When antiques inspire modern and contemporary design

wp:paragraph In 2021, at the Salone del Mobile (Furniture Fair) in Milan, the Dior fashion house invited 17 designers and artists to present "their" version of the famous Louis XVI-style medallion chair designed by carpenter Louis Delanois in 1769. A timeless symbol of French elegance, the medallion chair welcomed visitors to the famous haute couture house's boutiques. This anecdote just goes to show that modern and contemporary designers have often drawn inspiration from classic furniture to express their creative talent. Here's a look at some classic and modern designs revisited with boldness and taste! /wp:paragraph wp:embed {"url":"https://www.youtube.com/watch?v=aRkEJ8sAaU\u0026t=48s", "type": "video", "providerNameSlug": "youtube", "responsive":true, "className": "wp-embed-aspect-16-9 wp-has-aspect-ratio"} https://www.youtube.com/watch?*v=aRkEJ8sAaU*https://www.youtube.com/watch?v=aR\_kEJ8sAaU/wp:embed wp:paragraph In 1972, the American-Canadian architect and designer Frank Gehry (1929) paid tribute to the Dutchman Gerrit Rietveld (1888-1964) and his radical creation, the Zig Zag chair. Produced in 1934, the Zig Zag chair follows the incredible shape of the letter Z. With this chair, Rietveld applied the ideas of the Dutch De Stijl movement, to which he belonged for several years: "pure" and minimal forms in dynamic balance. /wp:paragraph wp:image {"id":17433, "sizeSlug": "full", "linkDestination": "none"} Zig Zag chair, design Gerrit Rietveld, 1934. It was not until 1973 that the seat was mass-produced by Cassina. Zig Zag chair, designed by Gerrit Rietveld, 1934. Cassina did not mass-produce the seat until 1973. Zig Zag chair, designed by Gerrit Rietveld, 1934. It was not until 1973 that Cassina began to mass-produce the seat: /wp:image wp:paragraph Gehry created the Wiggle Side Chair in 1972. As with its predecessor, the object created did not go unnoticed and its composition raised questions: sheets of cardboard were arranged at right angles and glued together. Surprisingly, the seat remained solid and the cardboard sufficiently malleable to allow for S-shaped curves. Gehry created the Wiggle Side Chair in 1972. As with its predecessor, the object created did not go unnoticed, and its composition raised questions: sheets of cardboard were arranged at right angles and glued together. Surprisingly, the seat remains solid and the cardboard sufficiently malleable to create S-shaped curves. /wp:paragraph wp:image {"id":17456, "sizeSlug": "large", "linkDestination": "none"} Wiggle Side Chair, design Frank Gehry, 1972. Wiggle Side Chair, design Frank Gehry, 1972. Wiggle Side Chair, design Frank Gehry, 1972. /wp:image wp:image {"id":17448, "sizeSlug": "large", "linkDestination": "none"} Wiggle Side Chair, detail of cardboard construction, design Frank Gehry, 1972. Wiggle Side Chair, detail of cardboard construction, Frank Gehry design, 1972. Wiggle Side Chair, detail of cardboard construction, Frank Gehry design, 1972. /wp:image wp:image {"id":17455, "sizeSlug": "full", "linkDestination": "none"} The Zig Zag chair may also have inspired the design of the Panton chair created in 1960 by Verner Panton, with a more softened "S" shape. The Zig Zag chair may also have inspired the design of the Panton chair made in 1960 by Verner Panton, with a softer "S" shape. The Zig Zag chair may also have inspired the design of the Panton chair made in 1960 by Verner Panton, with a more softened "S" shape. /wp:image wp:paragraph The designer Alessandro Mendini (1931-1919) became a legend in Italian design with a piece of furniture that leaves no one indifferent. In 1978, he designed the Proust armchair, a tribute to the author of A la recherche du temps perdu. Since the idea of memory and time permeates the work of the French writer, Mendini also decided to remember another era, and decided to bring the Regency-style bergère armchair up to date. The designer Alessandro Mendini (1931-1919) became a legend in Italian design with a piece of furniture that leaves no one indifferent. In 1978, he designed the Proust