2 3...10 11 «le déjeuner d’huîtres» (the oyster lunch), by jean-françois de troy 1735, musée...

4 5

& Art

6 7

W h e n t h e f i r s t c h a m p a g n e H o u s e c o u p l e s w i t h

t h e m o s t u n u s u a l t a l e n t s o f

C O N T E M P O R A R Y C R E A T I O N . . .

10 11

«Le Déjeuner d’Huîtres» (The Oyster Lunch), by Jean-François de Troy1735, Musée Condé (Chantilly, France), (C) RMN / Harry Bréjat

R U I N A R T A N D A R T

The House of Ruinart was founded on 1 September 1729. The eighteenth century, the century of the Enlightenment, was a time when intellectuals, philosophers and artists were raising questions a b o u t t h e w o r l d a n d i n d i r e c t l y c o n t r i b u t i n g to defining the French art of living. Giving substance to this art and developing and exporting it became an inherent mission for the oldest champagne House, a mission it has preserved and continues to promote to this day.

In upholding this mission, Ruinart has constantly demonstrated audacity and innovation in its choices. In 1896, it commissioned a young Czech artist, Alphonse Mucha, who worked in a studio on boulevard de Port-Royal, to design an advertisement to promote the excellence of our cuvées throughout the world. Mucha’s advertisement created a sensation and the Art Nouveau movement was born. With its aesthetic curved lines and tree- or flower-inspired ornamentation, Mucha’s art is still enthusiastically sought by numerous collectors. The connection between Ruinart and art has remained strong ever since. The champagne House maintains close l inks with contemporary art, organizing frequent art ist ic events, giving carte blanche to well-known artists and providing support for major art fairs throughout the world. This involvement is a very significant commitment for Ruinart.

For the House, the key artist, however, remains the Cellar Master. Developing a cuvée or blending

R u i n a r t ,P a t r o n o f c o n t e m p o r a r y a r t

grape varieties is a work of art in and of itself. Season after season, the Cellar Master perpetuates his unique know-how from generation to generation.

Like a fine work of art, the creation of champagne follows an exacting process. First, the Cellar Master selects the best crus of Chardonnay for blending, then the palette of pink and gold colours are chosen for the robe and texture; and finally, the delicate effervescence is added. The bottles used to hold the champagne are designed after the original bottles created during the eighteenth century. Their pure and noble l ines are a s ign of our identity and s y m b o l i z e t h e f r e s h n e s s , e l e g a n c e , f i n e s s e and balance of our cuvées that collectors have come to appreciate.

Like that of an artist’s, the Cellar Master’s work appeals to our senses and curiosity.

Our three centuries of history provide an unending source of inspiration for artists. With its creativity, audacity, global reputation and constant search for excellence, the House of Ruinart is a favourite subject, whatever the artist’s mode of expression.

Each commission is an invitation to explore time, form and colour. The art ist ’s unique mission is to pay tribute to the House, our cuvées, history and heritage, which today are part of the UNESCO World Heritage List.

12 13

M u c h a

R o n A r a d

I n d i a M a h d a v i

C h r i s t i a n B i e c h e r

M a a r t e n B a a s

P a t r i c i a U r q u i o l a

H e r v é V a n d e r S t r a e t e n

P i e t H e i n E e k

G e o r g i a R u s s e l l

H u b e r t L e G a l l

E r w i n O l a f

N a c h o C a r b o n e l l

S t u d i o N e n d oG i d e o n R u b i n

T H E A R T I S T S

T H E C O L L E C T I O N S

14 15

A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t H e i n E e k G e o r g i a R u s s e l l H u b e r t l e G a l l E r w i n O l a f A l p h o n s e M u c h a M a a r t e n B a a s N a c h o C a r b o n e l l G i d e o n R u b i n H e r v é V a n d e r S t r a e t e n P i e t

ThE

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A L P H O N S E M U C H AT H E F I R S T A D V E R T I S E M E N T F O R T H E H O U S E O F R U I N A R T

