The Veronese story begins in 1931 – the heyday for the decorative arts in Paris. Following the launch of the first International Exposition of Modern Industrial and Decorative Arts in 1925, the City of Light witnessed an ever-increasing demand for distinct yet modern high-end designs. The late Mr. Barbier, passionate about the decorative arts, recognized the opportunity and established The House of Veronese. Seeing the potential for glass blowing to meet the demands of the 1930s market for exclusive modern design, Mr. Barbier set out to create Murano glass decorative art within the style of modern French design. Barbier’s desire to influence art with art inspired him to name his company The House of Veronese. Paolo Veronese was an influential Renaissance painter who made a significant impression on the world of art and design. His impact on design is unique, since it only materialized around 400 years after his death when in the 1920s his rendition of a distinct glass vase in his painting “The Annunciation” inspired glass blowers to actually create the vase. Since then, various artists have turned to Veronese’s vase for inspiration. Just as Paolo Veronese’s art influences them to innovate, The House of Veronese influences the imagination of the Murano artisans.
The Early Years with Andre Arbus
In the early years, Barbier’s determination to fuse the prestige of the traditional Murano glass techniques with modern French design inspired him to work closely with renowned architects such as Andre Arbus – a leader in the field of 20th century decorative arts with a reputation for innovative designs. Given Arbus’s renewed interest in the Neoclassical style – but with a fresh twist – and his love of luxurious materials, he was a perfect match for Veronese.
With Arbus leading the creative direction on all his projects and The House of Veronese driving the design process, innovative French style decorative arts incorporating fine Murano glass furnish the many mansions, ships and landmark buildings for which Arbus received commissions. Over the years, to assure the quality of his designs, Arbus chose to work closely with Veronese on all his projects involving Murano glass. It was during this period that The House of Veronese created for Arbus such original and influential designs as the 1938 monumental Cascade chandelier designed for Ms. Peterson’s residence, the Murano glass ceilings of the Provence luxury cruise liner’s dining room and cabins in 1951, the coffered ceiling and obelisks for the Bretagne luxury cruise liner in 1952, and chandeliers and sconces for Arbus’s own mansion, including his famous ”Jets d’eau” chandelier.
Talented scenographer (Colbert, Grand Palais, Musée d’Orsay, Hermes, Baccarat), he has developed over the years a significant interior architectural activity for prestigious clients (Hédiard, Rochas, Guerlain, Remy Martin, Piper Heidseck, Bernardaud, Baccarat, Café Marly, Galeries Lafayette, Lacoste …). He also created lines of furniture and lighting (First Time).
While maintaining its freelance status and personal activities in the field of object creation, decoration or scenery, he is now the artistic director of tableware for the Hermes group (including Saint Louis, Puiforcat and Hermes Table ). Self-taught and deeply attached to his roots Touraine, he said that the art of color comes from his grandfather: “It was a great hunter, who had a taste of nature and plants”.
Tristan Auer is a trained interior designer, graduate from ESAG in Paris since 1996. He collaborated with Christian Liaigre, then with Philippe Starck for four years during which he worked on numerous projects throughout the world. It was with Christian Liaigre that he produces his first large scale international project: The Mercer Hotel in Soho New York. In 2002, Tristan Auer founded his agency. Karl Lagerfeld contacted him directly for private residential projects. The Master of rue Cambon also commissioned Tristan Auer with the creation of the new haute-couture salons at the very place of the mythic salons Chanel. He completed the boutique Nina Ricci Avenue Montaigne Paris as well as interior design identity for all the outlets of the famous French couture house. Other public projects followed : a Hotel in Cyprus Island – Almyra – designed in a restored 70’s building, the Sofitel Hotel on the French Riviera, Jules Hotel in Paris, La Sivolière in Courchevel 1850, and upcoming Hotel Les Bains in the Parisian iconic nightclub Les Bains Douche and Palace Hotel de Crillon place de la Concorde. Today, his projects include houses for leading business and entertainment clients, worldwide. He also contributes to the development of the image of established luxury hotel and real estate brands, always bringing French «savoir faire».
