In 1919, the company started to focus on lighting and making fixtures for the Palais de l’Elysée in Paris, as well as for consulates and ministries.
After much testing, Genêt and Michon found that thick-pressed glass increased the number of reflections and brightness of light more than other types of thin glass. At 1300°F (700°C), a mixture of silica, soda, and lime was melted and poured into a steel mould. The formula was a closely guarded secret that didn’t change until 1938. No pigments were added to it so it wouldn’t lose its brightness and glow. They sometimes etched press glass and combined it with crystal. Sometimes, they added glass beads to fixtures in the style of the 19th century.
They are believed to have created the lit ramps surrounding a room at the 1925 Paris Exposition. In the 1920s, they were pioneers (along with René Lalique and Jean Perzel) of the suspended luminous sphere. They made ceiling dalles, lamps, lustres, wall brackets, epergnes, and illuminated friezes. By 1930, their press glasses were no longer made with complicated designs that included bunches of grapes. Instead, they were made with simpler shapes and a more polished finish.
They made lighting for the ocean liner Normandie in 1935, worked on lighting and glass with decorators Jacques-Emile Ruhlmann, Paul Follot, and Michel Dufrene, and made a lot of small Art Déco furniture pieces.
Their work (lighting fixtures and interiors) was shown at the Salons of the Société des Artistes Décorateurs from 1922 to 1938, the Salons d’Automne from 1922 to 1924, and other events. Work was shown at the 1924 Grand Lighting Competition, the 1923 or 1925 Esposizione Biennale delle Arti Decorative e Industriali Moderne’, 1934 (I) and 1935 (III) Salons of Light, the Pavilion of Light, and the 1937 Paris Exposition Internationale des Arts et Techniques dans la Vie Moderne.