Interior Project News

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Dear Customers & Partners,

Kicking off the New Year of 2021 with new hope and energy, we are very pleased to share with you the consistent and rich product portfolio of Heather & March, starting off with our exclusive decorative bronze lighting & sculptural master works from La Maison Charles. A unique piece of sculptural lighting is an interior jewelry and a piece of art. It is a key statement of your interior project, whether for private or public residence.

For any enquiry, please contact our professional client team.

May we Wish All of you A Positive New Year filled with New Progress, Happiness and Success!

Best regards,
Heather & March Professional Client Team
Email: contact@heatherandmarch.com
Tel: +852 2116 0839/25300686
Office: Level 19, Two International Finance Centre, 8 Finance Street, Central, Hong Kong

THE CHARLES PARIS MAGIC!

PRIVATE RESIDENCE, CONNECTICUT (USA)

BY FOREHAND + LAKE

Once again, Charles Paris has lit up a stunning residence. This project, designed by Forehand + Lake, combines classic minimalism and modern lines. Within, the curves of six Papillon chandeliers (dark nickel and gold varnish) evoke majestic arcades. Ten single- and double screen Japanese wall sconces (gold varnish and dark nickel), as well as two Fragment wall sconces (gold varnish), are also featured.

We have supplied this unique ‘Papillon’ chandelier for The Fairmont hotel project in Beijing. For this particular project in U.S.A, the multiple ‘Papillon chandeliers are also custom made with different dark nickel and gold varnish, giving subtle and stylish variation to the interior.

The beautiful merge of stone and metal evoke the majestic statement of sophistication. Salute to the timeless classic creation by Felix Agostini and craftsmanship of La Maison Charles.

STONE & METAL

Charles Paris has been combining alabaster and metal for a long time in our creations, with a huge range of styles.

This union between metal and stone is far from being cold. It is warmed by the use of alabaster, a milky, soft limestone. This type of stone is also known as onyx-marble and has a crystalline structure that allows light to pass though. This makes it semi-translucent, veined with lines ranging from light yellow to ochre, which create delicate, dreamlike patterns.

From top to bottom, left to right
Asap (Kossi Aguessy), Phalène (Philippe Parent), Mathô (Hadrien Francillon and Söhe David-Kawauchi), Arcturus (Agostini)

LET'S TALK ABOUT CHARLES

PHILIPPE PARENT

Philippe Parent is an interior decorator and designer who studied at the École Boulle art school. He is now considered one of the ambassadors of fine craftsmanship in the world of French design. He sees luxury as intrinsically linked to the expertise and culture held by traditional fine craftsmanship. He has been collaborating with Charles for more than 40 years. We asked him to tell us more...

- What is your connection with Charles Paris?

-It all began in the interior design agencies, Schuler and Moyard, where I started my career. There, I saw Charles lighting pieces for the first time. In the 80s, I was drawn in deeper when I met Chrystiane Charles. While as first, I was providing artistic consulting services, over time we became close friends. Then, when Michaël Wagner acquired the Maison and added several of my creations to the catalog. Nowadays I am still involved with Charles with the Beaufour-Lévy family, working on new projects together.

- As a creator, what does our Maison bring to the table for you?

- Technical creativity from the craftmen, whoo are talented and work to high standards, always pushing themselves further. We have inspiring exchanges, which can get heated at times, but are always exciting!

- For you, what makes Charles magic?

- The incredible range in the catalogue. It is bursting with pieces, both insanely charming classics and unusual modern creations... surprises that you will not find anywhere else!

LIVE FROM OUR WORKSHOPS

AUTOMN LEAVES

In the 90s, Chrystiane Charles designed the Tourbillon lamp, inspired by leaves carried off in a whirlwind.

Originally, it was made of tooled, brazed leave that were then chiselled. The piece has recently been entirely reworked, using a wax model (in the back) which is in turn used for a resin imprint (in the middle), which is in turn used to make the bronze master design (in front). It is then intricately worked with chisels, to create and refine the veined detailing on each leaf.