Pure
A pure white texture reminiscent of fresh snow—warm, smooth, and refined.
The Liora Beaded Alabaster Swag Chandelier is a continuous strand of natural alabaster beads, hung between small brass ceiling anchors so that each length falls into a soft curve of its own. One strand, several strands crossing, or a whole ceiling drawn on — the arrangement is decided by where the anchors go, not by us.
What makes it unlike anything else in the range: every single bead is lit. This is not a strand of decoration with a bulb somewhere behind it — light runs the whole length, so each stone glows from within, and the veining inside each bead shows individually. The curve is not designed either. Hang anything flexible between two fixed points and gravity draws the same line — the one a necklace makes, or a rope between two posts. Move the anchors closer and the strand falls deep and narrow; spread them wide and it stretches into a long shallow sweep. Suited to a stairwell, a double-height entry, above a long dining table, or drawn across an open-plan ceiling. In natural alabaster with brass anchors.
No two pieces of stone are ever the same
Alabaster is a natural stone, so every piece carries its own veining and subtle variation in color. The fixture you receive may therefore differ slightly from the images shown.

There is no frame and no canopy plate — just a strand and a set of small brass anchors. Where you put the anchors is the whole design, which means the same product makes a different fixture in every room it goes into.
Hang anything flexible between two fixed points and gravity draws the same line — the one a necklace makes. Set the anchors close together and the strand falls deep and narrow. Set them far apart and it stretches into a long shallow sweep. You are not choosing a shape from a list; you are choosing two points, and the curve follows.
Two anchors, one curve. The quietest version — a single line drawn across a ceiling, with nothing else competing for attention.
Best over a dining table or a long consoleSeveral strands sharing anchors, each hung deeper than the one above. The depths overlap, so from below you look through three curves at once and the piece gains real volume.
Best in a stairwell or a double-height entryTwo swags anchored so their curves overlap in the middle rather than nesting. Where they cross, the beads double up and the light concentrates — a bright knot in the centre of the piece.
Best where the ceiling is seen from below and from a landingOne strand carried across several anchors in a row, dipping between each. It stops being a fixture and becomes a line drawn on the ceiling — the only version that can cross a whole open-plan room.
Best across an open-plan ceiling or a long hallwayEach chandelier is an independent strand with its own anchors, which means two or three of them can be installed in the same space and read as a single fixture. Nothing is joined and nothing is modified — they simply share a ceiling.
Three separate chandeliers, three sets of anchors, one arrangement — installed at different depths so the curves never sit on top of each other.
Stagger the depths, never match them. Two strands hung at the same depth cancel each other out — the eye reads one thick line instead of two. Set each piece noticeably deeper than the last and the layers stay separate from every viewing angle.
Offset the anchor positions too. If two pieces share the same start and end points, their curves nest and the second one disappears behind the first. Shift each set of anchors sideways so the curves cross rather than stack.
Three is usually the limit in one space. Beyond that the ceiling starts to read as busy rather than layered — and a stairwell in particular is seen from several floors at once, which multiplies whatever is up there.
Wire them to one switch, or to several. On one switch the whole arrangement reads as a single piece. On separate switches you can light one strand for an evening and all three when guests come — the same installation, two different rooms.
Because the LED is built into the strand, there is no bulb to swap for a dimmable one afterwards. A dimmable version is available, but it has to be specified at the time of order.
How far apart your anchors go, and how long the strand between them is. The first is your ceiling. The second is what we cut. Together they decide how deep the curve falls.
A strand is always longer than the gap it spans — and that surplus is exactly what falls into the curve. Fix a 220.5″ strand across a 78.7″ span and you get a deep, dramatic sweep. Fix the same strand across a 157.5″ span and it stretches into a long shallow arc. Same strand, different anchors, completely different fixture.
Both drawings use a strand of the same length. Only the distance between the anchors changed.

