dessert and cocktail bar offers a variety of flavours from Spain, England and all over Asia, with highlights such as roasted bone marrow, salt-and-pepper squid. Upstairs there is a cocktail lounge with a vast terrace.

511 JIANG-NING ROAD JING-AN DISTRICT 200041 SHANGHAI TEL. +86 21 6047 7638 WWW.COMMUNESOCIAL.COM TABLE NO. 1

European cuisine in a cosy convivial atmos-

a dinner at home. Franck brought classic Pa-

phere. The interior is an informal space fea-

risian dining culture to Chinese gourmets and

turing wood and grey brick and is flooded with

was selected by San Pellegrino among “Asia’s

natural light. With a menu created to encour-

50 Best Restaurants”.

age interaction, the dishes come in sharing portions, so guests can enjoy an informal dining experience and sample a wide variety of dishes.

THE WATERHOUSE AT SOUTH BUND MAOJIAYUAN ROAD NO. 1–3 ZHONGSHAN ROAD SOUTH, HUANGPU DISTRICT SHANGHAI 200011 TEL. +86 21 6080 2918 WWW.TABLENO-1.COM

FRANCK Marseille-born Franck Pécol is the owner and founder of this true Parisian bistro in the heart of Shanghai’s historic former French Conces-

TABLE NO. 1

sion. Open since 2007, it is consistently packed.

“The soul of a restaurant is not the celebrity

only. Hard to choose between seafoods and

chef but the freshest local produce”, says the

meats. Guests love the casual service, helping

multi-award-winning chef Jason Atherton.

themselves to the “terrine de campagne” or the

Some call his casual restaurant “the hottest

cold cuts from his “grande planche”, a charcu-

table in Shanghai”. It presents a modern re-

terie platter of imported aged and smoked meats

thinking of world-influenced contemporary

and silky smooth foie gras terrine. It feels like

The handwritten blackboard menu is in French

FERGUSON LANE, 376 WUKANG LU XUHUI, SHANGHAI TEL. + 86 21 6437 6465 WWW.FRANCK.COM.CN FRANCK

| CITY GUIDE

ULTRAVIOLET SHANGHAI It is the latest sensation in Shanghai’s fast-

ULTRAVIOLET SHANGHAI

changing dining scene. The location is secret. Meeting at Mr & Mrs Bund. Diners are then driven to Ultraviolet. Some critics find it “the most avant-garde restaurant in the world” and call Paul Pairet “a gastronomy genius”. He spent nearly two decades on this concept of a 4-hours dining experience: uniting food with multi-sensorial technologies. Ten adjustable seats. Each of the 20 courses is paired with 360-degree floorto-ceiling video projections, sounds, lights and smells, like, for instance, an ocean breeze during the seafood course. The atmosphere is tailored and choreographed to enhance each presentation of finest and most creative meats, seafoods, drinks and sweet creations.

C/O BUND 18, 6/F 18 ZHONGSHAN DONG YI LU (NEAR NANJING DONG LU) SHANGHAI 200002 TEL. +86 21 6323 9898 WWW.UVBYPP.CC © SCOTT WRIGHT OF LIMELIGHT STUDIO

MR & MRS BUND

MR & MRS BUND Paul Pairet, one of the world’s most inventive chefs, calls his restaurant “The Modern Eatery”. It is still one of Shanghai’s most popular places, despite the restaurant scene exploding with competition, bringing in chefs from all over the world. Mr & Mrs Bund offers creative French dishes on a bewilderingly long menu and regularly tops best-restaurant lists. Pairet, a French-born world traveller, was the first to bring international attention to the Bund food scene. Very untypical for the glamorous location, in fact it is very simple, always an original approach. Tall windows offer a stunning sixthfloor view over the Huangpu River and the opposite towers.

BUND 18, 6/F, 6F 18 ZHONGSHAN DONG YI LU (NEAR NANJING DONG LU) SHANGHAI 200002 TEL. +86 21 6323 9898 WWW.MMBUND.COM 22

| CITY GUIDE

MERCATO

Celebrity chef Jean-Georges Vongerichten’s Italian restaurant opened in 2012 at a splashy location overlooking the Bund. It was the first restaurant to serve rustic Italian food in Shanghai. If your are lucky, you can find a table by the window and admire the fabulous skyline. House-made pizza, warm seafood salad, crispy beef rib served with fried corn strips, crackling cheese polenta and pizzas coming hot out of the wood-fired Italian brick oven. The interior decoration is also rustic: reclaimed wood and warm leather tones together with steel, iron and glass, redefining the idea of “farm chic”.

6F, THREE ON THE BUND, NO. 3 ZHONG SHAN DONG YI ROAD 200002 SHANGHAI TEL. +86 21 6321 9922 WWW.JEAN-GEORGES.COM WWW.THREEONTHEBUND.COM EL WILLY

bold hand-painted sea creatures. Magnificent

advertise but since the opening of their res

view over the Bund, the Pudong skyline and the

taurants (1985 in Beijing and 2006 in Shang-

Huangpu River. His cooking is more contem-

hai), they keep a celebrity signature book.

porary than traditional. Chef Willy is special-

Among the many prestigious names you will

ized in modern tapas and Barcelona-style rice,

find President Clinton and Bill Gates.

like his juicy paella which is more a Spanish risotto.

SOUTH BUND 22 5/F, 22 ZHONGSHAN DONG ER LU (NEAR JINLING LU), 200002 SHANGHAI TEL. +86 21 5404 5757 WWW.EL-WILLY.COM

FAMILY LI IMPERIAL CUISINE As time goes by, Family Li is growing in fame. Their extraordinary story goes back to the Qing dynasty (1644–1912). The current family

EL WILLY

patriarch is chef restaurateur Ivan Li, whose

Willy Trullas Moreno’s innovative and popu-

quets within Beijing’s Forbidden City. Dishes

lar restaurant creation in the South Bund 22

and service are as traditional and luxurious

complex is often considered the best Spanish

as one might expect. The kitchen prides itself

restaurant in China. Modern Spanish food at

on using only natural ingredients and flavours

affordable prices. Thick warmly coloured raw

for the secret imperial recipes handed down

wood tables and glass panels decorated with

through the family over generations. They never

great-grandfather oversaw the imperial ban-

1F, NO. 487 ZHONGSHAN DONG YI ROAD HUANGPU PARK, 200002 SHANGHAI TEL. +86 21 5308 8071 WWW.FAMILYLISHANGHAI.COM WWW.RELAISCHATEAUX.COM FAMILY LI IMPERIAL CUISINE

| JEWELLERY

W R I T E R: S E BA S T I E N DE S U R MON T

BACK TO THE SOURCES: JEWELLERY THAT INSPIRES EMOTION Maison Lalique has opened a new boutique, dedicated solely to jewellery, selling themed collections in the heart of Paris. The collections reinterpret mythical feminine ﬁgures and explore the fullness of nature through the four elements. Phoenix-like, Lalique has spent three years reconnecting with its founder’s creative genius, immersed in the natural world and the dream world of a tireless inventor.

— SKETCH FOR A SCARAB BEETLE PECTORAL BROOCH, WINGS SPREAD, RENÉ LALIQUE, CIRCA 1898. © L ALIQUE SA

| JEWELLERY

— TRANSFORMABLE NECKLACE, HIGH JEWELLERY GAÏA, IN YELLOW GOLD, OPAL TRIPLETS, HEMATITES, SAPPHIRES, DIAMONDS, BLACK SPINELS, MOTHER-OF-PEARL AND LACQUER, 2014 COLLECTION. © L ALIQUE SA

| JEWELLERY

t all starts with the drawing. Exploratory sketches speak volumes. Some are the fruit of research work and exercises in entomological ly inspired jewellery. Others trace the entwining of plants or study

the frail wings of a butterfly. Others again, showing the stiffened wings of a dragonfly, seem lifted straight out of wonderland. The graphite pen cil strokes are sensitive; the shapes languorous and feminine. The lim pid shades of the watercolour hint at the translucence of the diamonds and the crystal yet to come. Nothing is missing. These jewels, born on paper like treasures breaking out of a fantasy chrysalis, are alive with the unique style of René Lalique (1860–1945). These hallowed sheets, handed down to the present day, have the crisp fragility of yellowed autumn leaves. Though they date back more than a century, to around 1890, their beauty never fades. Long before rising to fame as a glass maker, the young artist was already a master jeweller. Too often overlooked, René Lalique’s first life exhibited a passion for jewels. Incessant curiosity drove him, at 16, from his native countryside of the Marne to a traineeship in the jeweller’s craft. Fascinated by allusions to nature and mythology, he gave vent to his imagination in classes at the Ecole des Arts Décoratifs in Paris. His talent as a designer was soon spotted, and the most prestigious names, from Boucheron to Cartier, employed him from 1883 to 1895. In that year, he decided to start up in business and spread his wings… an apt expression! His sketches, and the masterpieces which grew from them, are evocative of flight. In this airborne world, idealized insects flit from flower to flower, voluptuous nymphs and firebirds twist and twirl, metamorphic figures unfold. The Dragonfly Woman, originally designed — SARAH BERNHARDT WEARING A LALIQUE NECKLACE, AROUND 1900.

as a brooch to be worn on a blouse, exemplifies the winning formula of Lalique’s first jewelled oeuvre: nature in movement, with the charms of female characters from mythology epitomizing the four elements.

Lalique the artist was also an alchemist, a technical prodigy. Instinct very soon told him that modern jewellery was heading away from sole dependence on the value of its materials. Evocative allure, colour and luminous aura were becoming equally important, even if the material

“In mythology, Gaïa symbolizes mother Earth, the creator of the world and its elements. Her symbols are the scarab beetle and the sun, two emblems of the origin of life.” QUENTIN OBADIA, HEAD OF JEWELLERY DESIGN

| JEWELLERY

“Lalique has undergone a roots revival, combining passion, boldness, a sense of wonder and a spirit of innovation to create new and trendsetting jewellery collections.” ROGER VON DER WEID, LALIQUE MANAGING DIRECTOR

itself was not precious. It was a revolutionary approach at the time. Bright jewels rubbed shoulders with less conventional materials. The Butterflies, Dragonflies, Peacocks and Scarab Beetles invented by Lalique spring to life from a meeting of opposites, of incompatibles. Gold and glass meet head-on; a diamond is set in horn; sapphire and opal vie with each other on an enamel background. The aim, as Lalique himself put it, was “to create something never yet seen”. A tall order, but it worked. His art rewrote the rule books and became the emblem of the Belle Epoque. The darling of Sarah Bernhardt, of the comediennes, of the society women and the royal courts, René Lalique stood for original style, the dream of modernité. From the 1900 Universal Exposition onwards, he became the figurehead of Art

— VESTA BRACELET, WHITE GOLD, DIAMONDS AND MOTHER-OF-PEARL, HIGH JEWELLERY 2012 COLLECTION.

Nouveau. No sooner had he achieved this feat than he found himself play ing star role in the next act: Art Deco. Again he proved his innovative met tle. From 1905, in his studio on the Place Vendôme, the inventor explored possibilities in glass. A neighbour was the perfumer François Coty… From

their friendship derived Lalique’s first, imaginative scent bottles which became flagship products. Flaunting geometric lines, bold lettering and cuboid style, the master jeweller of Art Nouveau metamorphosed into the master glassmaker of Art Deco. Today the designs of the master jeweller are retrieved from the archives. Lalique has embarked on a journey back in time, engineering its own renaissance. One early result has been the historic collection re leased in 2012 under the name ‘Sacred Fire Odyssey.’ Imbued with the element of fire, the collection pays homage to Vesta, the phoenix woman eternally reborn from her own ashes. Sacred Fire Odyssey is a symbol of bold creativity, constantly reborn from a twofold inspiration: Art Nou veau and Art Deco. It combines fantasy with rigour, interlaced design with clear lines, the ancient with the contemporary. From now on, the four elements are benchmarks in the story of modern Lalique. After the Fire of Vesta, Les Âmes Sœurs collection, unveiled in 2013, took up the theme of Air. Finally, in 2014, it was time to honour Earth in the ‘Soleil de Gaïa’ collection. “In Greek mythology, Gaïa symbolizes mother Earth, the

— DRAWING OF A WING, RENÉ LALIQUE, AROUND 1890–1910.

creator of the world and its elements. Her symbols are the scarab beetle and the sun, two emblems of the origin of life,” notes Quentin Obadia, Head of Jewellery Design at Lalique.