A l p h o n s e M u c h a / 1 8 6 0 - 1 9 3 9A l p h o n s e M u c h a, o n e o f t h e f o r e m o s t C z e c h i l l u s t r a t o r s,

e s t a b l i s h e d h i s r e p u t a t i o n t h r o u g h t h e c e l e b r a t e d p o s t e r o f S a r a h B e r n h a r d t w h i c h h e d e s i g n e d

t o a n n o u n c e h e r r o l e i n G i s m o n d a. T w o y e a r s l a t e r, i n 1 8 9 6, C l a u d e R u i n a r t c o m m i s s i o n e d

t h e a l r e a d y w e l l - k n o w n a r t i s t t o c r e a t e t h e f i r s t a d v e r t i s e m e n t f o r R u i n a r t. T h e H o u s e t h e r e b y d e m o n s t r a t e d

i t s q u a l i t i e s o f i n n o v a t i o n a n d a u d a c i t y a s M u c h a l a t e r b e c a m e a l e a d i n g e x p o n e n t o f t h e A r t N o u v e a u m o v e m e n t.

The poster designer subsequently enjoyed a long and successful career, revolutionizing graphic design for advertising posters and developing a signature style which is still recognized today. His elongated forms with seductive curves in subtle pastel tones are a fine expression of Art Nouveau.

1896

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M A A R T E N B A A ST H E B O U Q U E T D E C H A M P A G N E

M E L T I N G

M a a r t e n B a a s / 1 9 7 8T h e D u t c h d e s i g n p r o d i g y, M a a r t e n B a a s,

h a s b u i l t h i s r e p u t a t i o n o n r e i n t e r p r e t i n g g r e a t f u r n i t u r e c l a s s i c s, b u r n i n g V i c t o r i a n a r m c h a i r s

i n h i s m e m o r a b l e c o l l e c t i o n " Sm o k e " o r p l a y i n g w i t h t h e n o t i o n o f a c c u m u l a t i o n

i n h i s c o l l e c t i o n " He y C h a i r, b e a b o o k s h e l f ! "

The Bouquet de champagneA s a t r i b u t e t o t h e F r e n c h a r t o f l i v i n g a n d the eighteenth century, Maarten Baas created t h e " Bo u q u e t d e c h a m p a g n e, " a m a s t e r p i e c e in which a crystal chandelier has fallen onto a table, leaving its glass pendants to roll around at random. Mirrors, bottles of Dom Ruinart, flutes and candles all seem to defy the laws of physics while endlessly reflecting each other.

2008

The Melting bucketThe " Melting " bucket, a small limited edition, c e l e b r a t e s t h e 5 0 t h a n n i v e r s a r y o f t h e c u v é e Dom Ruinart. Inspired by the work " Bouquet de champagne " with its baroque character recalling the extravagances of the Enlightenment, it appears to have melted in the sun and spread into a resolutely modern wide metal puddle.

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N A C H O C A R B O N E L LD I V E R S I T Y

N a c h o C a r b o n e l l / 1 9 8 1 A S p a n i s h a r t i s t w h o l i v e s i n t h e N e t h e r l a n d s,

N a c h o C a r b o n e l l g r a d u a t e d f r o m t h e D e s i g n A c a d e m y E i n d -h o v e n i n 2 0 0 7. A p r o t é g é o f t h e h i g h p r i e s t e s s

o f I t a l i a n d e s i g n R o s s a n a O r l a n d i, h i s w o r k s h a v e b e e n s h o w n a t t h e G r o n i n g e r M u s e u m

a n d t h e S a n F r a n c i s c o M o M a. H i s c o n t e m p o r a r y d e s i g n s f o r l a m p s a n d f u r n i t u r e

a r e t o d a y c o l l e c t e d b y l e a d i n g i n s t i t u t i o n s.

Nacho designed for Ruinart, for Art Basel Miami Beach, three works from the series " Diversity ." These works have an identical structure: a chair and desk are joined together to form a s ingle piece. Only the material changes: white plaster, symbolizing chalk and Blanc de Blancs; oxidized metal for timelessness; and lastly, glass from our bottles, an iconic reference to the orignal bottles of the House that were created in the eighteenth century.