armchair, a tribute to the author of A la recherche du temps perdu. Since the idea of memory and time permeates the work of the French writer, Mendini also decided to remember another era, and decided to bring the Regency-style bergère armchair up to date. /wp:paragraph wp:image {"id":17444, "sizeSlug": "full", "linkDestination": "none"} Louis XV style bergère in gilded wood and Boussac blue fabric. Louis XV style armchair in gilded wood and Boussac blue fabric. Louis XV style bergère in gilded wood and Boussac blue fabric. /wp:image wp:image {"id":17441, "sizeSlug": "large", "linkDestination": "none"} Pair of Regency period bergères in carved and gilded wood. Pair of Regency period carved and gilded wooden bergères. Pair of Regency period bergères in carved and gilded wood /wp:image wp:paragraph What does Mendini do? He has produced a version of a Regency shepherdess with exaggerated lines that incorporates small touches of acrylic paint, reminiscent of the pointillism of the painter Paul Signac. Kitsch? baroque? the Proust armchair can be appreciated in different ways, but one thing is certain: it breaks away from industrial design to allow true artistic creation. What did Mendini do? He has created a version of a Regency shepherdess with exaggerated lines that incorporates small touches of acrylic paint, reminiscent of the pointillism of the painter Paul Signac. Kitsch? baroque? the Proust armchair can be appreciated in different ways, but one thing is certain: it breaks away from industrial design to allow for true artistic creation. /wp:paragraph wp:image {"id":17451, "sizeSlug": "full", "linkDestination": "none"} Proust armchair, design by Alessandro Mendini, 1978. In its early days, only around thirty one-off Proust pieces were produced. From the 2000s onwards, publishers such as Cappellini and Magis began offering other versions of the original model. Proust armchair, designed by Alessandro Mendini, 1978. In the early days, only around thirty one-off Proust pieces were produced. From the 2000s onwards, publishers such as Cappellini and Magis began offering other versions of the original model. Proust armchair, designed by Alessandro Mendini, 1978. In the early days, only around thirty one-off Proust pieces were produced. From the 2000s onwards, publishers such as Cappellini and Magis offered other versions of the original model. /wp:image wp:image {"id":17432, "sizeSlug": "large", "linkDestination": "none"} Proust armchair, design by Alessandro Mendini, 1978. Proust armchair, design by Alessandro Mendini, 1978. Proust armchair, design by Alessandro Mendini, 1978. /wp:image wp:image {"id":17452, "sizeSlug": "large", "linkDestination": "none"} Proust Geometrica armchair, design by Alessandro Mendini, 2001. For Cappellini, Alessandro Mendini revisits his masterpiece with colourful geometric shapes reminiscent of abstraction in painting. Proust Geometrica armchair, design by Alessandro Mendini, 2001. For Cappellini, Alessandro Mendini revisits his masterpiece with colourful geometric shapes reminiscent of abstract painting. Photo credit: madd-bordeaux - Lysiane Gauthier /wp:image wp:image {"id":17434, "sizeSlug": "full", "linkDestination": "none"} Proust armchair, design by Alessandro Mendini for Magis, 2011. A version of the armchair made in rotationally moulded polyethylene, ideal for outdoor use. Proust armchair, design Alessandro Mendini for Magis, 2011. A version of the armchair made in rotationally moulded polyethylene, ideal for outdoor use. Proust armchair, design by Alessandro Mendini for Magis, 2011. A version of the armchair made in rotationally moulded polyethylene, ideal for outdoor use. /wp:image wp:paragraph In 2002, Philippe Starck (1949) proposed a reinterpretation of the Louis XVI-style medallion chair, for what was to be a worldwide commercial success. The Louis Ghost chair takes up the aesthetic codes of the Louis XVI armchairs, but in all transparency! The seat borrows simple, straight lines and a tapered base from the original model, but is made by injecting polycarbonate in a single mould, a material that is both