| JEWELLERY

— SOLEIL DE GAÏA NECKLACE, YELLOW GOLD, DIAMONDS, SAPPHIRES, PEARLS, LACQUER, 2014 COLLECTION. © L ALIQUE SA

WHAT THE PAPERS SAY “Back to the sources for Lalique. First jewellery-only boutique now open.” Air France Madame, October 2014. “Rediscovering the quintessence of its style, this Maison which has just unveiled a charming new Parisian showcase, redolent of the last century. Drop in to this time warp at 20 Rue de la Paix.” vogue.fr, July 2014. “A sparkling art-deco boutique on Rue de la Paix.” howtospendit.ft.com, July 2014. “French glass and jewelry designer Lalique has unveiled the Soulmates collection, featuring a series of truly exquisite pieces made from gold, diamonds, sapphires,

— DESIGN FOR FEUILLES D’AUTOMNE RANGE, RENÉ LALIQUE, AROUND 1899–1900.

pearls, and other precious stones.” Robb Report, May 2013.“

| JEWELLERY

In his day, René Lalique loved to intersperse precious stones with

occupied a workshop from 1905 to 1935. This unmissable boutique lies

surprises. Lalique adheres to that spirit, while developing the idea fur

at the heart of a quarter with a great jewellery tradition. Its sparkling

ther. Each year, it creates two collections: one of fine jewellery; the other

chandelier consists of 2,500 examples of the Gourmande jewel ring, a re

of costume jewellery. The leitmotif running through both collections

interpretation of the glass Cabochon model which René created in 1931.

is an iconic theme: the Lily of the Valley, the Butterfly or the famous

Justifying the focus on jewellery Anne Kazuro, International Director of

Dragonfly, for example. The fine jewellery collection depicts the keynote

Jewellery at Lalique, explains: “Fine jewellery is the genesis of costume

theme in gold or platinum alloy, while the costume jewellery collection

jewellery, so it must never cease to inspire the Lalique dream.” The boutique

does the same in silver alloy or vermeil. Lalique himself appealed to all

displays more than 200 pieces of high-end and exclusive jewellery, such

the women in the world. With that mission now accomplished, from

as the Parmigiani Fleurier table clocks or the Caran d’Ache pen collec

Paris to Tokyo, what else has proceeded from the Maison’s renaissance?

tion, both developed in partnership with Lalique. Without doubt, the em

Last summer, a fitting showcase for this creative cornucopia opened at

porium fulfils an undisputed role as the new guardian of the spirit and

20 Rue de la Paix, Paris, near the Place Vendôme where René Lalique

genius of René Lalique.

“Fine jewellery is the genesis of costume jewellery, so it must never cease to inspire the Lalique dream.” ANNE KAZURO, LALIQUE INTERNATIONAL DIRECTOR OF JEWELLERY

Boutique Lalique Joaillerie, 20 rue de la Paix, 75002 Paris, TEL. (+33) 1 42 65 03 04. © LALIQUE SA

Lalique continues its olfactory journey around the world with two refined new candle scents. The first six scents are also now available in an elegant perfume diffuser.

ROSE (CANDLE) Anatolia -Turkey Rose. The ultimate flower. Born with Aphrodite, goddess of love, rose is worshipped and cultivated in many countries. The Turkish province of Anatolia, which « makes the sun rise », houses the city of roses. Indeed, the rose has multiple facets: rustic and sophisticated, sweet and prickly, fresh and opulent… Rose is never exactly the same. Nor is it completely different. Here, the rose scent first evokes a bud: soft and green. Then its petals unfold and reveal a note of white peony and spices. Finally, the rose reaches its full blossom in a diaphanous note of musks and Cashmere wood.

YUZU (CANDLE) Shikoku-Japan Yuzu’s invigorating scent evokes summer but it is definitely a winter fruit able to resist cold… and lift one’s spirits. Yuzu is therefore the main ingredient of the « Yuzu-yu », a hot bath very much liked by Japanese people on winter solstice because it is said to bring wealth and health. Besides its cosmetic and antiseptic properties, this bath diffuses yuzu’s delicious zesty notes, here melted with bergamot and grapefruit, and sweetened by verbena, almond and musks.

PERFUME DIFFUSER A chic black bottle adorned with the Hirondelles motif and Lalique logo holds the scented solution. The journey begins by fitting the black wooden cover on the bottle and plunging the wooden sticks into the scented solution. The matching black box identifies the Voyage de Parfumeur collection: a coloured sticker distinguishes the different scents and their related dream destinations. All of them are gathered on Voyage de Parfumeur’s world map. Perfumery’s most beautiful ingredients are melted in a solution allowing a long-lasting and intense diffusion of the scents.

Château Lafaurie-Peyraguey, one of the Premiers Crus Classés of Sauternes, is right next to Château d’Yquem, famed for its Premier Cru Supérieur (on the left-hand side of the picture). © DEEPIX

W R I T E R: C H A N DR A K U R T

SAUTERNES’ SUBLIME NECTARS Silvio Denz, Chairman and CEO of Lalique, recently acquired Château Lafaurie-Peyraguey, a prestigious estate in the heart of the Sauternes region. The estate and its sweet wine have been renowned throughout the world for 300 years.

| VIN

Silvio Denz in the cellar of Château Lafaurie-Peyraguey, a treasure trove of vintages dating back to 1893. © LIONEL FLUSIN

ronne. The temperature difference between the

“Lafaurie-Peyraguey has a treasure trove of vintages dating back to 1893.”

two mingled flows causes a mist to form in au-

SILVIO DENZ

n the southern Bordelais lies the Sauternes wine region, an enclave in the wider Graves area, also famed for its wines. Sauternes is

on the small side, measuring just 6 kilometres across. But the region merits special attention as the source of one of the finest sweet wines ever grown. The appellation refers to four villages south of the Ciron, a permanently cool stream and tributary of the warmer River Ga-

tumn, which encourages growth of the botrytis cinerea mould on the grapes. The result is known as noble rot, which concentrates the sugar in the grapes from which the world-famous Sauternes can then be fermented. This fine sweet wine is produced primarily from about 75% Sémillon and approximately 25% of the Sauvignon Blanc grape variety, plus a sprinkling of Muscadelle. Sauternes was the only region other than Médoc to be included in the historic classification of 1855. In that year, Château d’Yquem won the supreme status of Premier Cru Supérieur. Eleven Premier Crus Classés followed, among which Château Lafaurie-Peyraguey was listed second.

| WINE

Lafaurie-Peyraguey is closely associated with the Sauternes appellation. The venerable vineyard of 36 hectares lies at the heart of the Sauternes wine-growing region, overlooking the village of Bommes and sharing a boundary with Château d’Yquem. Thirteenth-century masons used stone hewn from the bank of the Ciron to build the wall surrounding the castle and its gatehouse, certainly one of the oldest buildings in Bommes. Home to six of the eleven Premiers Crus Classés in total, this wine-growing village boasts a long tradition of outstanding Sauternes wine – a pedigree to be proud of. “L’Enclos” and “Maisons Rouges” represent the historic heart of Château Lafaurie-Peyraguey’s magnificent terroir. The Maisons Rouges plot was once a Roman staging post. A Benedictine priory, a hospice and a manor house have also stood on this estate during its history. L’Enclos, a walled terroir of top quality, is part of the ancient vineyard bordering directly on to the château. In 2014 wine aficionado Silvio Denz bought Lafaurie-Peyraguey. He seeks not only to maintain production of the well-known sweet wine of that name from grapes with noble rot, but to produce top-quality dry white wine, as well. “Sauternes does have a world reputation, but the region has been in crisis for twenty-plus years,” notes Denz. In 2013 the CIVB (Bordeaux Wine Trade Council) recorded a 53% rise in global exports of dry white Bordeaux wines – and the upward trend continues. It will soon be apparent that these do not necessarily have to originate from Graves or Péssac-Léognan, the Bordeaux regions hitherto known for white wine. With a handful of other producers, Silvio Denz is pioneering a regional rethink which is guaranteed to result in many new wines and products in the next few years. Among the best-known dry whites from Sauternes are certainly ‘Y,’ from Château d’Yquem, and ‘R,’ from Château Rieussec. Olivier Bernard, whose family owns several châteaux in the Bordelais (Château Olivier and Domaine de Chevalier), acquired the

A LALIQUE CREATION FOR CHÂTEAU LAUFAURIE-PEYRAGUEY René Lalique loved to design flacons for precious liquids – for perfumes first and later also for great wines. From 1920 onwards, he created glasses and carafes: the Vigne collection, starting in 1920, was followed by Yquem in 1934 and the Barsac collection in 1939. In 1923, he also designed a bottle for Clos SainteOdile, the wine produced by his friend Pierre Weissenberger in Alsace. Bottles and carafes are thus a long-standing tradition at Lalique. Continuing the work of René Lalique, Silvio Denz, a lover of both art and wine, wanted an exceptional bottle to be created for Château Lafaurie-Peyraguey, based on one of the artist’s original designs and bearing the Lalique emblem: the engraving of Figurine et Raisins, designed by René Lalique on 28 September 1928 in white press-moulded glass on a silver background. The original was recessed into the woodwork of the wagons-lit for the Côte d’Azur Pullman Express, which started operating in 1929. Today, René Lalique’s engraving of Figurine et Raisins is getting a new lease of life on the engraved bottle of Château Lafaurie-Peyraguey, starting with the 2013 vintage.

WWW.CHATEAU-LAFAURIE-PEYRAGUEY.COM

| WINE

Château Haut-Caplane estate in Sauternes in 2011 and renamed it Clos des Lunes. Dry white wine is practically all that Bernard produces here. With their wonderful combination of fullness, complexity, distinctiveness and freshness, Clos des Lunes wines are already numbered among the region’s best. In 2012 the well-known Château Coutet launched a new, dry white wine called Opalie. Not to be outdone, Château Suduiraut is marketing a dry white labelled S. So the first vintage sec from Château Lafaurie-Peyraguey is a treat to look forward to in 2014. For his production, Denz works with no less a figure than white wine specialist and oenologist Denis Dubourdieu, who vinifies fantastic, bone-dry, tangyfresh white wines in the surrounding Graves region. “Denis’s sweet Barsac wines have won world acclaim. But Denis also vinifies a superb dry white at Doisy-Daëne. So I’ve every confidence our first vintage will prove a success. We’re upbeat about our first harvest for the Lafaurie-Peyraguey sec, though the estate hasn’t produced a white wine for ten years. Denis is delighted with the quality,” reports Denz. “The first vintage will be limited – fewer than 1,000 cases,” he adds. Of course discussion is ongoing about a lighter Sauternes, possible for trial as early as next year. Silvio Denz’s objective is to enhance the quality of Château Lafaurie-Peyraguey’s sweet wines by producing them from the vines of the The wealth of relics at the château bear witness to the rich heritage of Château Lafaurie-Peyraguey: eight centuries of history preserved!

great historic terroirs classified in 1855. The sweet wines of Sauternes are an ideal accompaniment to grilled scallops in saffron sauce, lobster with a mango or citrus emul-

sion, all spicy dishes (chicken, shellfish), veined cheeses (Roquefort, Bleu d’Auvergne, Stilton) and ripened comté cheeses; and also fruit-based desserts where fresh tastes are dominant (such as pineapple or passion fruit). The perfect glass for drinking the wines of Lafaurie-Peyraguey is the Lalique 100 Points glass designed by James Suckling.

The ambitious renovation programme led to the restoration of the entire installation, cellars and château. The technical facilities were completely updated to conform to new regulatory and environmental requirements. The cellars are fully air-conditioned, with humidity control. © LEIF CARLSSON

| SAVOIR VIVRE

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| SAVOIR VIVRE

AN EXCEPTIONAL CASE A love of wine brought renowned international wine critic James Suckling, Massimo Ferragamo, Chairman of Ferragamo USA, and Silvio Denz, Chairman and Chief Executive Officer of Lalique, together. Now they have conceived an exceptional leather briefcase to accompany connoisseurs of fine wines to tastings.

Silvio Denz, Massimo Ferragamo, and James Suckling during the presentation of the briefcase at the Pierre Gagnaire restaurant in Paris on 4 September 2014.

| SAVOIR VIVRE

he idea is really the brainchild of James Suckling. Roaming the world over 40 years, he and a small black leather briefcase have been inseparable companions, the same shaped wine glasses have

“My briefcase is the ideal holdall for Lalique 100 Points glasses which have enhanced all my tastings.”

always nestled inside the case. In 2012 Suckling drew on his long exper ience to create a unique glassware collection, dubbed Lalique 100 Points by James Suckling. A universal glass was first launched, followed a year later by six other glasses and two decanters. Now the prestigious French crystal manufacturer and the wine critic have elaborated the blueprint further. The result is a limited-edition leather briefcase, crafted by the celebrated Italian fashion house of Salvatore Ferragamo. Undoubtedly James Suckling is one of the greatest wine critics in the world today with his global wine website JamesSuckling.com that fea tures tens of thousands of tasting notes as well as articles and high-defi nition videos. He is also wine editor for the lifestyle magazines of Asia Tatler – Hong Kong Tatler, China Tatler, Singapore Tatler and Thailand Tatler – and

is handling the promotion of the 100 Points collection which he designed for Lalique. He regularly arranges major consumer wine events centred in the USA, Europe and Asia. He also produces numerous wine documen

JAMES SUCKLING

taries. During his career, spanning four decades, Suckling has tasted over 160,000 wines.