2010

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G I D E O N R U B I NF A M I LY P O R T R A I T S

For Art Basel 2011, Ruinart allowed Gideon Rubin to revisit eighteenth century portrait galleries to explore the great emblematic figures in the history of the House of Ruinart, from its founding fathers to personalities embodying the House today. These portraits include: Dom Thierry Ruinart, Nicolas Ruinart, Louis XV, Alphonse Mucha, Charlotte Ruinart, Jean-François Barot, Frédéric Panaïotis and Maarten Baas; and, they are executed in the latter’s characteristic style with wide brush strokes in gouache on old champagne boxes.

G i d e o n R u b i n / 1 9 7 3A n I s r a e l i a r t i s t b a s e d i n L o n d o n, G i d e o n R u b i n

c a n b e d e f i n e d a s a p a i n t e r o f a n o n y m i t y. H e e x p l o r e s t h e q u e s t i o n o f h o w

t o r e p r e s e n t t h e i n d i v i d u a l t h r o u g h f a c e l e s s p o r t r a i t s. D e v o i d o f a l l f a c i a l e x p r e s s i o n,

t h e s e c h a r a c t e r s a p p e a l t o t h e v i e w e r ’ s i m a g i n a t i o n a n d m e m o r i e s.R u b i n o f f e r s c l u e s : a n a r t i c l e o f c l o t h i n g,

t h e c h a r a c t e r ’ s a p p e a r a n c e, a n a t t i t u d e; a n d, a l t h o u g h w e c a n g u e s s w h o t h e y a r e, t h e y r e m a i n m y s t e r i o u s.

T h i s u s e o f t e c h n i c a l p r o c e s s e s a n d m e d i u m s a l l o w f o r f r e e p l a y o f i n t e r p r e t a t i o n.

2011

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Nicolas Ruinart

Frédéric Panaïotis

Dom Thierry Ruinart Louis XV Antoine Hazart Maarten Baas Charlotte Ruinart

Voltaire Jean François Barot Frédéric Panaïotis Maarten Baas

Frédéric Panaïotis Alphonse Mucha Frédéric Panaïotis Nacho Carbonell

GaLLerY of

PorTRAits

Prince Joseph de Ligne

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H E R V É V A N D E R S T R A E T E NT H E " M I R O I R " C O L L E C T I O N

A s a t r i b u t e t o t h e E n l i g h t e n m e n t a n d t h e purity of Chardonnay, Hervé van der Straeten d e s i g n e d this silver-plated piece, m a d e b y t h e silversmiths Christofle. The Rafraîchissoir Miroir, a limited edition of only 50 pieces, infinitely reflects the flagship cuvée of the House, Ruinart Blanc de Blancs.

H e r v é V a n d e r S t r a e t e n / 1 9 6 5A f t e r s t u d y i n g a t t h e B e a u x - A r t s, t h e F r e n c h d e s i g n e r

H e r v é V a n d e r S t r a e t e n b e g a n h i s c a r e e r b y d r a w i n g d e s i g n s f o r j e w e l l e r y. T o d a y h i s w o r k i n c l u d e s

f u r n i t u r e d e s i g n s a n d o b j e c t s t h a t c o m b i n e e l e m e n t s o f b o t h a r t a n d c r a f t w o r k.

H e i s e q u a l l y c e l e b r a t e d f o r h i s c h a r a c t e r i s t i c r o u n d o r e l i p t i c a l m i r r o r s .

2012

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P I E T H E I N E E KT H E A R C H

P i e t H e i n E e k / 1 9 6 7 T h e D u t c h a r t i s t a n d d e s i g n e r, P i e t H e i n E e k, s p e c i a l i z e s i n m o d e r n m a r q u e t r y. H e c u t s o u t,

g l u e s a n d a s s e m b l e s r e c l a i m e d w o o d t o m a k e p i e c e s o f f u r n i t u r e, u s i n g r e c y c l i n g t o c r e a t e l u x u r y o b j e c t s.

On 21 March 1768, Ruinart shipped its champagne in wooden boxes for the first time. A forerunner, the House innovated this form of packaging to ensure perfect protection for its beautiful bottles. Piet Hein Eek pays tribute to this novel expression of audacity by creating boxes in recycled wood whose forms echo those of the domes of the crayères.