transparent and colourful. The result is a work that is both baroque and modern. In 2002, Philippe Starck (1949) proposed a new take on the Louis XVI-style medallion chair, in what was to become a worldwide commercial success. The Louis Ghost chair takes up the aesthetic codes of the Louis XVI armchairs, but in all transparency! The seat borrows simple, straight lines and a tapered base from the original model, but is made by injecting polycarbonate in a single mould, a material that is both transparent and colourful. The result is a work that is both baroque and modern. /wp:paragraph wp:image {"id":17439, "sizeSlug": "large", "linkDestination": "none"} Louis XVI-style medallion chair covered in toile de Jouy. The medallion chair inspired the designer Christian Dior to create the cannage motif. Louis XVI style medallion chair upholstered in toile de Jouy. The medallion chair inspired Christian Dior to create the cannage motif. Louis XVI style medallion chair upholstered in toile de Jouy. The medallion chair inspired Christian Dior to create the cannage motif. /wp:image wp:image {"id":17453, "sizeSlug": "full", "linkDestination": "none"} Louis Ghost chair, designed by Philippe Starck for Kartell, 2002. Louis Ghost chair, design by Philippe Starck for Kartell, 2002. Louis Ghost chair, designed by Philippe Starck for Kartell, 2002. /wp:image wp:image {"id":17449, "sizeSlug": "full", "linkDestination": "none"} Set of Louis Ghost chairs, designed by Philippe Starck for Kartell, 2002. In addition to its transparency, polycarbonate can be coloured: a chic, elegant and timeless chair! Set of Louis Ghost chairs, design by Philippe Starck for Kartell, 2002. In addition to its transparency, polycarbonate can be coloured: a chic, elegant and timeless chair! Set of Louis Ghost chairs, design by Philippe Starck for Kartell, 2002. In addition to its transparency, polycarbonate can be coloured to create a chic, elegant and timeless chair! /wp:image wp:paragraph You're probably familiar with the bistro chair designed by Thonet Thonet. Made in 1851 by Michael Thonet (1796-1871), it has since travelled the world. Model no. 14, designed in 1859, made the chair internationally famous: small, elegant and discreet, it can be found in every café in Europe. Keen to keep the legend alive, the German publisher has since produced a whimsical and mischievous contemporary model of its famous chair: the 214 K "Knot chair", which recalls the genius of its inventor in his mastery of the technique of bending beechwood. /wp:paragraph wp:image {"id":17445, "sizeSlug": "large", "linkDestination": "none"} Thonet chairs model n°14, Michael Thonet design, 1859. The seat is wickerwork, the bentwood is beech. Thonet chairs model no. 14, Michael Thonet design, 1859. The seat is wickerwork, the bentwood is beech. Thonet chairs model no. 14, Michael Thonet design, 1859. The seat is wicker, the bentwood is beech. /wp:image wp:image {"id":17436, "sizeSlug": "full", "linkDestination": "none"} Chair 214 K, Thonet design, with its recognisable bow! 214 K chair, Thonet design, with its distinctive bow! 214 K chair, designed by Thonet, with its recognisable bow /wp:image wp:paragraph In 2009, to celebrate the 150th anniversary of its 14 chair, Thonet teamed up with Japanese distributor Muji to offer a sleeker version of its iconic seat. This collaboration saw English designer James Irvine, Thonet's creative director, come up with an all-wood version. Another collaboration around the 14 chair: with The Conran Shop, Thonet let Italian designer Martino Gamper (1971) create several models derived from the original Thonet n°14. In 2009, to celebrate the 150th anniversary of its 14 chair, Thonet teamed up with Japanese retailer Muji to offer a sleeker version of its iconic seat. This collaboration saw English designer James Irvine, Thonet's creative director, come up with an all-wood version. Another collaboration around the 14 chair: with The Conran Shop, Thonet let Italian designer Martino Gamper (1971) create several models derived from the original Thonet n°14. /wp:paragraph wp:image {"id":17437, "sizeSlug": "full", "linkDestination": "none"} Muji chair for Thonet, design James Irvine, 2009, Muji manufactured by Thonet collection. Muji chair for Thonet, design James Irvine, 2009, Muji collection manufactured by Thonet. Muji chair for Thonet, design James Irvine, 2009, Muji collection manufactured by Thonet. /wp:image wp:image {"id":17438, "sizeSlug": "full", "linkDestination": "none"} Postmundus chair, design Martino Gamper for Thonet/The Conran Shop. A stylish bistro chair loosely based on the Thonet No. 14 chair. Postmundus chair, designed by Martino Gamper for Thonet/The Conran Shop. A stylish bistro chair loosely based on Thonet chair no. 14. Postmundus chair, designed by Martino Gamper for Thonet/The Conran Shop. A stylised bistro chair loosely based on the Thonet chair no. 14. /wp:image wp:paragraph Among contemporary designers, the German Konstantin Grcic (1965), known for his non-conformism and creativity, has revisited a great living room classic: the famous Club armchair fauteuil Club . For Plank, he has designed Avus, a seat with a refined elegance that borrows from modern materials and innovative technologies from the automotive and sports industries. /wp:paragraph wp:image {"id":17446, "sizeSlug": "large", "linkDestination": "none"} Avus armchair, design Konstantin Grcic for Plank, 2011. The armoured base of the ABS armchair is made of a thermoformed shell, laced with polyurethane foam. An intense contrast between the rigidity of the lower part of the seat and the flexibility of the upper shell... Avus armchair, design Konstantin Grcic for Plank, 2011. The armoured base of the ABS armchair is made up of a thermoformed shell, laced with polyurethane foam. An intense contrast between the rigidity of the lower part of the seat and the flexibility of the upper shell... Avus armchair, design Konstantin Grcic for Plank, 2011. The armoured base of the ABS armchair is made up of a thermoformed shell, laced with polyurethane foam. An intense contrast between the rigidity of the lower seat and the flexibility of the upper shell... /wp:image wp:image {"id":17447, "sizeSlug": "large", "linkDestination": "none"} Avus armchair, another view of the model, design Konstantin Grcic for Plank, 2011. The upholstery is in polyurethane foam (fire retardant), and the covering in natural leather: imposing but classy. Avus armchair, another view of the model, designed by Konstantin Grcic for Plank, 2011. The upholstery is in polyurethane foam (flame retardant), and the covering in natural leather: imposing but classy. Avus armchair, another view of the model, designed by Konstantin Grcic for Plank, 2011. The upholstery is in polyurethane foam (fire retardant), and the covering in natural leather: imposing but classy. /wp:image wp:paragraph Finally, I couldn't end this post without mentioning 2 icons of modern design whose inspiration comes from the world of art. The 1st has its origins in the bronze sculpture Floating Figure, by the French sculptor Gaston Lachaise, created in 1927. The design couple Charles and Ray Eames interpreted their vision of the work in a seat with a terribly poetic organic design! And so La Chaise was born in 1948... Finally, I couldn't end this post without mentioning 2 icons of modern design whose inspiration comes from the world of art. The 1st has its origins in the bronze sculpture Floating Figure, by the French sculptor Gaston Lachaise, created in 1927. The design couple Charles and Ray Eames interpreted their vision of the work in a seat with a terribly poetic organic design! Thus was born La Chaise in 1948... /wp:paragraph wp:image {"id":17450, "sizeSlug": "large", "linkDestination": "none"} Floating Figure, sculpture by Gaston Lachaise (1927) Floating Figure, sculpture by Gaston Lachaise (1927) Photo credit : Wikipedia /wp:image wp:image {"id":17435, "sizeSlug": "large", "linkDestination": "none"} The Chair, Charles and Ray Eames design, 1948. At the time of its launch, La Chaise was a UFO: you could not only sit on it, but also lie on it. With its delicate, sinuous shapes reminiscent of the female body in the original