Inside Lalique’s First U.S. Flagship “Maison d’Artiste” Revealing its Best-Kept Secrets
March 26, 2025, Luxury Retail, Lalique New York, Maison d’Artiste
Touch the Quartz-Like Vases. Taste the Cognac. Live the Lalique Legend!
The champagne flutes catch the late afternoon light first. As sunlight filters through the leaded windows of 21 East 63rd Street, hundreds of crystal facets throw prismatic patterns across the restored oak paneling. A champagne coupe designed in 1928 for the Orient Express sits beside a vase that appears carved from volcanic rock. This is Maison Lalique’s new American flagship, but it feels more like the private gallery of an obsessive collector—which, in many ways, it is.
The Mansion Reborn
Two years ago, Silvio Denz, Chairman of the Lalique Group, walked through what was once the Chopard Mansion. The 1884 Beaux-Arts townhouse, with its timeworn grandeur, still had the air of old Manhattan. Its cracked plaster and antiquated wiring whisper stories of the city’s gilded past. But Denz saw something more.
“New York deserves more than a boutique,” he says, gliding a finger over the surface of a crystal Bacchantes vase. “It deserves immersion.”
Thus began an ambitious transformation. A multimillion-dollar, five-year restoration that preserved the mansion’s historic bones while infusing it with Lalique’s DNA. Grand fireplaces now frame glass sculptures by James Turrell. A sweeping staircase, adorned with a hand-painted mural by Chris “DAZE” Ellis, transforms the journey between floors into a contemporary fresco of Lalique’s signature themes—women, flora, and fauna—set against the Manhattan skyline.
In what was once a dining room, 62 crystal swallows explode across the ceiling, frozen mid-flight in a dazzling, weightless ballet. This is a love letter to light, texture, and motion.
The Alchemy of Crystal
One floor up, a masterpiece of modern craftsmanship waits in a softly lit gallery. It is the Géode vase, the crown jewel of Lalique’s new Terramineral collection. At first glance, its jagged textures suggest something excavated, ancient—more rock than crystal. But as Creative Director Marc Larminaux adjusts the spotlight, something extraordinary happens: its rough, volcanic surface melts into luminous amber, revealing crystal veins that glow like trapped fire.
This interplay between nature and artifice is at the heart of Lalique’s 2025 creative direction. The Terramineral line explores raw, geological textures transformed through the alchemy of molten crystal, with pieces ranging from:
- Table lamps that cast shadows like fractured quartz
- Scent diffusers crafted from volcanic stone
- A “Manhattan” necklace in white gold and diamonds, mapping the city’s skyline
Each piece is a study in contrast—primitive yet impossibly refined.
This philosophy is not new to Lalique. It has defined the brand since René Lalique, a visionary of the Art Nouveau and Art Deco movements, first experimented with combining glass and precious metals in the early 20th century.
More than a century later, his artisans still follow the same painstaking process. In Wingen-sur-Moder, the Alsatian village where Lalique’s sole manufacturing site has stood since 1921, glassblowers work in the 1,400°C heat of roaring furnaces. A single vase requires 25 hours of furnace work, six rounds of polishing with beechwood ash, and three days of acid-etching to achieve its signature texture.
“No machine can replicate this,” says master glassblower Jacques LeMaire, who has been shaping crystal for 42 years. As he lifts a fresh piece from the kiln, light catches in its fissures, shimmering like quartz veins in ancient rock.
New York, Lalique’s Eternal Muse
Though Maison d’Artiste is Lalique’s first standalone flagship in the U.S., the brand’s love affair with New York dates back to 1912, when René Lalique’s glass panels adorned the iconic Coty Building on Fifth Avenue. Today, his legacy glows across the city—from the Bacchantes-adorned bar at Restaurant DANIEL to the 30-foot Lalique chandelier suspended in the lobby of Central Park Tower, the tallest residential building in the world.
But nowhere is the brand’s influence more theatrical than here, at Maison d’Artiste.
A chandelier of 1,788 crystal leaves, each one meticulously cast, spirals through the townhouse’s grand salon, catching the golden-hour light like an enchanted forest. The jewelry salon upstairs is an intimate jewel box of delicate crystal necklaces, brooches, and rings—each piece a direct descendant of René Lalique’s groundbreaking work as a master jeweler of the Belle Époque.
The Veranda d’Essences, bathed in natural light, offers an olfactory journey through Lalique’s legendary perfumes. Here, visitors can discover limited-edition crystal flacons filled with scents crafted by the world’s most renowned perfumers.
And then there is the Bar & Lounge on the fourth floor, where Lalique’s artistry extends into the world of fine spirits. Here, guests can sip Lalique x The Macallan whisky or Lalique co-branded cognac, surrounded by decor inspired by the golden age of the Orient Express.
But beyond its luxury, Maison d’Artiste is a creative hub. The Lalique Interior Design Studio (LIDS)—the first of its kind outside Paris—invites architects, designers, and collectors to collaborate on bespoke crystal installations for private residences and hotels.
A Grand Debut
The Maison d’Artiste debuted with the kind of glamour one expects from a brand that has spent over a century defining elegance. For its inauguration, 250 distinguished guests gathered for an exceptional evening. Including none other than 50 Cent, who raised a glass amid the dazzling crystal surroundings.
As night fell over East 63rd Street, the townhouse’s windows glowed like amber lanterns against the Manhattan skyline. Inside, crystal shimmered, candlelight flickered, and the essence of Lalique—part history, part alchemy, and all artistry—lived on.
Visiting Lalique New York, Maison d’Artiste
📍 21 E 63rd St, NYC | 📅 Tue-Sun 10AM-6PM
💎 Ask for the “Collector’s Tour” to see archival pieces
🍸 Don’t miss the Lalique x Ferrand cognac in the lounge
“In crystal, as in cities,” Denz reflects, “it’s the flaws that make perfection interesting.”
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