James Suckling in Florence, Italy, with one of the briefcases he had the idea of creating: the red-lined edition includes four Lalique 100 Points by James Suckling universal glasses.

| SAVOIR VIVRE

This unique leather briefcase is handmade in Salvatore Ferragamo’s workshops in Florence, Italy.

this pleasurable experience. My briefcase is my faithful companion. Simple,

“I am proud to be able to associate the name of Lalique with Salvatore Ferragamo.”

but the ideal holdall for those four Lalique 100 Points glasses which have en-

SILVIO DENZ

Enormously proud of this new case inspired by his own, faithful companion of so many years, Suckling takes up the tale: “You might find it strange that, everywhere I travel, I take a small black leather case full of crystal wine glasses. It isn’t much larger than your average briefcase, but it always holds my four Lalique 100 Points by James Suckling universal glasses. I’ve carried it with me all over the world, to cellars in New Zealand, a restaurant in Paris and a winery in Napa Valley. Always I have had my wine glasses to hand, enabling me to taste under uniform conditions. Now I have consumers in mind, people who would like to share

hanced all my tastings. I sometimes taste 20, 50 or even 100 wines in a day, and these treasured tools of my trade are vital. Think of these glasses like a

ject. “The result is truly marvellous. It couples beauty with functionality.

concert violinist’s Stradivarius or a professional tennis player’s prized rac-

This leather carry bag is handcrafted in our Florence workshops. This is the

quet – they are the tools of my trade, but more importantly they enhance any

first time we’ve undertaken such a project, and the partnership has been

wine-drinking experience, whether tasting or just drinking as a wine lover.”

a wonderful experience. Three great names have joined forces. I think we

Silvio Denz is equally forthright: “I am proud to be able to asso-

have much in common in our pursuit of excellence. Everything points to a

ciate the name of Lalique with Salvatore Ferragamo.” And he points out,

profound similarity between our two companies – Ferragamo and Lalique.

that “this is Salvatore Ferragamo’s only joint creation with another compa-

Our respective products exude natural warmth and harmony. You sense the

ny so far. We share the values of expertise, creativity, excellence, respect for

passion our craftsmen and craftswomen put into their work.”

craftsmanship and passion for our trades.” Silvio Denz was moved by the

Giorgio Martini was the creative designer who devised and devel

enthusiasm with which Massimo Ferragamo embraced this project, and

oped the briefcase project. The case can carry glassware, bottles of wine or

delighted as their cooperation moved forward. Both Denz and Ferragamo

serve as a simple attaché case for documents. The keynote feature is the

produce wines as well as collect them.

unique and exclusive design, the signature of the house of Salvatore Ferra gamo. It combines style, creativity and innovation, thanks to the deft tech

Massimo Ferragamo, Chairman of Ferragamo USA, comments on

nical skills and flair typical of Italian craftsmanship.

the participation of the Salvatore Ferragamo fashion house in this pro

| SAVOIR VIVRE

Founded in 1927, Salvatore Ferragamo is a flagship of the Italian luxury goods industry. The company originally specialized in the cre ation, manufacture and sale of footwear, but soon added leatherware and

“Three great names have joined forces. I think we have much in common in our pursuit of excellence.”

silk, clothing, accessories, and perfumes for men and women. All pro duction is located in Italy, though the range has also expanded to include spectacles and watches manufactured under licence by third parties, in Italy and abroad. Supplementing the red-lined edition of the briefcase is an ex clusive version lined in black. This is available in a limited edition of 100, and contains two black-stemmed Lalique 100 Points by James Suckling universal glasses, and two bottles of Bordeaux classed as Premiers Grands Crus, to which James Suckling has awarded the score of 100 points. The wines are selected from among the following vintages: Châ teau Margaux (2005), Château Latour (2000), Château Mouton Rothschild (2010), Château Haut-Brion (2005) and Château Lafite Rothschild (2005).

MASSIMO FERRAGAMO

This exceptional case appeals to genuine connoisseurs of fine wine and collectors. It celebrates everyday luxury and a love and passion for great wines.

The black-lined edition of the briefcase is a limited edition of 100 pieces and includes two black-stemmed 100 Points universal glasses in exclusive edition and two different 100 Points rated wines chosen from the famous Premiers Grands Crus of Bordeaux including Château Latour (2000), Château Haut-Brion (2005), Château Mouton Rothschild (2010), Château Lafite Rothschild (2005) and Château Margaux (2005).

| SAVOIR VIVRE

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| SIGNATURE

W R I T E R: A N N E M A R I E M A H L E R P H OTO S: CA R A N D ’AC H E

HAUTE ECRITURE Carole Hubscher, who chairs the board of Caran d’Ache, and Silvio Denz, Chairman and CEO of Lalique, hit it off right away, but then they have so much in common. They are both Swiss, heading businesses of international renown, and they are both dynamic, cosmopolitan in outlook and always open to new ideas.

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The exclusive setting, done by hand, of the CRYSTAL & Diamonds writing instrument.

| SIGNATURE

heir fi rst meeting in Paris two years ago was already crowned with success: Carole Hubscher and Silvio Denz decided to enter into a partnership and embark on the creation of a collection of

writing instruments in a limited edition, including a luxurious fountain pen, inlaid with diamonds, and a Lalique inkwell, made using the “cire perdue” (lost-wax) technique. This exclusive item is made in a limited edition of 18. “The first meeting with Silvio Denz in Paris was inspirational. The ideas he set out were exciting and already well advanced,” recounts Car-

ole Hubscher. “We understood one another straight away, not because we’re both Swiss, but because we share the same values. As at Lalique, art and creativity have always been paramount for us. Since its establish ment, Caran d’Ache has always made writing instruments of all kinds, exploring their many forms of expression: coloured pencils, wax pastel crayons, special pieces, exclusive inks… all instruments which are an ex tension of the hand in the act of creation. Our company is the only manu facturer in the world to produce a complete range of instruments for the fine arts and writing.”

— MASTERPIECE : CRYSTAL & DIAMONDS PEN + INKWELL This limited edition of 18 fountain pens and inkwells, brings noble and precious elements together. Three hundred and forty diamonds highlight the pattern of droplets and the beauty of satin-brushed crystal. Each bottle is a unique piece entirely made by hand.

| SIGNATURE

The CRYSTAL & Diamonds inkwell has been created in the Lalique factory in Wingen-sur-Moder, using the lost-wax technique beloved by René Lalique.

pen is the ideal accessory, part of

“For a man, a luxury fountain pen is the ideal accessory, part of his adornment.”

his adornment. Ink cartridges are

CAROLE HUBSCHER

They use noble materials, artistically handcrafted to create products in the superluxury class. Pointing out to Carole Hubscher that few people today write letters by hand, that the com puter has made handwriting redundant, elicits a firm response: “For a man, a luxury fountain

already available and we will soon have a Lalique inkwell. Collectors are well aware that our products are first class. The craftsmanship involved often comes close to the goldsmith’s art. For that, we have the knowhow of our people working in various dis ciplines to thank. We encase our pens in ceramics, Chinese lacquer, noble metals and inlaid wood.” The Geneva-based company today possesses skills and knowledge that go way beyond the traditional manufacture of blacklead and coloured pencils. However, 100 years after its foundation, the company is still making pencils. Astonishingly, these require 16 separate operations, as visitors to the workshops in Geneva can discover. They also see the testing undergone by the Goliath cartridges for ball pens: they have to write for 8 kilometres, always in the same quality. The golden nibs of the fountain pens are inspected with a magnifying glass, polished by hand, and then each one is tested to ensure that it writes with the requisite ease and smoothness.

| SIGNATURE

— BLACK CRYSTAL AND WHITE CRYSTAL PENS The body in white or black ceramic is embellished with the motif created by René Lalique in 1935. A Lalique crystal cabochon sits atop the two pens and a diamond solitaire on the clip of the White CRYSTAL Pen adds special radiance. A limited edition of 999 fountain pens and 999 roller pens in each colour.

Quality control of the White CRYSTAL Pen at the Caran d’Ache factory in Geneva.

| SIGNATURE

Before Carole Hubscher succeeded her father, she attended the Hotel Management School in Geneva. The training she received was very wide-ranging. “To run a hotel or a restaurant is just like leading a com pany. I learned things that will be useful all my life. I found the practical side particularly enjoyable.” These are lessons that serve her well in her present life, with a diary that is packed with travelling and meetings. If anybody tells her she is a strong woman, she only laughs and says: “No, I am a well-organized woman.” Like her father, Carole Hubscher is highly

“The two firms have established a highly promising partnership.”

committed when it comes to environmental issues and the social climate in the company. She joined the family firm in 1992, took care of the export business for a time and then went to work at the American branch of Caran d’Ache. In 1998, she attended a management course at Harvard. A wonderful aroma of cedar wood, used in the manufacture of blacklead and coloured pencils, fills the Geneva workshops. The wood is sourced from Californian forests which are subject to strictly regulated management, with a reforestation programme. The company conserves energy and deploys only environmentally friendly products. The safety of the raw materials is monitored and waste recycled. The lacquer is water-soluble and contains no volatile hydrocarbons. “It is our duty to take care of all these aspects. We owe it to ourselves and our children, for the sake of the future. We use wood waste to heat our water in the winter. We have solar cells on the roof and a corporate social responsibility. For us, dialogue is paramount. The company looks after its employees and takes its

CAROLE HUBSCHER

managerial responsibilities very seriously.” The two firms have established a highly promising partnership. They had so much in common, they were a match made in heaven. The pencil factory in Geneva, founded in 1915, was bought in 1924 by Arnold Schweitzer, who gave it the name Caran d’Ache. In 1921, René Lalique opened his factory in Wingen-sur-Moder. Both enterprises have continued to develop in the 21st century and stand today as beacons of craftsmanship, precision and quality.

CARAN D’ACHE Caran d’Ache was founded in 1915 under its original name

amalgam of expertise and aesthetics. Technical marvels and

Fabrique Genevoise de Crayons. It adopted its present name

personal belongings at the same time, they boldly combine

in 1924 when Arnold Schweitzer took over the reins. A family

originality of materials and perfection of form. Each item is a

business, it is led today by the fourth generation in the person

concentrated expression of the spirit, demanding standards,

of Carole Hubscher. Since its earliest beginnings, Caran d’Ache

passion and savoir-faire of the exponents of the more than 90

has always made writing instruments of all kinds, exploring

professions that are involved in the production. The work is

their many forms of expression. Recognized the world over

carried out entirely in Geneva, following in the great tradition

for their excellence and the quality of the Swiss manufacture,

of Swiss manufacture and according to the values of social

the instruments for writing and colouring are a remarkable

and environmental integrity that the company holds dear.

WWW.CARANDACHE.CH

SWISS First

Discover a new world before you even get there.

| WINE

W R I T E R: A N N E M A R I E M A H L E R P H OTO S: K A R I N E FA BY A N D S E PPE LT SF I E L D

SEPPELTSFIELD - LALIQUE :

AN EXCEPTIONAL ENCOUNTER Seppeltsfield is South Australia’s oldest winery, different from any other. The collaboration with Lalique will be adding to Seppeltsfield’s mounting reputation as a treasure trove of collectable wines. Looking to validate the name internationally, Seppeltsfield approached Lalique to produce 150 bespoke decanters for their 100-year-old Para Tawny.

