For almost two centuries, Baccarat lighting has symbolised the extraordinary beauty and vision of La Maison Baccarat.
With unbridled imagination, Baccarat has led the way in the art of lighting from its earliest collections created in 1824 to the innovative LED chandeliers available today. Catching, diffracting and diffusing light, Baccarat crystal becomes the most beautiful expression of light—its unequivocal messenger.
Among its popular design collections are Fusion by Fernando and Humberto Campana, Harcourt Marie Louise by Philippe Starck, Nervous Zenith by Louise Campbell and Tuile de Cristal by Arik Levy. Each collection boasts beautiful lighting pieces that play on Baccarat’s classic Zenith chandeliers, introducing versatility to the company’s line of products and providing different clients with multiple styles.
The Fusion collection by Brazilian designers Fernando and Humberto Campana was born from the extraordinary alliance of two types of material and two forms of expertise, the combination of French Art de Vivre and Brazilian force of nature.
From lanterns to flambeau chandeliers, from the hanging lamps sheathed in coloured, plaited wicker to the Zenith 24 lights chandelier, the innovative models from the Campana brothers divert the DNA and primary use of the materials, transforming them into truly precious objects through a process of hybridisation.
Moreover, among the many collaborations between Philippe Starck and Baccarat is Harcourt Marie Louise complete with the Zenith le samedi chandelier and Marie Lousie, the table top lamp that revisits Harcourt glass.
The Zenith is both abstract and functional, encircled by the neon Mobius strip created by the Ateliers de Feerick. The Zenith chandelier is decorated with three heads in the effigy of the king of the forest, and seals the coming together of Baccarat crystal and Murano glass. Marie Louise carries on the tradition of the cult object by changing its uses and dimensions, from the wall fitting to the table top.
Danish designer Louise Campbell has also taken a go at the Zenith chandelier with her version called Nervous Zenith. Campbell’s design dissipated the sacred aura of crystal and reworks the famous 48-light Zenith chandelier.
She assembled the pieces loosly according to the classic Zenith working drawings, but used specially designed distorted prisms, and permitted her personal whims to overrule given systems. The result resembles the Zenith as it’s known, yet turns it on its head.
And finally the Tuile de Cristal by Arik Levy, a chandelier available in two designs: Piccadily and Frozen. Levy’s chandelier diffracts light through its juxtaposition on a white metal canvas.
The new crystal tile model offers countless permutations. Whether it is used as a chandelier or to serve a wide range of architectural concepts, it can be adapted to different settings.