The WEGENER & MASQUIDA tandem is the symbol of drive, open dialogue, common talent, and a will to move further forward at all times.
For the past 20 years, colourist and designer Ute WEGENER and interior architect Didier MASQUIDA have been “writing” stories and concepts in the field of design, achieving interior architecture and design projects in which they conjugate the words “design”, “identity”, “modernity” and “materials” with “today”.
After co-founding their agency “Au-delà de l’idée” in 1990, WEGENER & MASQUIDA soon started imparting their own personal imprint to their successive projects, combining skilled know-how and cutting edge technologies. The tandem’s talent convinced many companies and brand (Arije, Guy Ellia, Hennessy, Yohji Yamamoto, Midec, Narcisso Rodriguez, Parfums, Première Vision, and others) to give them a free hand and allow their spirit to run unrestrained. VERONESE master glassblowers’ skills and experience were bound to attract the pair. The Nymphea mirror and Idole floor lamp were born from that collaboration, as were other contributions to special projects.
Reda Amalou, trained and qualified in 1990 as an architect in London at the university of east london. in 1997 he founded aw² architecture workshop in paris. In 2006, Reda Amalou was elected as a member of the board at afex (french architects overseas) and as acting vice president of the association.
Raphaël Navot，born in Jerusalem (Israel) in 1977, is a multidisciplinary non-industrial designer, live and work in Paris, France. Graduated in ‘The Design Academy’ Eindhoven, The Netherlands. Navot works focus on custom made design and made to measure interiors combining traditional methods with contemporary ‘know how’. Various clients and collaborators: Cappellini, Silencio club Paris (in collaboration with David Lynch), Venini, Tollman’s – Alessi, Molteni/Dada, Design Museum Holon, Swarovski, Hearts on Fire, Arthus Bertrand, Mudam…
Piet Hein Eek was born in Holland in 1967 and was graduated from the Academy for Industrial Design in Eindhovan in 1990. While at the Academy, he gained attention for his exam project Scrap Wood Cupboards. He sold all of the cupboards and used the money to start his own design studio in 1992. The following year he went into partnership with fellow designer Nob Ruijrok, establishing Eek en Ruijgrok v.o.f. Eek first developed an interest in old materials after restoring a cupboard for his sister; he thought the old wood looked nicer than the new. He has built his business around old materials, saving these discarded pieces of wood and working outside of the circuit of mass production.
Founded in 1979 by French interior architect Pierre-Yves Rochon, the PYR agency, with offices in Paris and Chicago, is renowned over the world for its interior architecture and its creativity in the field of luxury hotels and restaurants. Its philosophy is based on the personalisation of each of its projects and the creation of an atmosphere perfectly suited to the environment, comfortable and yet refined, celebrating elegance and warmth.
Amongst Pierre-Yves Rochon’s most recent prestigious achievements are the Four Seasons, the Peninsula in Shanghai, the Shangri-La in Paris, the Hermitage in Monaco and the Grand Hôtel du Cap in Saint-Jean Cap Ferrat. He also designed the concepts for the restaurants of some of the most innovative chefs on the planet, such as Joël Robuchon, Alain Ducasse and Paul Bocuse.
Architect, artist and designer, Patrick Naggar received his diploma in Architecture (DPLG) from the Ecole des Beaux-Arts and a Master degree in Urban Studies from the University of Paris VIII. Naggar considers architecture as a central knowledge, encompassing interior design, furniture and product design, a catalyst of ideas, forms, plastic and artistic research, in order to create spaces and objects for our environment. Bringing myth and science, ancient and modern cultures, the functional and the symbolic closer together, mixing noble and poor materials, his designs all tell us a story. Patrick Naggar has been showing in France since the mid-eighties, designing collections for Ecart International, Neotu, Tectona and Artelano. He has created numerous architectural and design projects in Europe and the US : prestigious private residences, apartments for art collector, art galleries or restaurants. He is also present in the collections of the Musée des Arts Décoratifs, les Amis du Musée National d’Art Moderne (Pompidou), le Mobilier National in France, the Brooklyn Museum in the US and has been published by numerous European and American magazines including House & Garden, Elle-Decor, Vogue, Maison Française, Beaux-Arts, Progressive Architecture, Intramuros, NY magazine. Dialogue between Art and Science, blending of cultures and a strong poetic dimension are combined in his work to form an elegant modern language. Naggar was awarded in 2008 the Prix Special du Jury by the Centre du Luxe et de la Creation.