The quietest configuration. Start here if you're unsure.
The version most stairwells want.
Choose B when the top of the piece needs to stay high — under a beam, or above a doorway.
Needs height. In a low room four strands read as clutter rather than layers.
No frame. No canopy. No body. Just a line.
Take almost any chandelier apart and most of what you are holding is not light. It is structure — a frame to give it shape, arms to hold the shades out, a canopy plate to cover the hole in your ceiling and hide the wiring. All necessary, all of it hanging there in daylight doing nothing, and all of it the reason a chandelier is an object you install rather than something you place.
Liora began by asking whether any of that was actually required. It turns out it is not. A strand of beads needs no frame, because the ceiling itself provides the structure — two small anchors and gravity between them. There is nothing to give the piece shape, so it takes the shape of wherever you put it. There is no canopy plate, because there is no single hole to cover. What is left is a line of glowing stone and a ceiling behind it.
And every bead in that line is lit. This is not a strand of decoration with a bulb somewhere behind it — the light runs the full length, so each stone glows from the inside out. Which means the veining inside every bead shows individually: one pale and cloudy, the next carrying a strong amber grain, the one after almost clear. Strung together they read as a line of separate small warmths rather than one continuous tube of light. That is the difference between quarried stone and moulded resin, and lit from within, it is impossible to miss.
The curve is not ours either. Hang anything flexible between two fixed points and gravity draws the same line — the one a necklace makes, or a rope between two posts. Move the anchors closer and the strand falls deep and narrow; spread them apart and it stretches into a long shallow sweep. We do not send you a shape. We send you a length, and your ceiling decides the rest.
Which is why no two installations of this piece are the same. Not because the stone varies — though it does — but because the fixture is finished in your room rather than in our workshop.
How it fixes to your ceiling, what we need from you, and what arrives in the box.
No — and this is the most important thing to know before ordering.
There is no canopy plate and no single hole. Each strand runs from one anchor on your ceiling to another, so you need several fixing points with wiring run between them.
That's also exactly what makes it work: because the two ends are separate, the strand can curve the way it does and there's no fixture body to look at. Send us a photo of your ceiling and the span you want to cover, and we'll mark out where every anchor goes before your electrician quotes.
Three things, and they take a tape measure and a phone:
1. Your ceiling height. 2. The span you want to cover — how far apart the two ends should sit. 3. What's underneath — a table, a landing, an open floor.
With those we'll confirm the configuration and cut every strand to length before it ships, so nothing arrives too short to reach or hanging lower than you planned.
By the gap between the anchors. The strand is always longer than the span it crosses, and that extra length is what falls into the curve.
So anchors close together give you a deep, narrow drop. Anchors spread wide give a long shallow sweep. It's the same physics as a washing line — which is why it can't be got wrong, only planned. Tell us the depth you want and we'll work backwards to the anchor spacing.
Yes — the light runs the full length of the strand, so each stone glows from the inside rather than being lit from somewhere else.
That's why the veining shows individually in every bead: one pale and cloudy, the next with a strong amber grain. Strung together you see a line of separate small warmths, not one continuous tube of light. It's the clearest difference between real stone and moulded plastic, and it only shows when the light is inside.
Yes, but only if you say so when you order. The LED is built in, so there's no bulb to swap for a dimmable one afterwards.
A dimmable version is available — tell us at the time of order, and tell us which dimmer switch you plan to use so we can confirm the pairing works. Over a dining table or in a stairwell most people eventually want the light lower, so it's worth deciding now.
Yes. Each piece is an independent strand with its own anchors, so two or three can share a ceiling and read as one arrangement. Nothing is joined and nothing is modified.
Two rules if you do: hang each one noticeably deeper than the last (matched depths cancel each other out and read as one thick line), and offset the anchor positions sideways so the curves cross rather than nest. Three is usually the limit in one space.
Because they're cut from quarried stone rather than moulded. Every bead carries its own veining — some almost clear, some with a strong amber grain running through them.
On a strand hung side by side and lit from within, that variation is the first thing anyone notices. A strand where every bead matched would have to be resin.
A soft dry cloth along the beads. Keep water off the stone — alabaster is porous, absorbs it, and leaves a mark that won't buff out.
Switch off and let it cool first. Once or twice a year is plenty — and if it's in a stairwell, do it from a proper platform rather than a ladder on the treads.
Not sure how to wire it, how high to hang it, or whether you need an electrician? Our full guide walks through every step for US homes.
Switch off at the breaker and confirm before you touch any wiring.
Make sure your junction box is standard, secure, and rated for the weight.
Black to black, white to white, ground to ground — the US standard explained.
Mounting heights and clearances for sconces, pendants, and chandeliers.
A strand needs several anchors and an electrician. These two need a single fixing — or nothing at all but a socket.