The precious crystal decanter is produced in a limited edition of 150 and each is numbered. The palm tree, Seppeltsfieldâ&#x20AC;&#x2122;s insignia and inspiration for the decanter, appears on the stopper and at the base.

| WINE

“I am determined to bring the world’s attention to the real jewel of this Australian icon: its collection of old fortified wine.” WARREN RANDALL

arren Randall, Seppeltsfield’s Managing Director, who in 2013 acquired a majority stake in the historic Barossa estate, is determined to bring the world’s attention to the real jewel

of this Australian icon: its collection of old fortified wine. The one which will be filled into this first limited edition of Lalique crystal decanters will be a unique blend, made especially for the partnership with Lalique and it will be something which no other winery could produce: a Tawny Port with an average age of 100 years in barrel. A magic number! Nathan Waks, since 2007 proprietor and Executive Director of Seppeltsfield, who travels widely as an international ambassador for Australian wines, explains: “This means, that there will be fortified wines from as far back as the 1880s in this blend, combined with some younger ones, to get this average barrel age of 100 years and I think nobody else could do this. At Seppeltsfield we also make table wine but the Para is for export as well. ‘Tawny’ means aged in old oak barrels, the older the better, and ‘Para’ is the name of a river in the Barossa Valley.” Last year Nathan Waks and his wife Candice Williams visited the

Lalique plant in Wingen-sur-Moder, Alsace. They were enthusiastic, filming and photographing the spectacular birth of the precious Seppeltsfield decanter. There will be a limited edition of 150 pieces. Each one has a number and only a minimal branding on the bottom. “It is a universal decanter,” says Nathan Waks, “wine should be drunk and so the decanter can be refilled. Our contact with Lalique is the result of a number of years of discussion to reflect our desire to have our unique product available in the best possible decanter – which of course meant Lalique! It was Candice who was the first one to think of approaching Lalique back in 2008 and we have worked together on all aspects of this project. We are delighted that Silvio Denz, an exceptional man, has been so supportive of our developing relationship, as have all of the Lalique team, to make live the association between our brands. Marc Larminaux, Head of Design, has imagined an

Oscar Benno Pedro Seppelt (1845–1931) was a visionary man. By the turn of the century, Benno had made of Seppeltsfield the largest and most modern winery in the southern hemisphere and, with all likelihood, the world.

outstanding creation for us which fully reflects our spirit. Marc is a great artist, a genius, like René Lalique was at his time.”

| WINE

Music and wine symbolize harmony. An evidence when meeting Nathan Waks who is in fact not only a great wine expert but also an eminent musician, cellist and composer. In 1968 the 17-year-old Australian born Nathan travelled to Moscow to study with Mstislav Rostropovitch, one of the greatest cellists of the 20th century. But the trip was cut short because of Cold War problems. Nathan stopped in Paris and became a student of the famous French cellist Paul Tortelier and won a “premier prix” at the Conservatoire de Paris. His profound knowledge of wine goes back to these student years in Paris. “I was an au pair boy with the family of a Sorbonne professor. Every weekend he brought home various cheeses and the wine to accompany them.” What an education! Nathan’s love for France and wine remained after he returned to Australia in 1970. He was appointed as principal cellist of the Sydney Symphony Orchestra – the youngest in the orchestra’s history – and has an impressive career as a musician. Seppeltsfield Road, located in the western Barossa Valley, only 60 minutes’ drive from Adelaide, leads from Barossa Valley to the iconic Seppeltsfield winery. A long driveway, lined with Canary Island date palms, which were imported and planted over 80 years ago. This distinct

Warren Randall, Seppeltsfield’s Managing Director, who in 2013 acquired a majority stake in the historic Barossa estate.

ive Palm Tree Avenue has become very important and today the palm tree is the official logo of Seppeltsfield and the inspiration for their Lalique decanter. A rich European heritage lives on amidst patchwork v ineyards, huge old bluestone buildings and historic churches.

Seppeltsfield Road, lined with date palms, planted over 80 years ago, leads to the estate and iconic winery.

Nathan Waks and his wife Candice Williams visiting the Lalique plant in Wingen-sur-Moder, Alsace. Jean Pierre Doerflinger, master glassblower and head of a team of five craftsmen, explains the manufacture of the Seppeltsfield decanter.

“Our contact with Lalique is the result of a number of years of discussion to reflect our desire to have our unique product available in the best possible decanter – which of course meant Lalique!”

tralia was the first free settlers colony,” explains Nathan Waks. “People

NATHAN WAKS

brate the completion of the grand bluestone port store, he selected a pipe

It all started when Joseph Ernst Seppelt, a merchant and tobacco producer, emigrated with his family from Wüstewaltersdorf in Silesia, to break free from political and economical unrest. He took with him his wife Johanna Charlotte, his daughter Ottilie, his two sons Benno and Hugo, as well as 13 families from his neighbourhood and a group of young men who had worked in his factory. The party left Hamburg on 5 September 1849 and arrived in Melbourne in January 1850. “South Auswho went there were not former prisoners.” In 1851, the Seppelt family settled in the Barossa Valley, a warm and dry area with heavy red-brown soils. Joseph wanted to plant tobacco, but that was a failure. Then he planted vines instead and had more luck. By 1867, he had begun construction of a full-scale winery, but did not live to see the completion of his plans. He died in January 1868 at the age of 55 years. Benno Pedro Seppelt, his eldest son, was only 21 years old when he took over. He and his wife had 16 children. Benno was a visionary man. In 1878, to celeof his finest port-style wine and declared that the 500-litre barrel would be allowed to mature for 100 years. From then on the Seppelt’s would set

Markus Forster, craftsman in the hot-glass studio, detaches a crystal piece formed in the mould and performs the first quality check.

aside each year more of their finest wine. In 1978 the first bottles of the 100-year-old Para Tawny were released. An event that would be repeated every year. The pioneering spirit would remain a hallmark of the Seppelt’s. From small beginnings they continued to expand. By the turn of the century, Benno had made of Seppeltsfield the largest and most modern winery in the southern hemisphere, if not the world. For further information on how to acquire one of the 150 Seppeltsfield Decanters, please contact Nathan Waks via e-mail at nathan@seppeltsfield.com.au – telephone +61 403 398 193 or Chad Elson at chad@seppeltsfield.com.au.

| SAVOIR VIVRE

| WHISKY

W R I T E R: C H A N DR A K U R T P H OTO S: T H E M ACA L L A N

THE MACALLAN DYNASTY SENSORY GLASS The fruitful collaboration between Lalique and The Macallan has brought forth a new creation – the exclusive Macallan glass which goes by the wonderful name of “The Macallan Dynasty Sensory glass”.

| WHISKY

o truly appreciate the quality of an exquisite whisky such as The Macallan you need to have the right glass – just like when tasting fine wines. The perfect whisky glass is tulip-shaped and transpar-

ent, because this curvaceous form is the best at bringing out the aromatic characteristics of the whisky, concentrating them and allowing their full effect to unfold. The glass highlights the colour and taste of the whisky and shows how the whisky flows slowly down the inside of the glass (an effect known in wine-tasting as “tears” or “legs”). It is also best if the glass has a stem to hold it by, thus avoiding fingerprints on the glass (which would dull the appearance of the whisky) and any unnecessary warming of the whisky through body temperature transmitted via the hand. The Macallan is tasted in two stages. First, we try to recognize the sensory qualities of this noble malt: the colour and appearance. Then we move to the second stage, investigating its bouquet (the nose) and its flavours on the palate. First, the glass is swirled a little (not too much) so that the taste can open up. This permits observation of the colour. When the distillate emerges from the still pot, it is colourless. Whisky takes on its colour during aging in the barrel, a process in which it can become any colour from light yellow to mahogany. A whisky is normally more full-bodied and intensive, the darker the colour. The Macallan is then swirled high up, to the edge of the glass, to see how long it will take to run back down the inside of the glass. The oily stripes which form on the inside wall of the glass are an indicator of its body. If they are long and wide, it means a full-bodied whisky. Thin stripes that run back down very quickly indicate a whisky with a rather delicate body.

Warehouse No. 7 at The Macallan distillery on Speyside in Scotland.

| WHISKY

The sense of smell very quickly becomes deadened, so the “nosing” must be done with great care. The standard method is to take several small “nosings” in swift succession, also known as a “snifter”, because whisky has a lot of aromas which have to be recognized. Finding the words to describe what you have savoured with your nose is one of the most difficult tasks. The spectrum of aromas ranges from fresh hay and banana to honey, caramel and peat, and there are no limits to the imagination. A good trick that helps to neutralize the nose, i.e. to “reset” it to zero, is simply to smell your own skin. For example the back of the hand. This method is also very helpful for wine-tasting. At this point, the whisky can finally interact with the palate, where it will unfold its seduc-

GUINNESS WORLD RECORD FOR THE MACALLAN M DECANTER BY LALIQUE

tive aromatic bounty, ranging from fruit, peat and wood to floral notes. No less a personage than Lalique’s Creative Director Marc Lar minaux and The Macallan’s Master Whisky Maker Bob Dalgarno joined forces to develop the glass. The result is a perfect balance between beauty, functionality, precision and craftsmanship, as well as technology and design. Each individual crystal glass was handcrafted by 15 of the best

On 18 January 2014, The Macallan 6-litre decanter of M produced by

glass craftsmen working at the Lalique factory in Wingen-sur-Moder in

Lalique achieves a new world record price at $628,000 at Sotheby’s Hong Kong.

Alsace, some of whom bear the prestigious title of “Meilleur Ouvrier de

M represents a masterpiece created from the collaboration between

France” (Best Craftsman of France).

three masters of their crafts. The Macallan has partnered with renowned creative director Fabien Baron and Lalique to create the world’s most sophisticated single malt whisky, contained in a beautifully designed and meticulously crafted crystal decanter. Only four crystal 6-litre M decanters were produced.

WWW.THEMACALLAN.COM

20TH CENTURY DESIGN SOTHEBY’S N°1 IN FRANCE IN 2014

WORLDWIDE RECORD FOR RENÉ LALIQUE RENÉ LALIQUE, Porte Moineaux Chambranle Cranté, 1929 (detail). Sold for €2 million in Paris Enquiries + 33 (0)1 53 05 52 69, florent.jeanniard@sothebys.com 76, rue du Faubourg Saint-Honoré, 75008 Paris. sothebys.com AUCTION HOLD BY CYRILLE COHEN AGREEMENT N°2001-002 FROM 25TH OCTOBER 2001

130 Wigmore Street, London W1U 3SB

For all your Central London Property Investment Services. From search and acquisition through to design and refurbishment. From lettings to management and beyond. Please contact Archie Riby-Williams: Tel: +44 207 487 4994

Mobile: +447831 687 231

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www.portmanheritage.com

| CITY GUIDE

W R I T E R: A N N E M A R I E M A H L E R

MIAMI Gourmet Discoveries

L ALIQUE BOUTIQUE OPENED IN 2013 9700 Collins Avenue, Suite 103 Florida 33154, Bal Harbour, USA 63

| CITY GUIDE

ZUMA

Since its opening in May 2010, Zuma Miami, the brainchild of award-winning German chef Rainer Becker, has become one of Miami’s landmark dining destinations and a favourite among locals, visitors and celebrities. It offers sophisticated cuisine, with a philosophy that is inspired by the informal Japanese dining style called izakaya. An unexpected oasis of modern Asian design awaits diners at this downtown Miami restaurant where chef Bjoern Weissgerber crafts exquisite Japanese dishes. Delightful vegetable donburi with fresh truffles, jumbo tiger prawns with yuzu, spicy beef tenderloin with sesame and red chilli, and sea bass sashimi. Popular at weekends for a generous new brunch offering. Located on the first floor of the Epic Hotel, overlooking the busy Miami riverfront. Reservations are a must, even for lunch.

EPIC HOTEL & RESIDENCES 270 BISCAYNE BOULEVARD WAY MIAMI, FL 33131 TEL. +1 305 577 0277 WWW.ZUMARESTAURANT.COM

JOE’S STONE CRAB JOE’S STONE CRAB

It was a small and modest restaurant when it opened in 1913. Miami Beach, not yet a city, could be accessed only by ferry, and stone crabs weren’t even on the menu. Throughout its long history, Joe’s has never accepted reservations. The anticipation and camaraderie in waiting two or three hours for a table has become very much a part of the dining experience. Anyone well known coming to Miami Beach would stop at Joe’s; over the years guests have ranged from Al Capone to Madonna. It has become a seasonal tradition and the heart of the culinary scene in South Florida, from October to May when the hard-shelled crabs are harvested in local waters. This classic venue serves the best crabs in town to a crowd more than willing to wait. Open for lunch and dinner, the restaurant is frequented by politicians, celebrities and star athletes.

11 WASHINGTON AVENUE MIAMI BEACH, FL 33139 TEL. +1 305 673 0365 WWW.JOESSTONECRAB.COM 64

| CITY GUIDE

MAKOTO MAKOTO

This contemporary Japanese restaurant is always packed. Very popular with ladies who lunch, but also a late-night date spot. Star sushi chef Makoto Okuwa has created a modern Japanese menu for his eatery, located in the prestigious Bal Harbour shopping mall. Exceptional sushi bar selections and traditional raw and cooked Japanese dishes, which are meticulously prepared: robata noodles and steaks, spicy tuna, crispy rice, Makoto house salad, crispy short rib, chicken robata and frosty Kobe fried rice with foie gras.

BAL HARBOUR SHOPS, 9700 COLLINS AVENUE BAL HARBOUR, FL 33154, TEL. +1 305 864 8600 WWW.MAKOTO-RESTAURANT.COM

CECCONI’S CECCONI’S

Originating in Venice, with outposts in London and West Hollywood, Cecconi’s has become a critically acclaimed dining destination featuring simply prepared Venetian-inspired food. Lunchgoers are invited to dine inside the stately lobby, or under beautiful trees, shading the sunlight, in the main dining room. Minestrone, carpaccio, gnocchi, tuna tartare, tagliatelle porcini, Florida lobster, New York steak and why not a San Daniele pizza with figs. This classic Italian restaurant is open for breakfast, lunch and dinner.