Patrick Jouin was born in Nantes, France, in 1967. He got his diploma “ENSCI-les Ateliers”, Ecole nationale supérieure de création industrielle, in 1992 in Paris. Designer for the “Compagnie des Wagons-lits” and for “tim thom”, THOMSON multimedia, with the Art Direction of Philippe Starck, he collaborated with Philippe Starck’s studio in Paris from 1995 to 1999. Designer for Thomson, Ligne Roset, Renault, Cassina, Murano, Kartell, he was awarded with the “Designer of the year” prize in 2003 for “Maison & Objet”. He collabotated with Alain Ducasse designing many restaurants such as the Alain Ducasse au Plaza Athénée, Be boulangerie-epicerie, in Paris, and Mix New York restaurant.
Olivier GAGNERE lives and works in Paris, drawing the living substance of his inspiration from the traditional arts and crafts of France, China and Japan. Playing with materials and shapes with the refinement of a virtuoso, he creates objects and atmospheres whose magic and sober modernity delights our daily lives.
He has worked in collaboration with Ettore Sottsass & the Memphis Group, designed collections for Bernardaud, Saint Louis and Baccarat, and won acclaim for his achievements at Café Marly, the Lido Nightclub and Pierre Gagnaire’s restaurant in Seoul. Initiated in 2002, his collaboration with VERONESE has given birth to several collections of pendant lamps, wall lights and table chandeliers: the CAIGO 1 and 2 as well as the MIKADO lines have never ceased to be an all-time worldwide success.
His works are exhibited in museums throughout the world, including the New York MOMA, the Museum of Decorative Arts and Georges Pompidou Centre in Paris, and the Museum of Modern Art in San Francisco.
In 2003, designer Maurizio Galante teamed up with trend forecast analyst and designer Tal Lancman, to form INTERWARE. Their crossover vision transverses the different design disciplines, from fashion to furniture, interiors, lights, food, architecture and gardening. As the duo moves freely between disciplines, they revisit domains equipped with new understandings, insights and observations. The process results in a multi-faceted concept, with a subtle balance between the pragmatic and the irrational.
The team follows all steps of design and production, from trend research, to all aspects of marketing, including definition of brand image, strategy, communication, packaging, and presentation.
Maurizio Galante and Tal Lancman have curated several design exhibitions, and in 2003 have been assigned design curators for MUDAM, Museum of Modern Art Grand–Duc Jean, Luxembourg, conceptualizing and collaborating on content selection for the museum’s store and restaurant, researching and collaborating with artists, designers, and artisans, and developing installations for special events.
Maurizio Galante participates in numerous exhibitions, and his creations are presented in the permanent collections of many of the world’s most renowned museums.
Maurizio Galante and Tal Lancman have presented their work and installations at the MUDAM Museum of Modern Art Grand-Duc Jean, Luxembourg, Fondation Cartier Pour L’art Contemporain, Paris, MOMA Museum of Modern Art, New-York, and Pitti Immagine, Palazzo Pitti, Florence. A retrospective exhibition “INTERWARE, Design Transversal” was presented at : Saint Etienne’s museum of art and industry, Triennale di Milano, Sao Paulo Design Week, Beijing Design Week, and MUDAM MUDAM Museum of Modern Art Grand-Duc Jean, Luxembourg.
