Why Tiffany Lamps Are Even More Iconic in 2026

A green glass table lamp by Tiffany Studios sitting atop of a wooden side table — (Image credit: Lillian Nassau LLC)

Mosaic-style Art Nouveau lamps by Tiffany Studios cost roughly a Birkin on a good day – and well over a million at auction on a bad one. You might recognize them from the American Wing at the Met, or from the New-York Historical Society’s formidable collection. Created around 1895 by stained-glass obsessive Louis Comfort Tiffany, they feel strangely salient again in 2026 – a reflex, perhaps, against a snooze-worthy decade of colorless minimalism.

This new (old?) fixture-fixation crystallized for me recently at the Winter Show, the long-running American art and antiques fair held each year at the Park Avenue Armory.

I attended the Young Collectors Night – a dizzying social swirl of philanthropists and design obsessives debating early Victorian multi-gem brooches and 19th-century Sinhalese wooden center tables. Between the 75-plus internationally recognized dealers and a generous illustrator who sketched my off-kilter organza gown (the evening’s theme was ‘Deconstructed Beauty’), I saw more original Tiffany lighting – glowing in all of their glory – than I ever had in one place.

Wisteria Lamp by Tiffany Studios — These lamps weren’t decorative accents so much as the foundation of an entire visual vocabulary. Tiffany’s *Wisteria* design, for instance, inspired the dramatic purple florals that once filled the stained-glass windows of his own residences – first at the Madison Avenue mansion at 72nd Street, and later at Laurelton Hall in Oyster Bay.

They were presented by Lillian Nassau LLC, the storied New York gallery founded in 1945 and widely credited with reviving serious interest in Tiffany Studios’ work, from lamps to Favrile glass and pottery.

‘The revival of interest in the work of Tiffany Studios has been a work in progress for several decades and is now in full force,’ notes Lillian Nassau LLC owner Arlie Sulka. ‘We think that as some parts of society are turning towards automation, AI, screens, etc., there are those who yearn for objects made meticulously by hand that showcase the human eye/touch, pieces whose creation required skilled craftsmanship that took years to develop, and investment of time and energy to produce.’

The most famous – and famously labor-intensive – example is Tiffany Studios’ Wisteria Lamp. Produced between 1902 and 1932, the design comprises more than 1,000 pieces of mottled opalescent glass arranged into cascading clusters of wisteria blossoms, complete with deliberately irregular edges meant to mimic the plant’s trailing petals. The base, richly patinated in bronze, resembles a tree trunk. One example sold for $1.5 million at Sotheby’s.

Tiffany style lamp pictured in living room alongside modern furniture — Finely executed reproductions that rely on traditional glass-making techniques, such as this botanical design by River Goods, offer a taste of Tiffany-style romance.

Originally designed in 1900 by Clara Driscoll, head of the Women’s Glass Cutting Department (the so-called ‘Tiffany Girls’), the lamp has been copied, referenced, and riffed on endlessly. Not simply as a shortcut to the illusion of wealth or heritage, but because its unabashed use of color, ornament, and chaos feels equally, if not more, resonant in 2026. After years of mistaking ‘good taste’ for restraint – and restraint for some sort of twisted aesthetic virtue – this kind of maximal, handcrafted exuberance reads as a reminder that beauty can be loud, irregular, and, at its best, alive.

‘They are all objectively beautiful and very well made, which alone makes them collectible, but we find their commitment to the natural world incredibly soothing, so we would like to imagine that others feel the same way when choosing to incorporate them in their interiors,’ continues Arlie – a sentiment that may even have tangible benefits. ‘There are scientific studies that spending time in nature relaxes the nervous system, which I believe 100%, so I think in a way Tiffany’s designs are a way to bring that energy into the home year-round.’

Farewell Building lobby — Lighting proved to be only the beginning. Tiffany’s mosaic language quickly inspired a wider decorative movement – most notably seen in Detroit’s Farewell Building, which Tiffany was commissioned to adorn in 1914. Its vaulted ceilings, once-layered with glass leaves and berries, stood as an early example that this style of immersive, craft-led ornamentation could also create a universe.

For Colorado-based interior designer Nadia Watts, the pull toward Tiffany lamps isn’t just about nature, or even our collective desire to look up from our screens – it’s generational. She is the great-great-granddaughter of Louis Comfort Tiffany himself.

‘I think the renewed interest in Tiffany Studios lighting comes from a desire for depth and sensory richness in our interiors,’ Nadia agrees. Like Arlie Sulka, she points to the natural world as a guiding force, noting how the hues of the Wisteria Lamp mirror the vines at Laurelton Hall, Tiffany’s former country estate. ‘That direct connection to the natural world makes the work feel alive, relevant, and deeply human, even or perhaps, more importantly, in 2026,’ she explains.

Close-up of the Farewell Building lobby — Shown here is a close-up of a Favrile glass mosaic by Tiffany Studios from Detroit’s Farwell Building. This appetite for color and ornament stands as a precursor – or perhaps a mirror – to today’s renewed appetite for whimsy and dopamine decor, a full century ahead of schedule.

For her, ‘Tiffany will always be its own category.’ Whether or not one buys into the revival as a design trend, simply encountering the work is a reminder of real cultural and material presence. ‘While the revival coincides with a broader return to craft, nature, and ornament, Tiffany occupies a singular space where art, innovation, and material mastery intersect… a moment when art, industry, and craftsmanship were in real conversation.’

That sensibility carries through to how Tiffany lamps – or, at least, lamps that muse them – are styled today. ‘These lamps are expressive and layered, so I like to pair them with calm, neutral architecture,’ Nadia says. ‘Think clean lines, warm plaster, natural stone, or soft textures so the glass can glow on its own. One exceptional lamp can anchor a room and let other lighting remain subtle.’

Two Tiffany lamp reproductions pictured alongside antique furniture — Brands such as Meyda Tiffany Lighting continue the legacy with a robust offering of Tiffany-style reproductions alongside original stained-glass designs that honor the craft.

Though Tiffany lamps are often photographed in very proper, old-world interiors – probably par for the course, when the price tag clears seven figures – Nadia insists that reverence isn’t required. ‘You don’t need a period interior at all!’ she says. ‘Tiffany feels most alive when juxtaposed with modern furnishings. Pulling color gently from the glass into the palette, rather than matching it literally, keeps the look contemporary while honoring the artistry. In this way, Tiffany lighting feels timeless, soulful, and incredibly current.’

If I ever win the lottery, there will be signs. Tiffany signs. Until then, discover a few mosaic lights that nod to the legacy, the natural world, and remind us that good lighting, as ever, should make you feel something.

Part of the je ne sais quoi of a Tiffany lamp is its sense of feeling – an aesthetic effervescence we’re newly attuned to in 2026. Lean into that energy by brushing up on the whimsical decor trend, and meet your new lights where they are, with equal enchantment.

Julia Demer is a New York–based Style Editor at Homes & Gardens with a sharp eye for where fashion meets interiors. Having cut her teeth at L’Officiel USA and The Row before pivoting into homes, she believes great style is universal – whether it’s a perfect outfit, a stunning room, or the ultimate set of sheets. Passionate about art, travel, and pop culture, Julia brings a global, insider perspective to every story.