SOHO BEACH HOUSE MIAMI, 4385 COLLINS AVENUE MIAMI BEACH, FL 33140, TEL. +1 786 507 7900 WWW.CECCONISMIAMIBEACH.COM

THE BAZAAR BY JOSÉ ANDRÉS THE BAZAAR BY JOSÉ ANDRÉS

Award-winning Spanish chef José Andrés lights up Miami with a vibrant mix of sophisticated cuisine. The Bazaar menu blends Andrés’ Spanish heritage and personal ingenuity with influences from South Beach’s local Latin flavours, culinary tradition and rich history. His ambitious futuristic Ferran Adrià-inspired menu, blending the best Old-World delicacies with Eastern avant-garde delights, is served in the heart of the bustling SLS Hotel. The interior of the restaurant was designed by Philippe Starck.

SLS HOTEL SOUTH BEACH, 1701 COLLINS AVENUE MIAMI BEACH, FL 33139, TEL. +1 305 455 2999 WWW.SBE.COM / WWW.THEBAZAAR.COM 65

| CITY GUIDE

RESTAURANT MICHAEL SCHWARTZ

Miami’s most-beloved chef in one of the most gorgeous hotels in South Beach! Award-winning chef Michael Schwartz opened his newest restaurant on the pool deck of the Raleigh Hotel. Inspired by its rich history and iconic Art Deco architecture, he created an American menu which is updated daily with fresh seasonal ingredients from his favourite farmers, ranchers and fishermen and features desserts by renowned pastry chef Hedy Goldsmith. Standouts include classic steak tartare, wholegrilled local fish and saffron-steamed mussels.

THE RALEIGH HOTEL, 1775 COLLINS AVENUE MIAMI BEACH, FL 33139, TEL. +1 305 612 1163 WWW.RALEIGHHOTEL.COM

THE SETAI YARDBIRD

YARDBIRD

Four restaurants are located in the prestigious Setai Hotel, which was recently voted “The Best Hotel in Miami” by readers of “Condé Nast Traveler”. Its French executive chef Mathias Gervais is a prodigy in the world of fine cuisine and has impressive international experience. He is one of the youngest chefs to make a splash on M iami’s burgeoning culinary scene. In The Restaurant he offers Mediterranean cuisine “du soleil”, while at the Setai Grill he prepares

YARDBIRD SOUTHERN TABLE & BAR

intriguing Japanese dishes. THE SETAI

Set in a former grocery store, the Yardbird sticks to tradition. Classic southern cuisine,

2001 COLLINS AVENUE, MIAMI BEACH, FL 33139 TEL. +1 855 923 7899 DINING@THESETAIHOTEL.COM

fabulous cocktails, many of which are bourbon based, and a rustic dining room seating 170,

THE SETAI

where you find “the best fried chicken in the USA”, which requires a 27-hour marination and a slow cooking process. A family recipe from the owner’s grandma. As starters the Yardbird offers fried oysters with a green-tomato aioli or sweet potato dumplings, followed by fresh local lobster served on shrimp-studded rice. Forget calorie-counting and enjoy the “hottest res taurant in South Beach”.

1600 LENOX AVENUE, MIAMI BEACH, FL 33139 TEL. +1 305 538 5220 WWW.RUNCHICKENRUN.COM 66

| ART

W R I T E R: A R M A N D O SA BE N E

THE WILD WORLD OF REMBRANDT BUGATTI Silvio Denz, Chairman and CEO of Lalique, discovered the extraordinary work of Rembrandt Bugatti a few years ago. He immediately made the connection with RenĂŠ Lalique: two emblematic artists of the same period, sharing the same passion for animal sculpture and a deep attachment to Alsace, where Ettore Bugatti, the elder brother of the sculptor, built a factory to manufacture his legendary cars.

| ART

Rembrandt Bugatti at his 1910 exhibition in the Marble Hall of the Société Royale de Zoologie d’Anvers. © SL ADMORE ARCHIVES, LONDON

| BRAND NEW

Rembrandt Bugatti with his friends Albéric Collin and Walter Vaes in front of the “giraffe house” at Antwerp Zoo. © SL ADMORE ARCHIVES, LONDON

embrandt Bugatti (1884–1916) was one of the most remarkable sculptors of the early 20th century. In the course of his short life,

Rembrandt Bugatti with a donkey at Antwerp Zoo, the biggest in Europe at that time.

he produced more than 300 works, unequalled in their intensity

and diversity. In the whole history of art, it is he who best understood and

represented the animal world in his sculptures. Lalique was intent on providing a new perspective on this remarkable body of work through the medium of crystal as the material and the lost-wax technique. The company is now offering collectors four of Rembrandt Bugatti’s works in a limited edition: The Yawning Lion, The Reclining Egyptian Wolf, The Mare and Dancing Elephant – the latter chosen by the artist’s brother Ettore Bugatti, legendary builder of automobiles, as the celebrated radiator cap ornament of the great Royale. Rembrandt was born in Milan on 16 October 1884, the third child of a wealthy, nonconformist family. His given name was chosen by his godfather, the sculptor Ercole Rosa, and his uncle, the painter Giovanni Segantini. Selected to influence the destiny of the younger Bugatti, the name foreshadowed an artistic career. His father, Carlo, was an architect, but chiefly a furniture designer whose work was highly coveted in Eur ope and America. He was considered an important representative of Art Nouveau. Carlo Bugatti wanted his younger son to study the sciences, but Rembrandt, true to his forename, was drawn to the visual arts. Frail and idealistic as a child, he had a passion for drawing and above all for sculpture. In a world that was gripped by powerful forces of change with the advent of industrialization and new discoveries, he created a world of his own, one in which nature and animals played an essential part.

| ART

He loved the holidays he spent in the Engadine, as a guest of his

Encouraged from a very young age by Paul Troubetzkoy, a for-

uncle Giovanni Segantini. He played with his four cousins and was ab-

mer pupil of Auguste Rodin, to mould models Rembrandt began to work

sorbed by the beauties of nature around Maloja in the summertime. The

with modelling paste and clay, revealing a great natural talent. In 1904,

Engadine valley made a lasting impression on him. The animals, above

he moved with his family to Paris. At the age of 19, he decided to leave

all the tranquil cows, exerted a particular fascination. In 1901, he cre

his parental home and chose to live close by the Jardin des Plantes (the

ated his first sculpture, depicting the cows he had seen and carefully ob-

botanical gardens), where he went frequently to study and paint the an-

served in the Engadine. By the age of 16, he was already an accomplished

imals in their cages. The felines became his favourite models. He got to

sculptor. He had found his style and his preferred subject: animals.

know the sculptor and artistic metal founder Adrien Aurélien Hébrard,

— DANCING ELEPHANT © L ALIQUE SA

Elephants are among the first exotic animals that Rembrandt Bugatti modelled. The small trained elephant was originally designed as a signet for his brother, Ettore, before being rededicated as a radiator ornament for the latter’s most ambitious automobile, the Royale. Only six or seven of these extraordinary limousines were built, with silver casts of the small elephant crowning their radiator caps. And only three were sold; the remaining ones were kept for the personal use of Ettore and his family. The limited editions of the Dancing Elephant are available in clear, black and amber crystal in a limited, numbered edition, signed and accompanied by their own certificate of authenticity. © BUGAT TI TRUST, LONDON

| ART

— RECLINING EGYPTIAN WOLF

— YAWNING LIONESS

| ART

— MARE

Created using the lost-wax technique, a rare and exceptional skill, and taking the original bronzes of the Egyptian Wolf and the Lioness and a replica of the original plaster cast of the Mare as a basis, each of these pieces is unique – carved and sculpted by master glassmakers with an unmatched attention to detail. The technique is inspired by a method thousands of years old that was used to cast bronze sculptures. It involves moulding plaster around a wax model which is subsequently melted so that the negative mould thus created can receive the molten crystal. These artistic recreations of the Mare, Reclining Egyptian Wolf and Yawning Lioness are available in limited editions of eight original works, numbered and signed, and accompanied by a certificate of authenticity. © SL ADMORE GALLERY, LONDON

| ART

who was also a collector, publisher and the owner of an art gallery in Rue

When the First World War broke out, Rembrandt volunteered for

Royale. Hébrard signed an exclusive contract with Rembrandt, which af-

the Belgian section of the Red Cross stationed at Antwerp Zoo. The hor-

forded him a salary and sales rights on each sculpture. His first exhib

rors of war were too much to bear for a man of such a frail disposition.

ition at the Rue Royale gallery in 1904 made him an overnight success.

The zoo animals, his friends, were slaughtered to provide food, an event

Spellbound by the animal world, Rembrandt soon found the zo

he found traumatic. He returned to Paris and started work again in his

ological gardens in the Jardin des Plantes in Paris insufficient inspira-

studio in Montparnasse. No more animals; the horror of what he had ex-

tion. The year 1907 marked a turning point in his life. The Royal Society

perienced inspired him to create one of his last works, a life-sized figure

of Zoology, based in Antwerp, Belgium, invited him to take up residence

of Christ on the cross — a masterpiece.

there. He was able to work freely in the zoo – the largest in Europe at that

Sick and poverty stricken, with his work no longer selling and

time – to exhibit there and sell his work. He lived in very modest circum-

Ettore no longer able to send him money, Rembrandt decided to end his

stances, occupying a small room and a damp studio. He contracted tuber-

life on Saturday, 8 January 1916, at 31 years of age, and committed sui-

culosis, diagnosed in 1909. To help him, his brother Ettore regularly sent

cide using lighting gas. On the bedside table he had placed a bouquet of

money. Rembrandt was 26 years old and had little time to live. Always

violets and some letters, one of them for Ettore. In this letter he wrote to

dressed as a dandy, with a sad face and a look of melancholy, he planted

his brother: “Be tender towards your wife, a god to your children and kind

himself before the cages to observe and study his models.

to animals…” He was laid to rest in the family vault at the cemetery of Dorlisheim in Alsace.

CAROLINE BUGATTI What is your impression of the marriage between Rembrandt Bugatti’s animal sculptures and the transparency of crystal? For me this is a different way to discover and rediscover the work of Rembrandt Bugatti, which was basically rendered in bronze, or another metal such as silver. I recall an apparition of the elephant in silver, which graced the radiator of the Royale. In a certain light, it seemed an almost transparent vision of the work. What would Rembrandt Bugatti have made of these works in crystal? I simply look at it from the point of view of an artist and I imagine that it would be very gratifying, a token of high esteem, to see my creations cast in a different light like this. It is a way of paying homage to an artist who left his mark on his own times and still fascinates a wide public to this day. There is also the way these works in crystal are created at Lalique, highly crafted, by the hand of man. Each one of these pieces is unique. There has just been a major retrospective in Berlin dedicated to Rembrandt Bugatti. Are there other projects in the pipeline?

Rembrandt’s work is very much appreciated today and coveted by collectors of

Caroline Bugatti at the wheel of a 1925 Bugatti 35.

wildlife art the world over. Rembrandt said: “I hope and believe that I can create an

Caroline Bugatti is the granddaughter of Ettore Bugatti and great-niece of Rem-

the esteem in which these works are held today.

brandt Bugatti. She and François Rinaldi are in charge of the Anneau du Rhin racing

Parallel to the exhibition in Berlin, Peter Mullin’s Automotive Museum at Oxnard

circuit in the department of Haut Rhin, Alsace, France. A Bugatti Festival has been

in California is currently showing a very beautiful exhibition with a wide selection

held at Molsheim in Alsace since 1980, with the best-looking car winning a trophy

of work by the Bugatti family, including pieces by Carlo, Rembrandt and Ettore.

oeuvre that has no equal in the world.” These few words tell you everything about

signed by Lalique.

WWW.BUGATTI.COM

Lalique

| ART Contact Joy McCall jmccall@christies.com +44 (0) 20 7752 3237

London · 2015

CLUNY VASE, NO. 961

designed 1925, smoky engraved ‘R. Lalique France’ 10 3⁄8 in. (26.4 cm.) high Sold for: £116,500 London, 30 April 2014

The Art People christies.com 75

| CITY GUIDE

W R I T E R: C H A N DR A K U R T

ZURICH Gourmet Discoveries

L ALIQUE FL AGSHIP OPENED IN 2013 Talstrasse 27 8001 Zurich, Switzerland 76

| CITY GUIDE

PFLUGSTEIN Although this historic restaurant is located

PFLUGSTEIN

out of town, the trip is worth it. Time appears to have stood still in Pflugstein. This vintner house, decorated with beautiful paintings, was built around 1750. It also occupies an outstanding position: 560 metres above sea level, with a view overlooking Lake Zurich. The cuisine is down to earth and relaxed – from Wiener schnitzel via Hacktätschli (spiced meatballs) to sea bass in a salt crust. The restaurant is also open for lunch – and has a cosy terrace in summer.