Wall mounted · Indoor dry rooms
One point on a wall instead of several across a ceiling. In a stairwell it does the job the strand cannot — lighting the treads themselves, at the height people actually walk. In pairs it frames a landing or a doorway.

Floor standing · Plug in
Cut planes and hard angles against a line of round beads — the same stone saying the opposite thing. It plugs into a socket, so it fills the corner below with no electrician, no holes and no permission if you rent.
The Liora Beaded Alabaster Swag Chandelier is a continuous strand of natural alabaster beads, hung between small brass ceiling anchors so that each length falls into a soft curve of its own. One strand, several strands crossing, or a whole ceiling drawn on — the arrangement is decided by where the anchors go, not by us.
What makes it unlike anything else in the range: every single bead is lit. This is not a strand of decoration with a bulb somewhere behind it — light runs the whole length, so each stone glows from within, and the veining inside each bead shows individually. The curve is not designed either. Hang anything flexible between two fixed points and gravity draws the same line — the one a necklace makes, or a rope between two posts. Move the anchors closer and the strand falls deep and narrow; spread them wide and it stretches into a long shallow sweep. Suited to a stairwell, a double-height entry, above a long dining table, or drawn across an open-plan ceiling. In natural alabaster with brass anchors.
No two pieces of stone are ever the same
Alabaster is a natural stone, so every piece carries its own veining and subtle variation in color. The fixture you receive may therefore differ slightly from the images shown.

There is no frame and no canopy plate — just a strand and a set of small brass anchors. Where you put the anchors is the whole design, which means the same product makes a different fixture in every room it goes into.
Hang anything flexible between two fixed points and gravity draws the same line — the one a necklace makes. Set the anchors close together and the strand falls deep and narrow. Set them far apart and it stretches into a long shallow sweep. You are not choosing a shape from a list; you are choosing two points, and the curve follows.
Two anchors, one curve. The quietest version — a single line drawn across a ceiling, with nothing else competing for attention.
Best over a dining table or a long consoleSeveral strands sharing anchors, each hung deeper than the one above. The depths overlap, so from below you look through three curves at once and the piece gains real volume.
Best in a stairwell or a double-height entryTwo swags anchored so their curves overlap in the middle rather than nesting. Where they cross, the beads double up and the light concentrates — a bright knot in the centre of the piece.
Best where the ceiling is seen from below and from a landingOne strand carried across several anchors in a row, dipping between each. It stops being a fixture and becomes a line drawn on the ceiling — the only version that can cross a whole open-plan room.
Best across an open-plan ceiling or a long hallwayEach chandelier is an independent strand with its own anchors, which means two or three of them can be installed in the same space and read as a single fixture. Nothing is joined and nothing is modified — they simply share a ceiling.
Three separate chandeliers, three sets of anchors, one arrangement — installed at different depths so the curves never sit on top of each other.
Stagger the depths, never match them. Two strands hung at the same depth cancel each other out — the eye reads one thick line instead of two. Set each piece noticeably deeper than the last and the layers stay separate from every viewing angle.
Offset the anchor positions too. If two pieces share the same start and end points, their curves nest and the second one disappears behind the first. Shift each set of anchors sideways so the curves cross rather than stack.
Three is usually the limit in one space. Beyond that the ceiling starts to read as busy rather than layered — and a stairwell in particular is seen from several floors at once, which multiplies whatever is up there.
Wire them to one switch, or to several. On one switch the whole arrangement reads as a single piece. On separate switches you can light one strand for an evening and all three when guests come — the same installation, two different rooms.
Because the LED is built into the strand, there is no bulb to swap for a dimmable one afterwards. A dimmable version is available, but it has to be specified at the time of order.
How far apart your anchors go, and how long the strand between them is. The first is your ceiling. The second is what we cut. Together they decide how deep the curve falls.
A strand is always longer than the gap it spans — and that surplus is exactly what falls into the curve. Fix a 220.5″ strand across a 78.7″ span and you get a deep, dramatic sweep. Fix the same strand across a 157.5″ span and it stretches into a long shallow arc. Same strand, different anchors, completely different fixture.
Both drawings use a strand of the same length. Only the distance between the anchors changed.