2013

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G E O R G I A R U S S E L LT H E G R A N D L I V R E

In a tribute to the rich history of the House, Georgia Russell has made a magnificent sculpture from the first account book of the House, written on 1 September 1729 in the hand of Nicolas Ruinart. Wielding her scalpel to make rapid, precise gestures, she has cut out the pages of a copy of this book, i n v i t i n g t h e l i g h t t o p l a y l i k e t h e r e f l e c t i o n s of Chardonnay in a bottle of Blanc de Blancs.

2014

G e o r g i a R u s s e l l / 1 9 7 4T h e S c o t t i s h a r t i s t, G e o r g i a R u s s e l l,

i s a m a s t e r i n t h e a r t o f c u t t i n g. U s i n g a s c a l p e l, s h e c u t s a n d c r a f t s o l d b o o k s,

m a g a z i n e s, s h e e t m u s i c o r m a p s i n t o 3 - D s c u l p t u r e s. H e r s h a g g y w o r k s o f a r t t h a t

r e m i n d u s o f p r i m i t i v e m a s k s c a n b e f o u n d i n l e a d i n g p u b l i c a n d p r i v a t e c o l l e c t i o n s,

a r e c o g n i t i o n o f t h e f a s c i n a t i n g a n d s i n g u l a r p o e t r y o f h e r w o r k.

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H U B E R T L E G A L LT H E G L A S S C A L E N D A R

Hubert Le Gall relates the history of the Ruinart vineyard and, in particular, that of its emblematic grape variety, Chardonnay. Following the vine’s d e v e l o p m e n t t h r o u g h o u t t h e t w e l v e m o n t h s of the year, the artist has created a colourful, luminous and lively tribute to Chardonnay rendered in glass by glass blowers at the studio Berengo in Murano, in collaboration with the Fondazione Berengo.

2015

H u b e r t l e G a l l / 1 9 6 1A s e l f - t a u g h t a r t i s t w i t h m a n y t a l e n t s, i n c l u d i n g

s c u l p t u r e a n d d e s i g n, H u b e r t L e G a l l i s a l s o a s c e n o g r a p h e r a n d t h e d e s i g n e r o f m a n y F r e n c h

a n d i n t e r n a t i o n a l e x h i b i t i o n s. I n h i s s t u d i o i n M o n t m a r t r e, w h e r e P i e r r e B o n n a r d p a i n t e d a t

t h e e n d o f h i s l i f e, y o u a r e i m m e d i a t e l y c a p t i v a t e d b y t h e p o e t r y o f h i s w o r k. W h a t e v e r m e d i u m h e w o r k s i n,

H u b e r t L e G a l l c r e a t e s l u m i n o u s w o r k s a n d e x h i b i t i o n s, f u l l o f c o l o u r, f a n t a s y a n d g e n e r o s i t y.

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E R W I N O L A FL I G H T

E r w i n O l a f / 1 9 5 9T h e m u l t i - t a l e n t e d D u t c h a r t i s t a n d p h o t o g r a p h e r, E r w i n

O l a f, l i v e s a n d w o r k s i n A m s t e r d a m. H i s s t r i k i n g p h o t o g r a p h s h a v e b e e n p u b l i s h e d o n t h e c o v e r s o f t h e w o r l d ’ s m o s t p r e s t i g i o u s

m a g a z i n e s. F r o m h i s e a r l y p r o v o c a t i o n s t o h i s i n t i m a t e r e c e n t w o r k, h i s p h o t o g r a p h s i n v i t e

t h e v i e w e r t o r e f l e c t o n t h e p e r i o d w e l i v e i n a n d o n h u m a n n a t u r e.

T o c e l e b r a t e t h e 1 2 0 t h a n n i v e r s a r y o f i t s f i r s t artistic collaboration, the House gave free rein to Erwin Olaf to create Light, a series of twenty-six black a n d w h i t e p h o t o g r a p h s u s i n g h i s f a v o u r i t e Hasselblad camera. Light relates the untold story of the House’s crayères, recently placed on the UNESCO World Heritage List. Erwin Olaf has brought to light the marks found on the chalk walls, traces left b y m a n a n d n a t u r e s i n c e p r e h i s t o r i c t i m e s . Olaf says that this work enabled him to return to the sources of photography.