PFLUGSTEINSTRASSE 71, 8703 ERLENBACH TEL. 044 915 36 49, WWW.PFLUGSTEIN.CH

RICO’S KUNSTSTUBEN RIZZO’S STAPFERSTUBE

Haute cuisine Zurich style. Perfect for a ro-

LINDENHOFKELLER

mantic tryst or an elegant rendezvous. Rico Zandonella spoils his guests with cuisine of a very high standard. Two Michelin stars and 18 Gault Millau points. Ideally, guests should reserve a little time to enjoy the journey of culinary delights to the full. The restaurant is on the lakeshore, outside the city of Zurich. It is best to take a taxi there for lunch or dinner.

SEESTRASSE 160, 8700 KÜSNACHT TEL. 044 910 07 15 WWW.KUNSTSTUBEN.COM RICO’S KUNSTSTUBEN

RIZZO’S STAPFERSTUBE

LINDENHOFKELLER

A convivial yet chic ambience – in Kreis 6 not

Those who romanticize the Old Town and take

far from the university and ETH Zurich. Al-

an interest in history instantly feel at home in

though the restaurant is a Zurich classic, it

the Lindenhofkeller, since the building dates

still enjoys the reputation of being an “insider

from 1357. Here, in the heart of the historic

tip”. A place where you can let yourself be

centre of Zurich, not far from the famous church

spoiled, be it for a hearty meal or a romantic

of St Peter, there has been a restaurant since

dinner date. It is an ideal venue if you have a lit-

1860. The wine list is strikingly long and

tle more time to linger over the comprehensive

highly international as a result of a great

wine list, full of classic vintages from Europe’s

passion for wine. House specials include vari-

best wine-growing regions.

ous dishes from the grill. An ideal place to stop off after a stroll through the city centre.

CULMANNSTRASSE 45, 8006 ZURICH TEL. 044 350 11 00 WWW.STAPFERSTUBE.CH

PFALZGASSE 4, 8001 ZURICH TEL. 044 211 70 71, WWW.LINDENHOFKELLER.CH 77

| CITY GUIDE

TINTO The best tapas in Zurich and the best wine list

ACCADEMIA DEL GUSTO CADUFF’S WINE LOFT

The best Italian restaurant in the city – is what

for Spanish wines: Pingus, Clos d’Agon, Mau-

people like to say of the Accademia del Gusto.

ro… to name but a few. A place to meet for aperi-

The decoration is unpretentious, but classic.

tif, a tapas dinner or tastings in the wine cellar.

White table cloths, parquet flooring and cande-

This urbane rendezvous in the heart of Kreis

labra. The cuisine is Mediterranean; the wine

4 is in the nightlife district of Zurich, not far

list European, although the wines of Italy are

from the Volkshaus, the Houdini cinema com-

predominant. In the winter months, the speci-

plex and the Langstrasse quarter. Only open-

alities from the carrello (trolley), such as bolli-

ing in the evening – a perfect meeting place for

to misto (mixed boiled meat) and roast veal, are

a glass of good Spanish wine.

very popular.

LANGSTRASSE 20, 8004 ZURICH TEL. 043 322 00 70, WWW.TINTO-ZURICH.CH

ROTWANDSTRASSE 48, 8004 ZURICH TEL. 044 241 62 43 WWW.ACCADEMIADELGUSTO.CH

TINTO

CADUFF’S WINE LOFT

ACCADEMIA DEL GUSTO

The best wine bar in Zurich. Master chef and wine connoisseur Beat Caduff treats his guests with choice wines and seasonal cuisine. A quick look inside or a first drink of the evening in the quaint wine cellar, full of candlelit nooks and crannies, is an experience in itself. The choice of open wines is impressive and international in scope. If the restaurant is fully booked, guests can also dine at the long bar. Caduff’s Wine Loft is in Kreis 4, five minutes on foot from the Tinto tapas bar.

MONTE PRIMERO

KANZLEISTRASSE 126, 8004 ZURICH TEL. 044 240 22 55, WWW.WINELOFT.CH

CLOUDS Dine above the clouds in Zurich. Clouds occu-

CLOUDS

pies a dominant position, on top of the Prime Tower, 120 metres above the city, in the new

WOLFBACH – MONTE PRIMERO

ultra-fashionable city district of Zurich West. Casual dining Mediterranean style, with

Essentially a cosy local restaurant, Wolfbach is

touches of inspiration from Catalonia, sums up

not far from the Zurich Kunsthaus (museum of

the appeal of this restaurant – quite apart from

art) and Christie’s International. In Wolfbach,

its extraordinary commanding view across the

you can forget the hustle and bustle of daily life

city. Further options are a drink at the bar or a

and order an aperitif and some Spanish ham –

snack in the bistro. Zurich West is the hot spot

jamón – to go with it. The cuisine is Mediterra-

for dining out, with numerous cinemas, clubs,

nean with Spanish and Italian flair. Perfect for

concert halls, the Schauspielhaus theatre and

a romantic meal – in summertime in the cosy,

other venues nearby.

secluded garden. A timeless city restaurant.

MAAGPLATZ 5, 8005 ZURICH TEL. 044 404 30 00, WWW.CLOUDS.CH

WOLFBACHSTRASSE 35, 8032 ZURICH TEL. 043 433 00 88, WWW.MONTEPRIMERO.CH 78

| CITY GUIDE

SONNENBERG CASA AURELIO

Jacky Donatz has been cooking at Sonnenberg,

SONNENBERG

the elegant restaurant high up on Zürichberg, for 14 years now. His boiled beef and particularly the legendary “Jacky” veal cutlet are famous culinary treats in Zurich that everyone must try at least once in their lives. The Sonnenberg restaurant is situated just above a well-known city vineyard and is also close by the FIFA headquarters, so you might well spot a famous footballer dining

CASA AURELIO At the very heart of the red-light milieu of the multicultural Langstrasse quarter, you will find an oasis called Casa Aurelio. Or to be more accurate, a Spanish oasis: in Casa Aurelio Signor Aurelio cooks Spanish culinary classics for guests with hearty appetites. Meat, fish,

at the next table. The Sonnenberg is on the way up to the famous Dolder Grand hotel and is best reached by taxi. In summertime, it is an ideal spot to enjoy a glass of wine on the terrace, with a magnificent view over the city.

HITZIGWEG 1, 8032 ZURICH TEL. 044 266 97 97, WWW.SONNENBERG-ZH.CH

vegetables and rice are all on the menu. A venue rich in tradition where you can spend a few pleasant hours and enjoy hearty cuisine.

CARLTON CARLTON

The Carlton occupies a strategically ideal location: close by Bahnhofstrasse, not far from Pa-

LANGSTRASSE 209, 8005 ZURICH TEL. 044 272 77 44, WWW.CASAAURELIO.CH

radeplatz and Kaufleuten club and restaurant, in other words in the very heart of Zurich. This

BÜ’S

classic venue is relatively large and offers mul-

Situated not far from the renowned Bahnhof-

and a unique wine cellar. Just a glance in the

strasse in the heart of the city. A small place,

cellar reveals Daniela and Markus Segmüller’s

big on charm, Bü’s comprises a bar and a res-

passion for wine. Also renowned for events such

taurant with a garden. The bistro kitchen offers

as “Monday Bouteille” and “After Work Party”.

tiple possibilities: an elegant restaurant, a bar

seasonal dishes, including classics such as cor-

BAHNHOFSTRASSE 41, 8001 ZURICH TEL. 044 227 19 19 HOME.SEGMUELLER-COLLECTION.CH

don bleu and beefsteak tartare. The wine list has everything a wine connoisseur could wish for, so it’s tempting to order several bottles. Ideal for stopping off during or after a shopping trip, because the restaurant is open all day from 11 am.

KUTTELGASSE 15, 8001 ZURICH, TEL. 044 211 94, WWW.BUETIQUE.CH

MESA This is one of the top three places for dining out in the city. One Michelin star and 17 Gault Millau points. An elegant city restaurant, with particularly attentive service. The choice menus feature individual ingredients that complement one another

BÜ’S

in creative compositions. If you feel like pampering yourself, a visit to Mesa is just the thing. The atmosphere is very quiet, with the focus totally on the guest. The wine list has everything that gladdens the hearts of wine lovers.

WEINBERGSTRASSE 75, 8006 ZURICH TEL. 043 321 75 75 WWW.MESA-RESTAURANT.CH 79

MESA

| CITY GUIDE

DOLDER – THE RESTAURANT High up above the city is where you will fi nd

DOLDER – THE RESTAURANT

Zurich’s best restaurant. The Restaurant at the Dolder Grand is an experience for the senses. Two Michelin stars and 18 Gault Millau points. Head chef Heiko Nieder conjures up imaginative culinary creations that are not easily forgotten. The ambience is very dignified and calm. In summer, guests can enjoy a breathtaking view from the terrace, across the city of Zurich and Lake Zurich.

KURHAUSSTRASSE 65, 8032 ZURICH TEL. 044 456 60 00 WWW.THEDOLDERGRAND.COM

HYATT – RESTAURANT PARKHUUS

HYATT

An urbane restaurant near Lake Zurich and the Tonhalle concert hall. The food is fresh from the market, seasonal and “simple”. All the main courses are served on their own, side dishes in copper pans from which guests can help themselves. The centrepiece of this Zurich restaurant is the open show kitchen, revealing the work the team puts in to prepare the specialities. The wine list is impressive, as is the view of the glassed-in wine library.

BEETHOVENSTRASSE 21, 8001 ZURICH TEL. 043 883 10 75 WWW.ZURICH.PARK.HYATT.COM

ALICE CHOO Zurich has a new in place for Asian fine dining:

ALICE CHOO

Alice Choo, which includes a bar and a club. The fashionable new restaurant is located in the former premises of the legendary Club Indochine. It has 600 square metres of floor space on two storeys. Nathan Dallimore, who previously worked at Novikov, the fashionable London restaurant, is in charge of the kitchen. Alice Choo has worked with Silvio Denz to create a “Lalique Room” – a private dining room for ten people, lit by a unique chandelier. And, needless to say, there are two private members’ clubs: “Friends of Alice Choo” and “Close Friends of Alice Choo”.

LIMMATSTRASSE 275, 8005 ZURICH TEL. 044 448 11 11, WWW.ALICE-CHOO.CH 80

SPARKLING TIMES Relax and indulge all your senses on the banks of Lake Lucerne in a magical setting surrounded by the enchanting beauty of the Swiss Alps.

Switzerland

CH-6353 Weggis/Lucerne

www.parkweggis.ch

| HERITAGE

W R I T E R: C H R I S T I E M AY E R L E F KOW I T H

LALIQUE, THE COLLECTOR’S PASSION “Jewellery, through the beauty of craftsmanship and artistic execution of form and composition, can achieve a value that is often greater than that of the precious materials used by the jeweller.” This statement was made by René Lalique to his clients at the end of the 19th century, clients who were hopelessly captivated and also astonished by the juxtaposition of singular materials and the extravagant modelling of his creations.

| HERITAGE

– FLACON FOR THE HECTOR LEGRAND PERFUME L’ÉGLANTINE DE LA REINE (THE QUEEN’S WILD ROSE) CREATED BY RENÉ LALIQUE CIRCA 1919. AUCTION ART & FRAGRANCE, AT BRISTOL HOTEL IN GENEVA, 22 OCTOBER 2006, PRICE REALIZED 64,440 EUROS. © LALIQUE SA

| HERITAGE

e was much more than a jeweller. René Lalique was the “inventor of modern jewellery”, declared Émile Gallé. Con-

sequently, a large number of his jewels is exhibited in important museums, such as the one founded in Lisbon by the great collector Calouste Gulbenkian; the Lalique Museum in Wingen-sur-Moder in Alsace, very near the Lalique crystalworks; as well as the d’Orsay Museum, the Museum of Decorative Arts and the Luxembourg Museum in Paris. Furthermore, the Lalique company collection includes several magnificent and exceedingly rare jew-

He was much more than a jeweller. René Lalique was the “inventor of modern jewellery”.

els and art objects, some of which belonged to the artist himself. Quite a few are exhibited at the Lalique Museum, while others are sometimes being lent to enrich various temporary exhibitions. When René Lalique jewels or art objects are found on the market, collectors fight over them, and their prices continuously increase. At public auction they can achieve astonishing results: in the Elizabeth Taylor estate jewellery sale at Christie’s in New York on 14 December 2011, lot no. 281, a brooch-medallion (representing the mysterious face of a woman in the Symbolist style) was sold for $566,500 or 433,375 Euros; in the sale of the Japanese Garden Museum collection at Sotheby’s in Paris on 16 February 2013, lot no. 106, a pocket watch (its face ornamented with a flight of butterflies, symbolizing daytime, and the reverse with a family of bats, symbolizing night-time) was sold for 696,750 Euros or $930,840; also in the same sale, lot no. 98, Femme ailée (Winged woman), a bronze sculpture (part of the balustrade which surrounded the vitrine where René Lalique presented his jewels at the 1900 Universal Exhibition), was sold for 1,240,750 Euros or $1,657,610.