The quietest configuration. Start here if you're unsure.
The version most stairwells want.
Choose B when the top of the piece needs to stay high — under a beam, or above a doorway.
Needs height. In a low room four strands read as clutter rather than layers.
No frame. No canopy. No body. Just a line.
Take almost any chandelier apart and most of what you are holding is not light. It is structure — a frame to give it shape, arms to hold the shades out, a canopy plate to cover the hole in your ceiling and hide the wiring. All necessary, all of it hanging there in daylight doing nothing, and all of it the reason a chandelier is an object you install rather than something you place.
Liora began by asking whether any of that was actually required. It turns out it is not. A strand of beads needs no frame, because the ceiling itself provides the structure — two small anchors and gravity between them. There is nothing to give the piece shape, so it takes the shape of wherever you put it. There is no canopy plate, because there is no single hole to cover. What is left is a line of glowing stone and a ceiling behind it.
And every bead in that line is lit. This is not a strand of decoration with a bulb somewhere behind it — the light runs the full length, so each stone glows from the inside out. Which means the veining inside every bead shows individually: one pale and cloudy, the next carrying a strong amber grain, the one after almost clear. Strung together they read as a line of separate small warmths rather than one continuous tube of light. That is the difference between quarried stone and moulded resin, and lit from within, it is impossible to miss.
The curve is not ours either. Hang anything flexible between two fixed points and gravity draws the same line — the one a necklace makes, or a rope between two posts. Move the anchors closer and the strand falls deep and narrow; spread them apart and it stretches into a long shallow sweep. We do not send you a shape. We send you a length, and your ceiling decides the rest.
Which is why no two installations of this piece are the same. Not because the stone varies — though it does — but because the fixture is finished in your room rather than in our workshop.
How it fixes to your ceiling, what we need from you, and what arrives in the box.
No — and this is the most important thing to know before ordering.
There is no canopy plate and no single hole. Each strand runs from one anchor on your ceiling to another, so you need several fixing points with wiring run between them.
That's also exactly what makes it work: because the two ends are separate, the strand can curve the way it does and there's no fixture body to look at. Send us a photo of your ceiling and the span you want to cover, and we'll mark out where every anchor goes before your electrician quotes.
Three things, and they take a tape measure and a phone:
1. Your ceiling height. 2. The span you want to cover — how far apart the two ends should sit. 3. What's underneath — a table, a landing, an open floor.
With those we'll confirm the configuration and cut every strand to length before it ships, so nothing arrives too short to reach or hanging lower than you planned.
By the gap between the anchors. The strand is always longer than the span it crosses, and that extra length is what falls into the curve.
So anchors close together give you a deep, narrow drop. Anchors spread wide give a long shallow sweep. It's the same physics as a washing line — which is why it can't be got wrong, only planned. Tell us the depth you want and we'll work backwards to the anchor spacing.
Yes — the light runs the full length of the strand, so each stone glows from the inside rather than being lit from somewhere else.
That's why the veining shows individually in every bead: one pale and cloudy, the next with a strong amber grain. Strung together you see a line of separate small warmths, not one continuous tube of light. It's the clearest difference between real stone and moulded plastic, and it only shows when the light is inside.
Yes, but only if you say so when you order. The LED is built in, so there's no bulb to swap for a dimmable one afterwards.
A dimmable version is available — tell us at the time of order, and tell us which dimmer switch you plan to use so we can confirm the pairing works. Over a dining table or in a stairwell most people eventually want the light lower, so it's worth deciding now.
Yes. Each piece is an independent strand with its own anchors, so two or three can share a ceiling and read as one arrangement. Nothing is joined and nothing is modified.
Two rules if you do: hang each one noticeably deeper than the last (matched depths cancel each other out and read as one thick line), and offset the anchor positions sideways so the curves cross rather than nest. Three is usually the limit in one space.
Because they're cut from quarried stone rather than moulded. Every bead carries its own veining — some almost clear, some with a strong amber grain running through them.
On a strand hung side by side and lit from within, that variation is the first thing anyone notices. A strand where every bead matched would have to be resin.
A soft dry cloth along the beads. Keep water off the stone — alabaster is porous, absorbs it, and leaves a mark that won't buff out.
Switch off and let it cool first. Once or twice a year is plenty — and if it's in a stairwell, do it from a proper platform rather than a ladder on the treads.
Not sure how to wire it, how high to hang it, or whether you need an electrician? Our full guide walks through every step for US homes.
Switch off at the breaker and confirm before you touch any wiring.
Make sure your junction box is standard, secure, and rated for the weight.
Black to black, white to white, ground to ground — the US standard explained.
Mounting heights and clearances for sconces, pendants, and chandeliers.
A strand needs several anchors and an electrician. These two need a single fixing — or nothing at all but a socket.