Projects collaborations : BACCARAT, BOFFI, CERRUTI BALERI, CHOPARD, CRAFT LIMOGES, LA FEDERATION FRANCAIS DE LA COUTURE, ELIPSON, FELISSIMO JAPAN, FONDATION CARTIER POUR L’ART CONTEMPORAIN, HC EDITIONS, ITEMBA, ITOCHU JAPAN, LA POSTE France, LASVIT, LIMITED USA, L’OREAL PARIS, MUDAM MUSEUM OF MODERN ART Luxembourg, MUSSI, NYNPHENBURG PORZELLAN, OPINION CIATTI, REEBOK, SHISEIDO JAPAN, TAI PING, TERENZI, TERZANI, VERONESE.
Laurence BRABANT lives and works in Paris. A graduate of the Duperré School in Paris, she obtained a Fiacre scholarship for her research project “Inanimate Objects” and self-published her blown glass designs. Her “Petites leçons de choses” pieces, will be joining the FNAC, (National Contemporary Art Collection). On a resident artist’s placement at the Villa Kujoyama in Kyoto (Japan), in partnership with Baccarat she developed the “MANU-facture” project. She is particularly skilled in transparency, glass and crystal, making a name for herself in the fields of the table arts with a poetic flair, creating tailored lighting solutions and unique pieces. Among others, she works with Christian Tortu, Salviati, Cristallerie Saint Louis, Louis Vuitton, Galeries Lafayette, Glenmorangie, Baccarat and Starck for JP Gaultier.
For Veronese, she has created the BIJOU BIJOU collection, a collection presented during the 2004 Designer’s Days venue. BIJOU BIJOU is a true gem of a collection, with its immensely long sautoir chains and swing-blown “jewellery” that can be combined in vibrant sparkles of light dangling around you, as if around your neck. The sautoir designed for the collection’s centrepiece may be complemented with additional lighting elements.
Hilton Mc CONNICO is a multi-faceted artist, whose creative work gives birth to “story-telling” scenographies, objects with unusual designs, expressive graphics, impish words, architecture playing on optical effects and the magic of light… in brief sheer dream and fantasy.
He has lived and worked in Paris since 1965. He first worked in fashion design for famed fashion houses, then turned to the cinema, creating the sets of twenty or so feature films, including François Truffaut’s “Vivement Dimanche”. In 1983, he won the Best Set Design Award from the French Film Academy for Jean-Jacques Beinix’s “La Lune dans le Caniveau”.
His humorous scenographies filled with fantasy have won him worldwide acclaim and made him one of the most accomplished artists of his generation. His work includes the Galeries Lafayette store window displays and many exhibitions for Hermès. He has also designed the interior architecture of the Hermès Tokyo and Seoul museums.
Hilton McConnico has won many awards. He has been designing collections since 1988 for Arthus-Bertrand, Cristalleries de Saint Louis, Daum, Lampes Berger, Point à la ligne, Toulemonde Bochart, Veronese, and others. Some of his works, among which the famous Daum “Cactuses” and the “Chilli Pepper” carpets designed for Toulemonde Bochart, are part of the permanent art collections of a large number of museums across the world.
Interior designer, Didier Gomez knew a very big success from the beginning of his career in 1978, date to whom he creates the line of furniture, shops and the engineering consulting firm ” First Time “. At the same time, he assumes the artistic direction of the company Hogonet. He opened Didier Gomez in 1985 with a team of 15 persons constituted by architects and by interior designers, which allows him to assume global management of every project to harmonize totally the constructive and esthetic choices up to details. The care and the implication brought in this search for details goes to the creation of the furniture, the lamps, the fabrics, the carpets.
In the private field, he realized Pierre Bergé’s residences, Harrison Ford and Daniel Auteuil. He realized numerous head offices, offices, shops and concepts worldwide for: Yves Saint Laurent, Jean Paul Gaultier, Dominique Morlotti, Harel, Rodier, Mauboussin, Cartier, Rolex.
In heavy architecture, he assumed concepts of factories, office buildings, and some exceptional projects such the Carrousel du Louvre for which he was in charge of the Artistic direction, or still, for Pierre Bergé, the meeting room and the office to the Bastille Opera.
