“Le drapé de verre” is a custom-made sculpture for Maison Ruinart, accompanied by La Fabrique Singulière.
Inspired by the House's history, we wove threads from champagne bottles, bringing the natural hues and nuances of the different vintages to the sculpture. The gradient pattern running the length of the piece takes us through the champagne-making cycle, all the way to the crayère, a unique place dug out by hand.

As part of its ongoing commitment to sustainable development, Maison Ruinart invites artists to push back the limits of their know-how by imagining works made from materials that make up the House's everyday reality.
Situated at the crossroads between art and sustainability, each of these creations expresses values dear to the House: inventiveness, ingenuity and creative intelligence. Sustainability, beyond necessity, thus becomes a source of innovation and creativity.

Estuaire, handweanving artistic paintings from the “Conversations” series, based on glass cobs mixed with various recipes from Atelier Lucile Viaud (Ile du Ponant, Charente, Rance, Rouergue), mixed with threads found and woven in Aurélia Leblanc's studio.

A carte blanche by committed chef Nicolas Conraux (La Butte, Plouider), “Pêche Cristalline” tells the story of an early-morning fishing trip in northern Finistère. Combining linen and Glaz sea glass threads, this gradient, over 4 meters long, is sculpted with a unique motif, slipping from the meshes of a net to the fish skins, which emerge and sparkle out of the water.

The combined skills of Aurélia Leblanc and Lucile Viaud have created a new material, glass weaving. The “Confluence” textile, with its light-sculpted aquatic motifs and iridescent blue and golden-green tones, interweaves supple Glaz marine glass weft and metallic warp threads. Glaz is the first glass developed by Atelier Lucile Viaud from microalgae and oyster or abalone shells that can be worked using traditional glassmaking techniques. Like the wave that deforms the surface of the water, it's the pattern developed here that animates the surface of the weave, harking back to the origins of this extraordinary glass and to seascapes. From time immemorial, humans have sought their reflection, first on the surface of water, then in the polish of stone or metal, and finally through glass. “Confluence” plays with this heritage and the fascination of this material in its environment, seeking to confuse the eye by the discrepancy between supple material and the impression of rigidity given by the shine of this woven glass surface. The “floats” in the weave echo the patterns left in the sand when the water recedes at low tide. The fabric itself symbolizes water in its movement, thanks to the pleating, folding and volumizing possibilities of the material.