Reserved for Beauty - Restoration of the Emperor’s Box in the Palais Garnier

A thousand happenings fly past in the blink of an eye. What seizes one's attention are only miracles, love, and the dignity of beauty. In this fleeting world, power arises from the viewer's gaze. Completed in 1875 by Charles Garnier, the construction of the Palais Garnier was ordered by Napoleon III. Because of attempted assassinations at the entrances of former opera houses, the Palais Garnier was designed with an exclusive entrance at the west wing, leading directly to the emperor's box. But in 1870, as Napoleon III and the Second Empire fell, construction came to a halt. By that time, the emperor's box had already been completed. The caryatides on the side columns were created by the sculptor Gustave Carper. The solemnity of their gaze contrasts with the voluptuousness of their bodies. In the end, yes, he shows himself. He shows himself. So the whole room looks to see if the emperor is there. And it's much later, much later than either the president of the republic or then the dignitaries, that it's much later that they're going to sit in the middle of the room, in front of the room, and that we're going to leave little by little. I think that now we've come to the end of the idea, because basically there is no particular lodge, there is no separation. That's the big difference today, it's that everyone is together in the room and the important personalities are with the other spectators. Although the times have changed, the emperor's box, with its exquisite decor, remains the highlight of the auditorium. But the finest fabrics are also most vulnerable to wear and tear. Over the years, the original glory of this box has faded. In January 2019, Hantan Culture partnered with the Paris Opera and became the patron for the restoration of the emperor's box at the Ballet Garnier. The restoration of the emperor's box underwent a series of processes, including research and a call for tenders. The main restoration work, including removal, repair, replacement and installation, took place from mid-July to the end of August 2019, when there were no performances in the theater. Once we have the garnis, we remove the fabric, we remove the woodwork, and then we remove the carpet. Then a state body comes around in A4, we have the carpenter, the carpet maker, the painter and the municipal painter. All these tasks are planned, we have done them well in advance, naturally, so as to fit well in all the state bodies, so that, in the end, everything works a bit like a symphony, like a music. We do that, really, it's the case, we are in the theater, so we do a bit the same, that is to say that we are scratching with the state bodies. We have three days of total deposits, then the carpenters will follow, three carpenters, then two menues for the restoration of the parquet, then two carpet makers, one or two painters to reproduce fake wood on the doors, and again the three carpenters who will re-dress the templates. This project really has a great scope, since it is about finding the original splendor, and finding what was thought of by Garnier, and moreover, it is a stage that will be seen by spectators and visitors from all over the world. Garnier chose red for the decor, which has since become the color of opera houses. The rosy aura reflects upon people's faces, and therefore adds a touch of radiance. One of the main reasons for restoring the Empress Box was to restore the brocatelle, according to Garnier's original order, the pattern of which was numbered P5255. What also led us to do this restoration was that the fabric that is currently on display in the hall did not correspond to the history, to the origin, of the construction of the Palais Garnier. So we took advantage of it with the company Prelle, which had a book, because it was Charles Garnier who had made orders at Prelle. In Lyon, the capital of silk in France, the workshop that produced the silk brocatelle for Garnier still operates. Founded in 1752, the manufacturer Prelle is witness to the evolution of silk weaving. It has been run by the current family for five generations. Brocatelle is an elaborate fabric with relief patterns. In the days of Garnier, skilled craftsmen produced fine brocatelle from hand looms. Prelle now has an extremely rich collection of brocatelles. Sometimes some are unique in the world. Since my great-great-grandfather had worked for Charles Garnier, so we know the pattern, we know the number of threads, we have the exact colors that were used in 1874 and so on. So it's very easy to do it again. Originally made from silk and linen, the brocatelle for the Empress Box has been reproduced with fire-resistant material. Every thread was colored before being woven. The warps and wefts were crimson, but in two different shades, creating patterns and relief with a special luster. Machinery has replaced manual work, but backed by traditional craftsmanship, the result is equally exquisite. The goal is to be as close as possible to the original so that you don't get the impression that there's a difference. This means working with the thread manufacturers to get the right threads, find the right dyeers to get the right color of the thread. The fabrics produced by the manufacturer Prelle were then sent to the workshop of Falippo Tapissier to be tailored for the Empress Box. Founded in 1953, the workshop now has a team of some 30 craftsmen, each specializing in a particular technical aspect. They worked on the upholstery and restored the seats of the Empress Box. and supported the craftsmanship of nearly 30 craftsmen. This craftsmanship was initiated by my grandfather when he founded the company in 1953. At the time of the company's creation, the techniques used were the same as those used in the 18th or 19th century. Seats for traditional garnishes, curtains for hand-made seams and assemblies, and the installation of stretched fabrics on the walls. These are all very specific and distinct skills that we have continued to develop for three generations. The couch of the Empress Box has been restored several times. This craftsman is carefully removing the materials of the couch layer by layer. The rusted springs have lost their compressibility and need replacement. New springs are fixed with new jute webbing. With his experienced hands and eyes, the craftsman makes sure the surface is flat and balanced. Another craftsman attaches a piece of linen to the couch, covering the springs. Comfortable couch also requires fluffy stuffings. The couch of the Empress Box uses natural fabrics, horsehair and coir. Coir needs to be carded with a special tool, while horsehair requires hand carding. They are stuffed into the couch bit by bit. It takes five to ten days to completely refurbish a couch. Whether horsehair or coir, the materials are tamed by the hands of craftsmen. This cannot be achieved without practice and experience. The wooden frame is the basic structure of the couch. If it is replaced, the couch will no longer be the same. MDB Métiers du Bois, a workshop specializing in woodwork, since 1985, repaired the couches with minimal alteration of the original frame. Over the past one and a half centuries, several restorations have marred the frame. The workshop uses a specially made putty to restore it. We use traditional woodworking techniques. We use the same woods that were used at the time, and these rules must be absolutely used to carry out the restoration well. We use the woods that were used at the time, in this case for the benches of the Etre. For this type of bench, the smallest, you have to count at least two days of work, and for the large benches, it will take at least a week of work to finish the restoration. In the MDB Métiers du Bois workshop, the older generation earnestly passes down its expertise to the younger generation, in a manner similar to the traditional apprentice system. The restoration of over a thousand historic architectural projects has equipped the workshop with profound professional mastery. Although the refurbishment is not something easily manifested, it nevertheless contributes to the civilizational legacy of French culture. At the end of August 2019, the restoration of the Emperor's Box was formally completed through the combined efforts of the Paris Opera, Handan culture, and all the workshops. Within six weeks, almost one and a half centuries of deterioration were reversed. This was done not for transient glory, but for long-term preservation. I'm very proud to be able to highlight French culture through precise actions, by being transparent, clear, without taboos. I think that is something very positive, because it is something I believe in a lot. Beauty is like some distant music that flees as you grasp at it. It may temporarily appear on stage, or manifest itself in brocades. It is the most venerated guest of the arts, mesmerizing humanity. It takes its leave at its pleasure. All one can do is entreat it to linger a bit longer. We are not boasting of being one of its courtiers. We are merely hoping that others may join us. Thus, my beauty will assiduously pass down to future generations.