His field of activity continues to cover the various sectors of the plastic creation, it dedicates itself to the design (Ligne Roset, Cinna, Artelano, Macé, Steelcase Strafor, Sentou, Conran shop)
Born in 1971 in Jerusalem (Israel). Studied at Bezalel Academy: School of Art and Design in Jeruzalem (1999-2001) at 2001 he moved to the Netherlands where he graduated in the Gerrit Rietveld in Amsterdam in 2002 (BA in industrial/product design). After graduating he formed his studio and a collaboration platform in Amsterdam. In 2005 the studio moved to Paris until this present day. His work stretches from space to objects (and everything in between) and in various methods, from classic craft work through cutting edge technologies. The works of Dan can be found in various collections around the world such as the New Design Museum in Chicago, the Museum of Art's 'Visual Delight' in Philadelphia; the Modam Museum in Luxembourg, FNAC Foundation in Paris, the V&A in London and the design museum in Holon-Israel. Since 2010 Dan has started collaboration with the designer Lucie Koldova until present day. When asked to define his work, Dan answers: “definitions are our limits; I would like to consider myself as an explorer and adventurer.
French-born Christian Biecher is an accomplished international architect and designer. He obtained his Master’s Degree in Architecture from the L’Ecole d’Architecture de Paris – Belleville, studying with one of his mentors, the influential Henri Ciriani. He graduated in 1988 and started his whirlwind international career, taking him from Europe to Asia, the US, and back again.
Biecher, as a graduate student, began his career with famed Bernard Tschumi, gaining a wealth of both practical and aesthetic knowledge from Tschumi. While working closely with Tschumi in his Paris and New York offices, Biecher also taught graduate seminars at the prestigious Columbia University School of Architecture in New York. Working between New York and Paris provided Biecher with a depth of experience seldom offered a young architect at this stage in his career. It was this experience that enabled him to open his own agency in Paris in 1992.
Biecher has worked extensively throughout Europe and Asia. His design of the Parisian restaurant Korova, the hip Rue Saint-Honore Joseph store, Issey Miyake’s Tokyo headquarters, and his new Pantone® backpack are just a few of his designs that have amassed critical acclaim. Biecher’s breadth of work and influence, in both design and architecture, are remarkable. He has been awarded influential projects such as the thoroughly modern Aude County Library, the extension of the Henin-Beaumont Hospital in Pas-de-Calais, the new restaurant for the renowned Louvre, and the interiors of numerous shops and buildings throughout the world.
In addition, an exhibit of his work was showcased at the Museum of Decorative Arts in Paris, celebrating his receiving the French equivalent of “designer of the year” in 2002.
From building and construction to architecture and interiors—and now furniture, Biecher’s sense of technology and innovation, coupled with a sophisticated sense of material and application, makes him a leader in the industry. His use of both form and space makes his designs unique and distinctive, bridging a gap between contemporary architecture and industrial design.
Chantal Thomass began his career in the late 60’s at the prestigious fashion house Dorothée Bis before creating, shortly after its own brand named Ter et Bantine. In 1975, the seamstress created his eponymous company, and presented his first collection the following year. Chantal Thomass revolutionizes the ready-to- wear collection by being the first designer to introduce the lingerie in his fashion shows. The Chantal Thomass brand is mainly characterized by collections of ultra- sexy lingerie with bra, garter belts, corsets or tights. Thereafter, the brand evolves by introducing new materials for his creations but also diversifying its business with the launch of a perfume line, a range of accessories as well as a line of beauty products. Today, Chantal Thomass creations are distributed in 18 countries.
With Veronese, she is a loyal customer, her universe expands to interior design. The opportunity has been given to create the objects she wanted. She drew mirrors, a family of lights and was able to confront his dreams to manufacture, making the trip to Murano. Like Alice in Wonderland, she was surprised and completely seduced by the range of possibilities that are placed at her disposal. With the privilege of know-how still alive, her writing is magnified and is embodied through the “ladies of the night” collection she imagined. It is indeed luxury in terms of rarity, a thorough treatment of “what is not seen” and of course poetry, that of playful and feminine world of creative, with winks look at fashion, diversion quilting and frills that are so dear to him.