–

GAÏA RING, YELLOW GOLD PAVED WITH

ART NOUVEAU BROOCH-MEDALLION

NINETY-TWO 0.90CT DIAMONDS,

IN GLASS, ENAMEL AND PEARL, CREATED BY

SIXTY-EIGHT 0.50CT BLACK SPINELS,

RENÉ LALIQUE CIRCA 1910, REPRESENTING

TWO 2.90CT PEAR CABOCHON-CUT HEMATITES,

THE MYSTERIOUS FACE OF A WOMAN IN THE

ONE 3.00CT CABOCHON-CUT OPAL TRIPLET,

SYMBOLIST STYLE, SOLD FOR 433,375 EUROS,

0.68CT ENGRAVED WHITE MOTHER-

IN THE ELIZABETH TAYLOR ESTATE JEWELLERY

OF-PEARL, LACQUER, FINE JEWELLERY,

SALE AT CHRISTIE’S IN NEW YORK

SOLEIL DE GAÏA, 2014 COLLECTION.

ON 14 DECEMBER 2011.

| HERITAGE

– VESTA, FINE JEWELLERY NECKLACE, MADE OF DETACHABLE ELEMENTS, THAT CAN BE WORN IN FOUR DIFFERENT WAYS, CREATED BY LALIQUE IN 2012. THE IMAGE OF VESTA, THE GODDESS OF THE SACRED FIRE ODYSSEY, WAS INSPIRED BY THE METAMORPHOSED WOMEN OF RENÉ LALIQUE. © LALIQUE SA

| HERITAGE

– BAIES DE CORNOUILLER (DOGWOOD BERRIES), VASE IN LOST WAX, CREATED BY RENÉ LALIQUE, CIRCA 1914. SOTHEBY’S NEW YORK, 16 DECEMBER 2010, PRICE REALIZED 374,000 EUROS. © SOTHEBY’S

– TIANLONG VASE IN CLEAR AND AMBER CRYSTAL, CREATED FOR LALIQUE ART, 2012 COLLECTION, LIMITED EDITION OF 88 PIECES. THIS TRADITIONAL DECORATIVE MOTIF WAS RENDERED IN A SUMPTUOUS CONTEMPORARY STYLE. © LALIQUE SA

| HERITAGE

Maintaining the continuity established by the artist, the Lalique

He was at the pinnacle of his career as a jewellery artist, when, after

company oversees the creation of jewels as art objects, one of them be-

1900, René Lalique suddenly and radically changed his orientation by ven-

ing the extraordinary necklace Vesta, reproducing the goddess of The

turing into the glass industry. He set up large factories to produce glass

Sacred Fire Odyssey, this mythical character who lives in the flames. In

objects of his own creation (flacons, boxes, vases, clocks, sculptures, table-

the new Parisian boutique of Lalique Jewellery at 20 rue de la Paix, one

ware, etc.). These pieces conceived for daily use are rightly viewed as works

can discover among many other things, the dazzling jewellery line Soleil

of art, and are also being sold for record prices at public auction. For ex-

de Gaïa (Sun of Gaia), inspired by the Egypt of antiquity, and in a style

ample, lot no. 67, Baies de Cornouiller (Dogwood Berries), a cire perdue glass

reminiscent of 1920s creations.

vase created circa 1914, sold at Sotheby’s in New York on 16 December 2010 for $494,500 or 374,000 Euros; and lot no. 180, L’Églantine de la Reine (The Queen’s Wild Rose), a flacon created for the perfumer Hector Legrand with a paper label also designed by the artist, sold at Art & Fragrance in Geneva on 22 October 2006 for CHF 97,750, or 64,440 Euros or $78,830. René Lalique was an avant-gardist, a precursor of Art Nouveau, moving to Art Deco, then to Modernism without ever losing his distinctive identity. During his long life, numerous objects were created which, despite their eclecticism, exhibit the Lalique style, always identifiable, always highly prized by collectors. The Lalique company continues to present every year a new line of luxurious crystal pieces of artistic quality produced through complex techniques that have been patented. Of course, the Lalique style is also displayed in the contemporary pieces, as can be seen in the sumptuous vase Tianlong made of clear and amber crystal for Lalique Art as a limited edition of 88; as well as in the three flacons created for the perfume Amethyst Éclat of Lalique Parfums launched in 2014. The decora–

tive motifs of a peony, branches with thorns and berries, preferred themes

POCKET WATCH CREATED BY RENÉ LALIQUE CIRCA 1899–1900.

of René Lalique, are expressed here in an avant-garde style.

THE FACE OF THE WATCH (LEFT) IS DECORATED

Today, one can admire the new and tantalizing objects, and also the

WITH A FLIGHT OF BUTTERFLIES TO SYMBOLIZE DAYTIME.

exceptional furniture line, which can be integrated into any modern décor

THE REVERSE (RIGHT) IS DECORATED WITH A FAMILY OF

and at the same time accompany antique pieces. Since 2008, Silvio Denz

BATS TO SYMBOLIZE NIGHT-TIME. SOTHEBY’S PARIS,

has been at the helm of the Lalique company, and follows the course charted

16 FEBRUARY 2013, PRICE REALIZED 696,750 EUROS.

by the great master: creating magnificent objects that delight the collectors of today and that will reward the collectors of tomorrow.

CHRISTIE MAYER LEFKOWITH Christie Mayer Lefkowith is an art his-

an art form. Christie Mayer Lefkowith organized auctions of

torian, author and auction expert. She

perfume bottles and served also as an auction expert and par-

grew up in Nice. Coming from a family

ticipated in three major museum exhibitions. In recognition of

of collectors and scholars, she has had

her activities and on invitation by the European Chamber of Art

a life-long interest in art and antiques.

Experts-Consultants she became in 1996 the only expert for

Along with her husband, Edwin F.

perfume flacons for the European Community.

Lefkowith, she began collecting per-

In 2009, Mrs Lefkowith was retained by Silvio Denz, the

fume flacons over 40 years ago. Their

president of Lalique SA, to write the book “The Art of René

personal collection includes today more than 10,000 perfume

Lalique, flacons and powder boxes” which was published in

presentations. They live in New York and Paris. Her first book,

a French and an English edition in September 2010 to cele-

“The Art of Perfume, Discovering and Collecting Perfume

brate the 150th anniversary of the birth of René Lalique

Bottles”, was published in 1994, it became a worldwide best-

(1860–1945). The book is available in major Lalique boutiques

seller and broadened global recognition of vintage flacons as

worldwide as well as on Lalique’s website (www.lalique.com).

| CHANDELIERS

W R I T E R: A N N E M A R I E M A H L E R P H OTO S: W I N DFA L L

YESTERDAY, TODAY AND TOMORROW: TIMELESS LIGHTING Windfall and Lalique both enjoy international reputations. Now they have teamed up to create SERENE, a contemporary collection of crystal chandeliers which express seamless harmony between past and present.

Chandelier created by a suspension made up of clustered crystal prisms that allow total freedom of creation.

| CHANDELIERS

The Femme Bras Levés and Joueur de Pipeau patterns, designed by René Lalique in 1928 for the decorative panels of the famous Orient Express, have been rethought by Windfall in crystal prisms for the lighting collection SERENE.

omplementarity is the key to success. The Windfall and Lalique partnership springs from the inventive flair of the Munich design studio founded by Clarissa Dorn and Roel Haagmans in 2004, the

cultural heritage of René Lalique, and the high-end creations of the Lalique crystalware factory. SERENE is Windfall’s first joint venture in creativity – a symbiotic undertaking. “Silvio Denz, the owner of Lalique, rang us up one day, out of the blue, to ask if we might consider a joint venture. It was a delicious surprise,” recollects Clarissa Dorn. “I value contacts with people from other

countries. We were really keen on the idea of creating something new, in tandem with a company as celebrated as Lalique.” Roel Haagmans adds a personal viewpoint: “Windfall Design is a subtle blend of tradition, quality and expert craftsmanship, which intimately mirrors our conception of beauty. These are values we share with Lalique. They spur us on, to rise to the challenge we have set ourselves. While SERENE is a classic collection, it also embodies a contemporary vision of chandelier manufacture.” Silvio Denz immediately fell for the go-ahead spirit of Windfall and was utterly certain that the cooperation would prove worthwhile: “Windfall has adapted the classic Lalique motifs, inspired by nature and antiquity, and has cast the extraordinary creations of René Lalique in a new light, which emphasizes their timeless elegance.”

| CHANDELIERS

“Technically, SERENE is complex. The surprising design is playful but refined. It is also readily adaptable,” explains Dorn. “Lalique is heir to a long corporate tradition. The quality of its sculptures and objects justifies its front rank among world crystal producers. The design of SERENE draws on the traditional motifs of René Lalique and transposes them into a modern ambience. We’ve picked two motifs. Femmes Bras Levés and the Joueur de Pipeau designs were the work of the creative genius that was René Lalique for the interior décor of the legendary Orient Express in 1928, while the Dahlia embellished some gorgeous powder boxes in 1931.” Windfall has designed adaptable crystal prisms for the

“Technically, SERENE is complex. The surprising design is playful but refined. It is also readily adaptable.” CLARISSA DORN

SERENE collection. They can be assembled to form chandeliers, lit by the very latest LED technology, or simply hung from the ceiling and lit via an external light source. Clients can mix their motifs and quantities as they please. In June 2014, Dorn and Haagmans celebrated Windfall’s first decade. So what is the secret of their meteoric rise? “Showing boundless creativity, being bold, committed and hard-working. We’ve had the right ideas at the right times. We’ve given it all we’ve got. And we’ve been lucky,” is Clarissa Dorn’s answer.

Detail of a prism decorated by the Dahlia pattern, one of the most famous patterns of Lalique, designed in 1931 by René Lalique to adorn the women boxes. The signature “Windfall & Lalique® France” has been engraved by hand on each prism.

Windfall designs compositions for every situation. Here, in a dining room, a round chandelier, a composition made of 24 crystal prisms decorated by the Dahlia pattern and brass mountings.

â&#x20AC;&#x153;While SERENE is a classic collection, it also embodies a contemporary vision of chandelier manufacture.â&#x20AC;? ROEL HAAGMANS

WINDFALL

Clarissa Dorn and Roel Haagmans.

Windfall is known worldwide as the dynamic contemporary chandelier brand, which is redefining the nature of crystal chandeliers. Dutch-born Roel Haagmans and German Clarissa Dorn were already experienced chandelier designers for other companies when they set up Windfall together in Munich in 2004, to explore the contemporary potential of crystal chandeliers. They have developed an aesthetic, which has brought them to the attention of a deeply fashionable design crowd.

WWW.WINDFALL-GMBH.COM

A CLASS ACT | CHANDELIERS

™

1 ER GRAND CRU CLASSÉ DE SAUTERNES

™

GRAND CRU CLASSÉ DE SAINT-EMILION

| DECORATIVE ITEMS

MUST-HAVES GOLD LUSTER RAYONS BOWL

MIDNIGHT BLUE MOSSI VASE

The beauty and golden colour of honeycomb inspired the creation of this Rayons bowl in gold lustre crystal.

In 1933, René Lalique created this “hero” piece in clear glass. Lalique recently launched a variation of the Mossi vase in midnight blue crystal.

CLEAR AND GOLD-STAMPED ABEILLES DECANTER 2015 VINTAGE EDITION The stopper is illuminated with gold-stamped crystal adorned with ﬁnely chiselled bees. The bee is one of René Lalique’s biggest inspirations and the symbol of order, social organization and virtue, as well as an emblem of resurrection and immortality.

BLUE LAVENDER FLORA BELLA VASE

MERLES ET RAISINS MIRROR

On 21 March 1930, the ﬁrst day of spring, René Lalique designed the Flora Bella bowl in glass. In 2015, Lalique recreates this astonishing piece in crystal.

