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Glass chair – Boucheron

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Created and designed for the shooting of the “New Maharajah” collection of famous jeweler of the Place Vendôme, Boucheron, la Compagnie has  produced a glass “throne”.

The client’s request was to showcase his jewelry while giving a royal look to the object. This is when the idea of a glass chair was born. La Compagnie took up the challenge, designing this seat without nails, screws or dowels.


Secrets of design

The chair is composed of 6 tempered glass plates, with extremely precise dimensions, which have been assembled by UV gluing.

This type of glue allows a powerful, resistant and colorless adhesion. The ultraviolet glue polymerizes under the action of light and more precisely under ultraviolet rays, hence the use of a dedicated lamp (neon color, in the video).

Precised placement of each plate was critical in order to achieving a balanced chair.

Free Poetry

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Free Poetry represents the fingerprints found on the dusty surfaces of the city of Beirut. The technique used consists in represent the original drawing of Stéphanie Saadé on the glass and to cut out the forms by sandblasting at high pressure. The sand abrades the material until it gets through the glass plate.

The documented fingerprints are abstract slips left by passers-by in response to dust.
Coming from abandoned or neglected objects (or buildings) such as cars, houses, stores, these dusty glazed surfaces imply the cessation of interactions or a lack of care. They testify to a refusal to be enslaved by the rhythm with which the city covers its objects with dust.

The Stéphanie Saadé’s work is shown at the Centre Pasquart in Bienne.

The Stéphanie Saadé’s work is shown to the Centre Pasquart in Bienne.

Creation of personalized carafes for the Relais Plaza

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To honor its most loyal customers, the Relais Plaza, mythical Parisian restaurant, called upon the Company for the realization of personalized glass decanters. This original idea was conceived by La Fabrique Singulière and it is la Compagnie that has designed and produced these exclusive decanters. The decanters are personalized with the initials of the regulars and decorated with original motifs created by la Compagnie and inspired by the Art Deco world of the emblematic restaurant of the Plaza Athénée. These decorations were carried out by projection of sand with high pressure which comes to abrade the matter on surface.

The mini-film that tells it all

The unexpected meeting between glass and Fashion Week

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The famous and young Spanish fashion designer, Arturo Obegero, has contacted the Compagnie du Verre for a project that does not lack originality. For its new collection entitled « euphoria », Arturo had imagined a garment made only of pieces of glass, previously collected on the beaches of his childhood. The project, unveiled on June 26, 2021 during Fashion Week, was the subject of an unprecedented production, combining millimetric precision with la Company’s always perfect manufacturing quality.


The stages of production of the glass tank top for Arturo Obegero


  • Collection of glass polished by the sea on different beaches of the world.
  • Drilling of the glass pieces by diamond drill with a sprinkler system to avoid any thermal shock.
  • Then assembly of the pieces by the artist to create the desired tie and dye effect.

Besides the beauty of the garment, our main objective in collaborating with Arturo Obegero was to highlight and therefore draw attention to the critical state of our oceans, as eco-responsibility is one of la Compagnie's major commitments. It is worth noting that a collection of depollution has been implemented to collect one by one the pieces of glass that have been polished by the se

Pantin’s style glass

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2 years of workshop in the craftsmen’s city

On the occasion of its two-year anniversary in its Pantin workshop, the Company received numerous guests, including professionals from the decoration, design and architecture industries. It presented its latest creations, including the glass garment created by Arturo Obegero which was unveiled on June 26 at Paris Fashion Week.


There is more to glass than what you see

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All our lives, yours and ours, have been turned upside down for almost a year. A virus has affected our families, our health, our work and, in many ways, our equilibrium.

La Compagnie du Verre took the full brunt of the shock, as did many others, but weathered the storm, continuing to provide the best possible service to our customers despite restrictions, difficult supplies and all related slowdowns. We also had a real downturn in business during the first lockdown, as some of our customers had to be cautious due to lack of visibility.

This will not prevent the year 2020 from showing a higher turnover than the previous year. Not in the proportions we could legitimately expect before the crisis, but higher all the same.
Among the highlights of this strange year, we will remember the chance and the honor to have worked for the Starck’s studio (Mori Venice Bar) and to have realized a magnificent work of Euridice Zaituna within the framework of her exhibition “Je suis l’archive”, at the villa Vassilieff. There is also the opening of our online store, which allows us to make our know-how known and accessible. The first quarter will allow us to expand the offer and to develop this direct sale significantly. We can sum up by saying that the year to come is already, for la Compagnie, very much in motion and that the prospects, quite simply, are good.
New ideas combining imagination, inventiveness, a sense of innovation and excellent know-how will be on hand to meet your new projects. You also know our reactivity, it will not fail.


