Now Reading
[Luxus+ Magazine] Meeting with an artist (episode 4) : Lucie Monin, poetry her your fingertips

[Luxus+ Magazine] Meeting with an artist (episode 4) : Lucie Monin, poetry her your fingertips

Lucie Monin is a gilder artist who has been revisiting for more than 10 years this thousand-year-old know-how, adapting it to all media: from fashion to architecture, through object design. Following in the footsteps of the craftsmen who maintain the existence of ancestral traditional creative arts, she safeguards this rich heritage through technical transmission, adapting it to today’s tastes. From Loewe, Balenciaga, Delvaux and Weston, her skills are called upon by the Grandes Maisons for the customisation of unique decors for events or the sublimation of unique pieces.



You revisit a traditional know-how. In recent years, the manual creative arts have tended to get lost and are not necessarily recognized by the public. Moreover, the Luxury Houses are fighting to promote their learning before they decline. How did you discover gilding and why did it transcend you to the point of wanting to make it last?

I fell in love with this art and its history about 17 years ago. I initially wanted to go into book restoration since I have always been fascinated by archaeology and ancient objects, including writings. It was while studying at the Centre des Arts du Livre, formerly part of the Arts Déco, that I discovered these works covered with gold watermarks engraved on leather worn by time, reflecting a style, an era and a history that had remained unsettled.


© Lucie Monin x Phi 1.618


I very quickly became immersed in it and was able to start exploring new materials and different designs thanks to a stint at the Ecole Bleue, a school of architecture and design. The Balenciaga house also allowed me to really get my foot in the door. This know-how attracts me because of its authenticity, the need to appeal to patience and passion. I also have a great freedom of expression since this technique is halfway between craftsmanship and art.


Can you tell us about this precious art of yours? For what kind of needs do brands call on you? How do you approach the elaboration of a project?

My work is deliberately precious because of the material I use – gold – but also because I do everything by hand. The Houses contact me in order to create unique decors that will be sold in limited editions or exceptional pieces. These artistic collaborations come naturally when the universes but also common values of excellence, meaning and humanity come together. When a project begins, there is always the research phase; I present sketches and different graphic proposals, one of which will later be selected. I have also been working with brands for 10 years for the engraving of initials for events in France and abroad. I always enjoy sharing my art with clients who are sensitive to it or simply open to discovery.


See Also

© Lucie Monin x Loewe


From murals to handbags to interior design, your supports are varied. In terms of techniques, how is the process of engraving on a wall different from that on leather or any other material? How do you choose the latter? And how do you adapt your work according to them?

As I have chosen to always use the same technique, I adapt the support to it. The field of possibilities remains large because many materials can accommodate these gold watermarks: such as wood (burnt, varnish … ), Plexiglas, paper, wallpaper, soapstone, acetate, lacquer … I choose the supports according to the feasibility but also according to the aesthetic aspect because the result must be strong and coherent.


You have achieved the feat of gilding leaves. You realize that everything can be an element conducive to sublimation. What is the most unexpected or atypical project you have worked on?



Find the full article on

Featured photo : Lucie Monin

What's Your Reaction?
In Love
Not Sure


Scroll To Top