2016

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Elegant AnD reFined CollectioNS CreAtEd bY leaDing desiGneRs EnHance The HOuSe’s cUVéeS

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I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a M a h d a v i C h r i s t i a n B i e c h e r R o n A r a d P a t r i c i a U r q u i o l a S t u d i o N e n d o I n d i a

CollectioNs

THE COLLECTIONS

T h e H o u s e o f R u i n a r t w a s f o u n d e d d u r i n g the Enlightenment, an intellectual movement which made an important contribution to the French art of living.

This current of thought has since been the driving f o r c e b e h i n d a l l t h e c r e a t i o n s o f t h e H o u s e in all fields.

The French art of l iv ing provided a stage for fascinating exchanges about science, literature, the arts and theatre around richly decorated dining tables. Culture was always at the center of these discussions held amid an opulent decor of arts de la table accompanied by fabulous food and wines.

Over the last 10 years, Ruinart has commissioned l e a d i n g d e s i g n e r s t o d e v e l o p s e r v i n g c a r a f e s to enhance its cuvées. These designers include: India Mahdavi, Patricia Urquiola, Nendo and, more recently, Ron Arad. Through their elegant and refined collections these designers have marked the history of the House with their artistic imprint.

ThE

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I N D I A M A H D A V IT H E C H A M P A G N E S P O O N

I n d i a M a h d a v i / 1 9 6 2T h e c r e a t i o n s o f t h e I r a n i a n i n t e r i o r d e s i g n e r

a n d d e s i g n e r, I n d i a M a h d a v i , k n o w n o b o u n d a r i e s. T h i s t a l e n t e d a n d w i d e l y t r a v e l l e d h i g h p r i e s t e s s o f m u l t i c u l t u r a l i s m e x c e l s i n c o m b i n i n g c o l o u r s,

m a t e r i a l s, f o r m s a n d s e n s a t i o n s. H e r P e r s i a n g a z e a l i g h t e d u p o n

t h e p o p u l a r m y t h o f t h e s i l v e r s p o o n.

This object, designed by India Mahdavi, illustrates the popular belief that a small silver spoon suspended in the neck of an open bottle of champagne will preserve its effervescence. Its very contemporary shape, oblong and contoured, has been specially designed to fit into the neck of the bottle.

2006

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C H R I S T I A N B I E C H E RT H E F L E U R D E C H A M P A G N E C O R K

C h r i s t i a n B i e c h e r / 1 9 6 3 C h r i s t i a n B i e c h e r i s t o d a y T H E F r e n c h a r c h i t e c t

a n d d e s i g n e r . H i s t a l e n t e m e r g e d i n F r a n c e a t t h e b e g i n n i n g o f t h e n i n e t i e s b e f o r e i t f l o u r i s h e d

b e y o n d t h e f r o n t i e r s . A t t h e c r o s s r o a d s o f u r b a n p l a n n i n g , a r c h i t e c t u r e a n d d e s i g n , h i s c r e a t i o n s

a r e a l w a y s s e n s i t i v e . H i s r h y t h m i c a n d g r a p h i c s t y l e f l o w s f r e e l y i n w o r k r a n g i n g f r o m i n t e r i o r d e s i g n

t o t h e c r e a t i o n o f l a r g e p u b l i c b u i l d i n g s , s u c h a s t h e H a r v e y N i c h o l s d e p a r t m e n t s s t o r e s i n H o n g K o n g a n d

D u b l i n . H e i s a l s o k n o w n f o r h i s u n i q u e o b j e c t s a n d f u r n i t u r e , m o s t n o t a b l y t h o s e c r e a t e d

f o r M o u v e m e n t s M o d e r n e s o r t h e M a n u f a c t u r e N a t i o n a l e d e S è v r e s , a m o n g s t o t h e r s .

2007

For the Maison, he has reinterpreted the “rose gules” which illustrates the coat of arms of the Ruinart de Brimont family and symbolises grace, beauty and hope. It is the flower of Chardonnay, our legendary g r a p e v a r i e t y , a t t h e o r i g i n o f o u r c u v e e s . Christian Biecher has transformed the “rose gules” into a stopper so that the champagne goes on sparkling.

