Folia collection by Noé Duchaufour-Lawrance for Saint-Louis Crystal

January 30th, 2017 by retail design blog

Saint-Louis Crystal, the oldest manufacturer of glassmaking in Europe has presented the ‘Folia’ collection; a celebration of the radiance of crystal and the strength of wood. Created by Noé Duchaufour-Lawrance, the collection of twenty-five pieces reveal the traditional know-hows recognized of Saint-Louis to result in tableware, bar ware, candle sticks, vases and lighting creations. In combination with the dynamism of crystal paired with contemporary forms and wood, Folia is an homage to the Moselle forest in France, in which Saint-Louis is based.

The cut of the Folia crystal is inspired by a leaf that can tessellate to infinity or fly onto the crystal, as though a wind of folly was blowing.’ – Noé Duchaufour-Lawrance. The versatile collection is a surprising approach for Saint-Louis with a singular aesthetic sense. Noé Duchaufour-Lawrance chose the cut of the Folia crystal being influenced by a leaf. This led to the geometric, regular and contemporary forms. The three lighting creations is a rare fuse between crystal and ash wood. The crystal section is adorned with bevel-cuts from the geometric rich star- shape top to the bottom part that is in wood. These cuts evoke the organic yet graphic silhouette of leaves and their reaction projects a mesmerizing play of light and shadow in every environment.

The incorporation of furniture into the series is a new approach for Saint-Louis. With Folia, the glassmakers introduce their very first lighting furniture pieces in ash wood, including a bookcase, console and a side table. The bookcase and console sees the Folia crystal lamp installed into refined wooden frame, while the dual-function side table features a wooden top and when removed, it can transform into a footed vase or champagne bucket.

‘The choice of wood was inspired by the storage shelves in untreated timber seen all over the workshop. The contrast, like a burst of warmth, highlights the radiance of the crystal. The oval that I designed is, for example, an allusion to the glory hole, or the mouth of the kiln from which the glassmaker gathers the molten crystal onto his blowpipe.’ – Noé Duchaufour-Lawrance

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