sculpture, La Chaise was more than a seat - it was an objet d'art. The Chair, designed by Charles and Ray Eames, 1948. At the time of its launch, La Chaise was a UFO: not only could you sit on it, you could also lie on it. With its delicate, sinuous shapes reminiscent of the female body in the original sculpture, La Chaise was more than a seat - it was an objet d'art. The Chair, designed by Charles and Ray Eames, 1948. At the time of its launch, La Chaise was a UFO: not only could you sit on it, you could also lie on it. With its delicate, sinuous forms that evoke the female body of the original sculpture, the Chair is more than a seat; it is an objet d'art. /wp:image wp:paragraph The second stems from the interest of its Italian creators, Achille Castiglioni and his brother Pier Giacomo, in the concept of the "ready-made" theorised by the artist Marcel Duchamp. This is how they used and diverted everyday objects from their original purpose. With the famous Arco floor lamp, inspired by a fishing rod and a car headlight, the Castiglioni brothers returned to this concept. The same was true when they turned a tractor seat into a stool, or when they used a bicycle saddle to make a high, adjustable stool! The second stems from the interest of its Italian creators, Achille Castiglioni and his brother Pier Giacomo, in the concept of the 'ready-made' theorised by the artist Marcel Duchamp. This is how they used and diverted everyday objects from their original purpose. With the famous Arco floor lamp, inspired by a fishing rod and a car headlight, the Castiglioni brothers returned to this concept. They did the same when they turned a tractor seat into a stool, or used a bicycle saddle to make a high adjustable stool! /wp:paragraph wp:image {"id":17443, "sizeSlug": "full", "linkDestination": "none"} Arco floor lamps, designed by Pier Giacomo and Achille Castiglioni for Flos, 1962. The famous floor lamp using a telescopic stainless steel rod over 2m long, set on a base of white or black Carrara marble... Arco floor lamps, designed by Pier Giacomo and Achille Castiglioni for Flos, 1962. The famous floor lamp using a telescopic stainless steel rod over 2m long, installed on a white or black Carrara marble base... Arco floor lamps, designed by Pier Giacomo and Achille Castiglioni for Flos, 1962. The famous floor lamp using a telescopic stainless steel rod over 2m long, installed on a white or black Carrara marble base... /wp:image wp:image {"id":17442, "sizeSlug": "full", "linkDestination": "none"} The light head of the Arco floor lamp, designed by Pier Giacomo and Achille Castiglioni for Flos, 1962. The reflector can be rotated through 3 positions and is height-adjustable. he luminous head of the Arco floor lamp, designed by Pier Giacomo and Achille Castiglioni for Flos, 1962. The reflector can be adjusted to 3 positions and is height-adjustable. /wp:image wp:image {"id":17454, "sizeSlug": "large", "linkDestination": "none"} Mezzadro stool, designed by Achille and Pier Giacomo Castiglioni for Zanotta, 1957. A tractor saddle used to make a stool! Mezzadro stool, designed by Achille and Pier Giacomo Castiglioni for Zanotta, 1957. A tractor saddle used to make a stool! Mezzadro stool, designed by Achille and Pier Giacomo Castiglioni for Zanotta, 1957. A tractor saddle used to make a stool! /wp:image wp:image {"id":17440, "sizeSlug": "full", "linkDestination": "none"} Sella height-adjustable stool, designed by Achille and Pier Giacomo Castiglioni for Zanotta, 1957. Black racing bicycle saddle, pink painted steel stem and cast iron base. Sella height-adjustable stool, Achille and Pier Giacomo Castiglioni design for Zanotta, 1957. Black racing bicycle saddle, pink painted steel stem and cast iron base. Sella height-adjustable stool, Achille and Pier Giacomo Castiglioni design for Zanotta, 1957. Racing bicycle saddle, black colour, pink painted steel stem and cast iron base. /wp:image wp:paragraph {"align": "right"} François Boutard François Boutard /wp:paragraph

When antiques inspire modern and contemporary design

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