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A r t i s t s i n t h e i r s t u d i o s

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P A T R I C I A U R Q U I O L AT H E G O L D E N T H R E A D

P a t r i c i a U r q u i o l a / 1 9 6 1T h e S p a n i s h d e s i g n e r a n d a r c h i t e c t, P a t r i c i a U r q u i o l a, h a s b e e n b r i n g i n g

a b r e a t h o f p o e t r y t o d e s i g n e v e r s i n c e h e r s t u d i o o p e n e d i n 2 0 0 1.

B a s e d i n M i l a n, h e r l i g h t c u r v i n g d e s i g n s a r e a d m i r e d t h r o u g h o u t t h e w o r l d.

With " Le fil d’or, " Patricia Urquiola created an artwork which symbolizes the champagne universe : a w i r e c a p . I t s d e s i g n f o l l o w s t h e c o n t o u r s of the bottle of Ruinart Blanc de Blancs and its golden colour is a tribute to the luminous reflections of Chardonnay, the golden thread of the Ruinart style.

2010

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S T U D I O N E N D OK O T O L I

S t u d i o N e n d oA f t e r s t u d y i n g a t W a s e d a U n i v e r s i t y i n T o k y o,

O k i S a t o c r e a t e d h i s s t u d i o i n 2 0 0 2. " Ne n d o " i s t h e J a p a n e s e t e r m f o r m o d e l l i n g c l a y a n d S a t o i s i n d e e d e x t r e m e l y f l e x i b l e,

c o n s t a n t l y r e i n v e n t i n g h i m s e l f . H i s p u r e d e s i g n s, i n s p i r e d b y e v e r y d a y

o b j e c t s, a r e c h a r a c t e r i z e d b y a n u n e x p e c t e d z e s t o f o r i g i n a l i t y.

Kotoli is a box made from paulownia, a wood much valued in Japan used for building traditional trunks or sandals. A sliding system similar to that of Japanese screens reveals three rectangular trays that enclose : a cork which resembles a nesting box, a bottle of Ruinart Blanc de Blancs and a pair of flutes that appear to perch on the handle.

2011

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R O N A R A DT H E V A S Q U E

R o n A r a d / 1 9 5 1 T h e I s r a e l i d e s i g n e r R o n A r a d s t u d i e d a t

t h e A r c h i t e c t u r a l A s s o c i a t i o n S c h o o l o f A r c h i t e c t u r e i n L o n d o n, a t t h e s a m e t i m e a s Z a h a H a d i d, u n d e r t h e t u t e l a g e

o f B e r n a r d T s c h u m i. I n 1 9 9 6 h e r e c e i v e d t h e F r e n c h G r a n d P r i x N a t i o n a l d ’ A r c h i t e c t u r e. H o w e v e r, i t w a s i n I t a l y

t h a t A r a d r e a l l y d i s c o v e r e d d e s i g n. H e i s t h e c r e a t o r o f t h e i c o n i c a r m c h a i r , R o v e r; t h e b o o k s h e l f , B o o k w o r m;

t h e c h a i r , W e l l - T e m p e r e d ; a n d , e q u a l l y , t h e a r c h i t e c t o f s e v e r a l w e l l - k n o w n b u i l d i n g s t h r o u g h o u t

t h e w o r l d, s u c h a s t h e B a u h a u s M u s e u m i n T e l A v i v.

For the House of Ruinart, Ron Arad designed an extremely contemporary serving piece that embodies the values of the French art of living and reflects on the three centuries of the House’s history. Not bound by convention, Arad creates sculptures of metal, distressed into unique shapes similar to his series Pressed Flowers. He has worked in pewter for its qualities of flexibility and luminosity with the Orfèvrerie d’Anjou. Expert in working with this material, this workshop has provided its ancestral know-how for the realization of this audacious project. Each piece, numbered and signed, is unique and functional.

2015

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« To Each Age its aRt,

To Art its fReeDom »

GusTav KliMt

77

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2 3...10 11 «le déjeuner d’huîtres» (the oyster lunch), by jean-françois de troy 1735, musée...

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