At that time, Lalique's success was so great that in 1905, he moved his shop to 24 Place Vendôme, an address mentioned on the original case of the necklace. During this period, Lalique increasingly turned to working with glass. The necklace tells a story that bridges Lorraine tradition with early 20th-century modern aesthetics. Unlike the iridescent insects and female portraits typically associated with Lalique, this necklace is notable for its unique motifs and colors, signaling his transition from Art Nouveau to Art Deco.

The thistle, a wild and prickly plant, is a recurring theme in Lalique's work. It appears in many of his creations, in vases and in jewelry. This unexpected flower choice is significant, considering the thistle's symbolic meaning. It represents courage and offers protection against sickness and evil. By the 15th century, it had been adopted as the emblem of the Dukes of Lorraine, reflecting their evocative motto: ‘Qui s’y frotte s’y pique’ - ‘Who touches it, pricks oneself’. This plant motif became widespread in the region, influencing local artists and members of the École de Nancy.

The molded glass thistle flowers, with their long thorns and the dominant brown hues, evoke a poetic, autumnal atmosphere that is both fascinating and intriguing. The yellow enamel accents and radiating diamonds highlight the solar dimension of the thistle, which unfolds like delicate rays. The gold background illuminates the glass motifs, offering a changing palette of nuances with every movement.

Nature inspired Lalique’s creations and allowed him to assert his unique style - a nature rediscovered since the revelation of Japanese arts through the World Expositions. Like these thistles, Lalique preferred the flora of woods and meadows over greenhouse and garden flowers, favoring simple and sometimes overlooked species with strong symbolism. The artist did not hesitate to depict withered flowers to represent true nature. With this necklace, Lalique once again challenges tradition, putting his imagination and desire to create something ‘never seen before’ at the service of jewelry.

Preserved for generations within the same family, this necklace remains almost unknown to this day, with only graphic representations previously documented. A preparatory drawing, illustrated in the book ‘René Lalique’ by Sigrid Barten, shows a fragment of the necklace. Two final drawings, both depicting the entire necklace, were sold at a French auction in 1993: one of a green version and the other of a yellow version, which Lalique presumably created to allow the client to choose.

A true museum piece, this necklace showcases René Lalique's genius, earning him the title of ‘the inventor of modern jewelry’.