It is with this positive spirit that the entire team of la Compagnie du Verre sincerely hopes, whether or not we work together, that 2021 will also be a year of resilience, sharing, preserved health and of course bouncing success.

(And never forget that there is more to glass than what you see)

The appointment of the material

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Postponed to 2021 due to the health crisis, Les Rendez-vous de la matière brings together both industrialists capable of producing wall and floor coverings or textiles, and craftsmen who magnify the material for decorative or ornamental elements.
La Compagnie du Verre has decided to present its know-how and all the facets of its craft in an artistic and technical installation, emphasizing both the fragility of the material and its ability to withstand time. Thomas Arnal (Tomsky) took his paradoxical inspirations of glass IPNs and staged them, after having beautifully worked them, using many of the available techniques.
This year, Frédéric Imbert Studio will stage all the creations specially produced by the participants, under a beautiful 19th century industrial warehouse in the heart of Paris. 
*Sketch by Alizé Arnal

The Émergences Biennial

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Since 2010, the Émergences Biennal and its jury, composed of design and contemporary art professionals, journalists and specialists in the circular economy, selects players in the design and craft sector and takes a forward-looking look at the place of know-how in the field of contemporary creation. This 6th edition of the Biennial adopts a new format. It will take place from October 8 to 11 at Centre National de la Danse in Pantin, where it offers a central exhibition designed around the theme « Ressources ».

La Compagnie du Verre, selected, took up the challenge of this theme by drawing its inspiration from the family tree of its craftsman, Thomas Arnal, where we find Gaston Arnal, a cabinetmaker from the Faubourg Saint-Antoine, who designed and made, about 100 years ago, a piece of furniture for his graduation competition at the Ecole Boulle. Thomas, who inherited the piece of furniture that had suffered a little from the ravages of time, decided to give it a new lease on life: it is therefore a resource that he draws from, with an eco-responsible spirit of “sustainability”.

To remain in phase with the history of the furniture and to keep its original spirit, Thomas Arnal chose to keep the patterns, but replacing some of its elements with his favorite material, glass, to which he obviously applies the techniques of his trade: UV gluing, shaping, engraving and splitting.
*Free admission upon reservation : / Centre National de la Danse, October 8 to 11, 2020; 1, rue Victor Hugo, 93500 Pantin / Sketch by Alizé Arnal
Gastion La Compagnie du Verre Biennale Emergences 2
Gastion La Compagnie du Verre Biennale Emergences 1

Hanging silhouettes at the Villa Vassilieff

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La Compagnie a redoublé d’ingéniosité et de savoir-faire pour réaliser l’oeuvre d’Euridice Zaituna Kala à l’occasion de son exposition Je suis l’archive, présentée à la Villa Vassilieff du 19 septembre au 19 décembre 2020.
Le cahier des charges prévoyait, entre autres, que trois silhouettes représentant un homme, une femme et un enfant soient suspendues au-dessus du sol par un système d’accroche invisible et que l’on garde l’échelle 1, tout en préservant une finesse extrême, cela afin de suggérer au mieux un esprit ectoplasmique.
La Compagnie a revu le premier dessin des silhouettes pour répondre à ces contraintes techniques, puis leur découpe s’est faite au jet d’eau pour assurer une précision extrême et pour ne pas risquer de casser le verre.

Enfin, le système d’accroche a complètement été pensé et réalisé par la Compagnie, qui a ainsi montré sa capacité à dépasser le cadre strict de son métier du verre et à satisfaire au mieux ses clients, avec un fort sens de l’innovation.

On peut donc dire que la Compagnie du Verre a agi, au-delà de sa mission de fabricant, comme conseil auprès de la Villa Vassilief pour pouvoir réaliser ces pièces délicates en toute sécurité, de la découpe au jet d’eau jusqu’à leur installation.

*Exhibition view, Je suis l’archive, Euridice Zaituna Kala, Villa Vassilieff, 2020. With : Euridice Zaituna Kala, An unrecorded Moment: three minds, Le Verrier, 2020. Courtesy Euridice Zaituna Kala © ADAGP, Paris, 2020. Photo: Villa Vassilieff.

Starck invites La Compagnie du Verre to Mori Venice Bar

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The Starck Agency has entrusted La Compagnie du Verre to work on more than 100 decorative elements originally made in Murano and integrated into Massimo Mori’s beautiful (and excellent) restaurant, the Mori Venice Bar, located a stone’s throw from the Bourse in Paris.
The operation, which involved dismantling, silvering with a new pattern and reinstalling the parts, was handled in record time from December 21, 2019 to January 11, 2020. These interventions will not have required any interruption of service.