Merles et Raisins is one the most famous Lalique designs originally adorning the Orient Express. Today, the Maison has incorporated this motif into this elegant and timeless mirror.

| DECORATIVE ITEMS

BLUE PLATINA XXL TOURBILLONS VASE In 1926, at the peak of his career, RenĂŠ Lalique created the Tourbillons vase. In 2015, Lalique gives a fresh look to this iconic piece with a vibrant blue patina, new shapes as well as new sizes and functionalities.

| COSTUME JEWELLERY

MUGUET PENDANT GOURMANDE RING

This emblematic flower of Lalique is a symbol of happiness and renewal. Well represented in René Lalique’s work, the lily of the valley is a beloved motif of Lalique jewels.

The Cabochon ring has become an iconic jewellery piece since its creation by René Lalique in 1931. Known today as Gourmande, the ring is a symbol of sweet indulgence available in a variety of colours and generous lines.

ARÉTHUSE PENDANT

MASCOTTES CUFFLINKS

This famous Masque de Femme motif created by René Lalique in 1935 for the Coutard fountain was inspired by the myth of Arethusa nymph and Alpheus. It is today set on a jewellery line as a tribute.

In a fusion of steel and crystal, this cufflink collection features the famous designs of the 27 radiator cap motifs René Lalique created for the most prestigious cars between 1925 and 1931.

| FINE JEWELLERY

VESTA PENDANT This winged motif evokes Vesta, phoenix woman and goddess of the sacred ﬁre. In 2012, Vesta became the symbol of rebirth and femininity for Lalique jewellery.

SOLEIL DE GAÏA RING

PSYCHÉ DE JOUR PENDANT

To pay tribute to Gaïa, goddess of earth, Lalique created two versions of the sun motif: the day adorned with yellow gold and the night dressed in white gold.

As an iconic ﬁgure of Lalique, the butterflies were a genuine source of inspiration for René Lalique who represented many of them as a tribute to this flying beauty. This version is adorned with precious stones and lacquer to show its eternal lightness.

| PERFUMES

AMETHYST ÉCLAT Amethyst Éclat, a bright and radiant new fragrance enhanced by a sparkling peony, is enriched with majestically blossoming floral aromas, capturing the luscious berry and floral scent of amethyst with more intensity.

VOYAGE DE PARFUMEUR DIFFUSERS

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

The Voyage de Parfumeur range by Lalique invites you on an olfactory odyssey through the world of exclusive scents and stunning stopovers.

PLUME Inspired by the Petites Feuilles bottle created by René Lalique in 1910, the crystal collectible bottle of the 2015 Limited Edition containing the Perfume Lalique de Lalique is adorned with a lavish plumage.

ENCRE NOIRE

L’AMOUR

Encre Noire is written into a bottle inspired by the Biches inkwell created by René Lalique in 1913. Inside the bottle is an astonishingly fresh and woody masculine fragrance where vetiver dominates majestically over a cashmere-woody and musky dry-down.

Lalique offers women an olfactory declaration of love and pays a radiant and moving tribute to femininity. The fragrance is built on rosebud, gardenia, cedar and sandalwood.

| PERFUMES

OCEANS â&#x20AC;&#x201C; SWALLOW CANDLE VASE Lalique has captured the euphoria of discovery and travel in a crystal candle vase scented with ambergris fragrances.

| WORLDWIDE

LALIQUE BOUTIQUES EUROPE PARIS 11 RUE ROYALE, 75008 PARIS, FRANCE TEL. (+33) 1 53 05 12 81 SHOP.PARIS.RUEROYALE@LALIQUE.FR

PARIS BOUTIQUE LALIQUE JOAILLERIE 20 RUE DE LA PAIX, 75008 PARIS, FRANCE TEL. (+33) 1 42 65 03 04 SHOP.PARIS.RUEDELAPAIX@LALIQUE.FR OPENED IN 2014

PARIS PRINTEMPS HAUSSMAN 64 BOULEVARD HAUSSMAN 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

ZURICH

KIEV

TALSTRASSE 27 8001 ZURICH, SWITZERLAND TEL. (+41) 44 212 02 22 BOUTIQUE.ZUERICH@LALIQUE.CH

BASSEINAYA STREET 4 MANDARIN PLAZA 1004 KIEV, UKRAINE TEL. (+38) 44 235 11 60 WWW.DIO.UA

GENEVA 65 RUE DU RHÔNE 1204 GENEVA, SWITZERLAND TEL. (+41) 223 123 666 CONTACT@TOUZEAU.COM

UZBEKISTAN

LONDON

MATBUOTCHILAR STREET 17 70000 TASHKENT, UZBEKISTAN TEL. (+998) 712 320 630 SHEDEVR185@YANDEX.RU OPENED IN 2014

47 CONDUIT STREET, LONDON W1S 2YP UNITED KINGDOM TEL. (+44) 0 207 292 0444 SHOP.LONDON.CS@LALIQUE.FR

NORTH AMERICA

LONDON HARRODS 2ND FLOOR 85–135 BROMPTON ROAD LONDON SW1X 7XL UNITED KINGDOM TEL. (+44) 0 207 730 1234

BERLIN KADEWE, 4TH FLOOR TAUENTZIENSTRASSE 21–24 10789 BERLIN, GERMANY TEL. (+49) 302 186 883 SHOP.BERLIN.KADEWE@LALIQUE.FR

FRANKFURT

MUSÉE LALIQUE – 40 RUE DU HOCHBERG 67290 WINGEN-SUR-MODER, FRANCE TEL. (+33) 3 88 89 08 14

GOETHESTRASSE 37 60313 FRANKFURT, GERMANY TEL. (+49) 6 921 997 770 SHOP.FRANKFURT@LALIQUE.FR

MONTE CARLO

MOSCOW

17–19, AVENUE DE MONTE-CARLO 98000 MONTE CARLO, MONACO TEL. (+377) 93 25 05 02 LALIQUEMC@MC-MONACO.COM

NIKOLSKAYA 19/1 MOSCOW, RUSSIA TEL. +7 (495) 933 33 74

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NEW YORK 609 MADISON AVENUE, NEW YORK 10022, NEW YORK, USA TEL. (+1) 212 355 6550 NEWYORK@LALIQUE.COM

BEVERLY HILLS 238 NORTH RODEO DRIVE CALIFORNIA 90210 BEVERLY HILLS, USA TEL. (+1) 310 271 7892 BEVERLYHILLS@LALIQUE.COM

BAL HARBOUR 9700 COLLINS AVENUE, SUITE 103 FLORIDA 33154 BAL HARBOUR, USA TEL. (+1) 305 537 5150 BALHARBOUR@LALIQUE.COM

CHICAGO 222 MERCHANDISE MART PLAZA, SUITE 6129 ILLINOIS 60654, CHICAGO, USA TEL. (+1) 312 867 1787 CHICAGO@LALIQUE.COM

| WORLDWIDE

LAS VEGAS

HONG KONG / LALIQUE MAISON

MUSCAT

THE SHOPS AT CRYSTALS, 3720 LAS VEGAS BLVD SUITE 266, NEVADA 89109, LAS VEGAS, USA TEL. (+1) 702 507 2375 LASVEGAS@LALIQUE.COM OPENED IN 2014

SHOP 104, RUTTONJEE CENTRE, 11 DUDDELL STREET, CENTRAL HONG KONG, HONG KONG TEL. (+852) 34 886 028 CUSTOMERSERVICE@LALIQUEASIA.COM

G-34, ROYAL OPERA GALLERIA ROYAL OPERA HOUSE SHATTI AL QURUM, MUSCAT, OMAN TEL. (+968) 2440 4240 LALIQUE@OMANTEL.NET.OM

ASIA

IFC SHOP 2025, PODIUM LEVEL 2 IFC MALL, CENTRAL HONG KONG, HONG KONG TEL. (+852) 2234 7333 CUSTOMERSERVICE@LALIQUEASIA.COM

MUMBAI, SANTACRUZ (EAST) G.10.11. GRAND HYATT PLAZA 400055 MUMBAI, SANTACRUZ (EAST), INDIA TEL. (+91) 226 741 4400 ABHIJEETLALIQUEDAUM@GMAIL.COM

NEW DELHI SHOP 201, DLF EMPORIO MALL 4 NELSON MANDELA MARG, VASANT KUNJ 110070 NEW DELHI, INDIA TEL. (+91) 114 055 0880 CHRISSPLIID@GMAIL.COM

BANGALORE UNIT 103, 1ST FLOOR THE COLLECTION AT THE UB CITY # 24 VITTAL MALLAYA ROAD 560001 BANGALORE, INDIA TEL. (+91) 804 211 0024 GLITTEX@YAHOO.COM

SINGAPORE 333A ORCHARD ROAD, #01–16 MANDARIN GALLERY, 238897 SINGAPORE TEL. (+65) 61 002 124 CRYSTAL@LALIQUE.COM.SG

HONG KONG / LALIQUE LOUNGE M1, BASKERVILLE HOUSE, 13 DUDDELL STREET, CENTRAL HONG KONG, HONG KONG TEL. (+852) 2259 6641 CUSTOMERSERVICE@LALIQUEASIA.COM

HONG KONG

HONG KONG SHOP 2036-2036B, LEVEL 2, ELEMENTS 1 AUSTIN ROAD WEST, KOWLOON, HONG KONG CUSTOMERSERVICE@LALIQUEASIA.COM

SHANGHAI SHOP 42, LEVEL 2, PHASE 2, IFC MALL 8 CENTURY AVENUE, SHANGHAI, CHINA TEL. (+86) 21 5034 2504

SHANGHAI SHOP 429, LEVEL 2, IAPM, 999 HUAI HAI ROAD MIDDLE SHANGHAI, CHINA TEL. (+86) 21 5456 1243

JAPAN ROYAL BOUTIQUE, RIGHA ROYAL HOTEL 1F 5-3-68 NAKANOSHIMA, KITA-KU 530-0005 OSAKA, JAPAN TEL. (+81) 6 6449 0663

MIDDLE EAST MANAMA ASHRAFS W.L.L, OLD PALACE ROAD HOORA, BUILDING 63, ROAD 339 BLOCK 318, PO BOX 62, MANAMA, BAHRAIN TEL. (+963) 17 53 44 41 GIFTWARE@ASHRAFS.COM.BH 101

DUBAI DUBAI MALL, FIRST LEVEL STAR ASTRIUM PO BOX 30069 DUBAI, UAE TEL. (+971) 433 987 82 LALIQUE.DUBAIMALL@MAILMAC.NET

DUBAI TDESIGN, EMAAR BOULEVARD, DUBAI, UAE TEL. (+971) 436 385 84 TDESIGN.BOULEVARDCENTRAL-DUBAI @MAILMAC.NET

ERBIL SHORESH STREET FACING ZEIN TELECOM, ERBIL, IRAQ TEL. (+964) 75 08 99 34 18

AFRICA CASABLANCA 13 BOULEVARD ABDELATIF BEN KADOUR QUARTIER RACINE, CASABLANCA, MOROCCO TEL. (+212) 522 94 29 91 INFOS@LALIQUE.MA

| FAMOUS WORDS

“Lalique is one of the artists most accomplished at placing beauty in the context of contemporary life.” RENÉ CHAVANCE, JOURNALIST AND ART CRITIC, 1928

TIMELESS SINCE 1888

PUBLISHER: Lalique SA, 11 Rue Royale, 75008 Paris, France

EDITORIAL CONSULTANT: Regina Maréchal

CIRCULATION: 34,000 ex.

CHAIRMAN AND CEO OF LALIQUE: Silvio Denz

ART DIRECTION: Florian Spierling, Geyst AG, Zurich

PRINTED IN JANUARY 2015

HEAD OF COMMUNICATIONS: Cerise Guisez

ACCOUNT EXECUTIVE: Florian Walz, Geyst AG, Zurich

EDITION: 2015

TRANSLATIONS: Peter Thomas Hill (English),

PROOFREADING: Lektorama, Zurich

E-MAIL: communication@lalique.fr

Diane Müller-Tanquerey and Boris Muller (French)

PRODUCTION MANAGER/LITHOGRAPHS: Geyst AG

MANAGING EDITOR: Annemarie Mahler

PRINT: Bechtle Druck, Stuttgart

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| INTERIOR DESIGN

Introducing The Macallan No 6. The finest single malt whisky matured in only first fill sherry seasoned oak casks handcrafted by the master craftsmen from a single Spanish cooperage, Jerez de la Frontera. A celebration of richness and spice beautifully encased in an exquisite Lalique crystal decanter, for the truly selective. Available in limited quantity. Please savour resPonsibly. Follow us on theMacallan & the _ Macallan l’abus d’alcool est dangereux Pour l a santé. a consoMMer avec Modér ation.

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| INTERIOR DESIGN

VESTA Ring in white gold, diamonds and mother-of-pearl

NEW FINE JEWELLERY BOUTIQUE 20 RUE DE LA PAIX, PARIS 2 ND + 33 (0)1 42 65 03 04

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