Wall mounted · Indoor dry rooms
One point on a wall instead of several across a ceiling. In a stairwell it does the job the strand cannot — lighting the treads themselves, at the height people actually walk. In pairs it frames a landing or a doorway.

Floor standing · Plug in
Cut planes and hard angles against a line of round beads — the same stone saying the opposite thing. It plugs into a socket, so it fills the corner below with no electrician, no holes and no permission if you rent.

Natural stone lighting
The Vidir lighting edit
Most shades block light and let it out at the edges. Yet, this stone-textured lampshade manages to achieve exactly that.
Alabaster is translucent. Switch it on and the whole shade lights up from within, veining and all, instead of glowing only where the bulb sits. There is no bright spot to look at, because the light source is the entire surface.
The veining was decided underground, long before anyone cut it. Every shade carries its own pattern and its own faint colour shift — so the piece that arrives is not the piece in the photograph, and that is the point.
Resin and acrylic imitations go amber and brittle within a few years of sitting next to a warm bulb. Stone does not age that way. The shade you unpack is the shade you will have in twenty years.
Designed for better living
Use warm white (2700K). The stone itself has an off-white, creamy tone; cool light passing through it makes it look grayish and dingy, whereas warm light brings out that honey-like hue seen in the photos.
Alabaster is a natural stone that absorbs water and cleaning agents, which can leave permanent stains. Disconnect the power, let the bulb cool down, and then wipe the fixture with a soft, dry cloth—do not use water or spray cleaners.
The density of the stone is far greater than that of a glass shade of the same size; ensure the ceiling's load-bearing capacity is sufficient for safety.
THE ART OF ALABASTER
The natural texture of alabaster brings a warm, mineral quality to the space. (Please contact us if you require a specific texture.)
A pure white texture reminiscent of fresh snow—warm, smooth, and refined.
Deep, inky patterns flow across a white base.
A dynamic pattern resembling a bolt of lightning streaking across the sky.
Fine, intricate cracks evoking the aesthetic beauty of a sheet of ice at the moment it shatters.
A pattern as light and airy as falling snowflakes, with every single flake unique.
Material · Method · Light
Every texture tells a story of natural light and patient craftsmanship.





Crafted from select natural alabaster, preserving its unique veining.
Meticulously cut and shaped by artisans.
Repeatedly ground and polished for a smooth, refined texture.
Carefully assembled and quality-inspected.
A new perspective
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
Our product
Alabaster Cylindrical Chain Chandelier
Alabaster is translucent, so the light travels through the stone rather than escaping at the edges — the whole shade glows, veining and all. Every piece carries a pattern that was decided underground, which is why no two are alike.
Resin is cast in moulds, so the "veining" repeats from one shade to the next and the light passes through evenly with no depth to it. It also ages differently: sitting close to a warm bulb, resin tends to amber and grow brittle within a few years.
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Eight categories, one workshop — find the fixture that fits your room.