Meanwhile, the dining room features a reinterpretation of Suzanne Lalique’s ‘rail’ motif on the partitions. Tables feature lamps with shades that mimic the original models, and the back of the dining car features a glass wall which looks into the kitchen, allowing guests to get a glimpse of the action.
The train’s corridors are characterised by vaulted ceilings, “flower” lamps signed by Lalique and a graphic carpet, while large windows, adorned with embroidered curtains, provide views of the landscapes.
Suites are arranged in two configurations, for day and night. During the day, they feature a sofa and settee, while the evening includes a 2 x 1.40 metre bed.
To “counter the strict lines and designs of the train”, D’Angeac has introduced a new circular shape as well as mirrors to play with perspectives.
Further features include headboards covered with wooden embroidery with mother-of-pearl and bronze beads, and nooks adorned with Lalique’s original ‘blackbirds and grapes’ panels, recovered from the original Nostalgie-Istanbul-Orient Express cars.
A bathroom with sliding doors, meanwhile, is clad in marble.
