Glass marquetry, a unique craft that lies halfway between stained glass and mosaics, saw Myriam Hubert make her name at the Révélations biennial before winning over Cartier and Boucheron. Her journey illustrates how the biennale creates new markets for fine craftspeople.
Nothing suggested that Myriam Hubert would end up working with glass. Born in 1987 in Compiègne (Oise, France), she began her career in the humanitarian sector before discovering, during her final mission in Lebanon, a world that would transform her career path. In a mosaic workshop in Beirut, she observed the precise movements of the artisans and developed a passion for the techniques of cutting and assembling the material.
Back in France, she joined a collective of fine craftspeople in 2013 and, at the same time, developed her first range of glass jewellery. This experience enabled her to explore the possibilities of the material and refine an approach based on precision of movement. She then rediscovered her original desire to work with mosaics and set about reinventing the conventions of stained glass to create a craft all her own: glass marquetry.
« There’s a before and an after when it comes to my first time taking part in Révélations. This event enabled my expertise to be spotted by several major luxury brands. »
Somewhere between stained glass and mosaic, this technique involves fitting glass pieces together seamlessly, without the traditional lead framework. It thus offers a more delicate and contemporary style, in which the transparency of the material reveals subtle interplays of light, colour and depth.
Each piece is entirely handcrafted from a design created specifically to suit the properties of the glass. Myriam Hubert selects each sheet for its shades, marbling and ability to capture light, then meticulously cuts and assembles hundreds, sometimes thousands, of fragments with millimetre precision.
The creator also applies this technique to bespoke projects, drawing on both heritage and contemporary influences. Through Révélations, she has collaborated with Cartier in Melbourne, working from drawings of orchids taken from the House’s historical archives. She reinterpreted them in an Art Deco style, taking into account the specific characteristics of glass marquetry. The aim was not to reproduce an existing motif, but to translate it through her own artistic language and that of the material itself.
This quest for a balance between heritage, innovation and contemporary creation now underpins each of her projects. Myriam Hubert combines a high standard of technical excellence with a sensitive approach to glass, revealing its poetry through light, subtle nuances and the delicacy of the details.
In 2022, Myriam Hubert took part in the Révélations biennial for the first time.
This participation marked an important milestone in the development of her workshop. Révélations offered her new visibility amongst collectors, interior designers and leading fashion houses, both in France and internationally. Since then, she has developed several major projects centred on her craftsmanship, notably with luxury brands such as Boucheron and Cartier, whom she met at the fair.
At the fair, she met representatives from Cartier, Boucheron and other organisations seeking new areas of expertise that she had never encountered before. These exchanges gave rise to collaborations, the development of which often takes a long time.
« Projects are briefly discussed shortly after the trade fair to see how we can incorporate this expertise into our creations, but it can sometimes take several months or even years for them to come to fruition. We are currently working on several research and development phases for various fashion houses, but some projects are still confidential. »
Myriam Hubert’s career path illustrates what Révélations makes possible: transforming an artistic approach and unique craftsmanship into a genuinely high-value asset for leading fashion houses. Glass marquetry is the expression of this, but it is the designer’s vision that brands such as Cartier and Boucheron have sought out for long-term projects.
Her participation in Révélations 2025 confirmed this: the biennial does not merely showcase creators, it builds sustainable markets for fine crafts.