André Arbus was a decorator, furniture designer, architect and sculptor. Born in Toulouse, France, he went on to work in his father’s cabinet-making firm after graduating from the prestigious Ecole des Beaux Arts.
While Arbus was not himself a cabinet maker, he was interested in form and in good design. He believed in designing furniture that was comfortable and a perfect fit for the human form. His work changed the direction of his father’s firm, as André designed furniture that was in opposition to the firm’s preferred style, which was very traditional and derivative of 18th century France. André’s furniture was inspired by the Classicism of the French Empire, but his pieces are of much stronger and more dramatic proportions. Like many of his contemporaries, he also favored luxurious materials, such as fine and rare wood veneers, lacquer, parchment, and vellum.
André showed his work for the first time at the 1926 Paris Salons, and shortly after, was asked by the Parisian gallery L’Epoque to exhibit his work with them. In 1932, Arbus left Toulouse for Paris. The opening of his own gallery, in 1935, was a major milestone in the designer’s career. The gallery, located on the prestigious Avenue Matignon, drew many wealthy and influential people who soon became his faithful clients. They admired his luxurious and distinctive but under-stated designs. During this time, he also collaborated with numerous artists. Perhaps the most important was the Russian immigré Vadim Androussov (1895-1975), a gifted sculptpr, whose sculpted decoration in wood, gesso, and bronze added drama and elegance to Arbus’s already beautiful designs. These collaborations would lead to the creation of furniture which was elevated to the status of art.
Arbus made a name for himself during the late1930’s and through the 1940’s, decades that provided us with some of the most impressive talents in the French decorative arts, such as Leleu, Adnet, Poillerat, and Dupre-Lafon, to name just a few. Félix Marcilhac, a well-known expert in Paris in the field of early 20th century decorative arts, referred to Arbus as “one of the most inventive interior designers of the period.” This period is defined by a renewed interest in the Neo- classical style seen through the eyes of modern masters, of whom Arbus was the leader. The fondness for French Neo-Classical design during the war is not surprising – people wanted something fresh, but also something comforting and familiar.
Throughout his illustrious career, Arbus won numerous awards. One of his first awards was the Premier Prix Blumenthal in 1934. This was a very prestigious prize, named after Florence Meyer Blumenthal (through the Franco-American Florence Blumenthal Foundation), which awarded young French artists with a monetary stipend. Other artists who received this award were Edouard Vuillard, Aristide Maillol, Paul Signac, and Auguste Perret. This was an important honor for a young artist in the beginning of his career.
Arbus was entrusted with numerous significant commissions. In 1936, he designed an interior for the French Ministry of Agriculture. This relationship with the French Government would last his entire career, as they purchased many pieces from him and commissioned several interiors. Some of his work was even gifted to the heads of foreign states by General De Gaulle. In 1955 he decorated the rooms of the French Embassy in Washington.
Like his colleagues, Arbus lent a hand to the decors of luxury ocean liners. Both the Jean-Laborder and the Provence, cruise ships, were outfitted with his furniture. Amongst his commissions, there is one in particular that deserves special notice. In 1950, he built a jewel cabinet for the then Princess Elizabeth of England. One of his last projects was for the Chapelle Saint-Augustin d’Eguilles, a chapel in Provence completed in in1964.
André Arbus participated in the 1939 World’s Fair in the US, designing the French sections at the Expo in New York and in San Francisco. A recipient of numerous industry awards, he was also chosen as the head of the École Nationale Supérieure des Arts Décoratifs in 1951. Many of his pieces were chosen by the French government to be in the Mobilier National. The designer remained active until his death in 1969.
Needless to say he could not remain indifferent to the art of master glassblowers. He designed chandeliers, wall lights and table chandeliers in collaboration with VERONESE, the most stunning example of this collaboration being undoubtedly the JETS D’EAU chandelier he designed in 1949, since reproduced.