Story and Photos By Gail Worley

If you ever needed proof that mid-century design could be both playful and rigorously modern, look no further than this striking 1955 low table by French designer Alain Richard. Seen here in all its angular glory, the piece showcases Richard’s talent for balancing clean geometry with expressive surfaces — a combination that helped define French post-war modernism.

A Designer Shaping the Future of Post-War French Style

Alain Richard, who graduated at the top of his class from the École nationale supérieure des Arts Décoratifs, became one of the leading figures of French design in the 1950s and ’60s. His work for manufacturers such as Meubles TV was rooted in functional minimalism: pieces with purified lines, modular thinking, and a quiet elegance that never slipped into austerity.

Yet Richard also knew how to inject personality into utility — and this table is a perfect example.

A Table That Thinks in Angles (Not Curves)

Instead of the rounded silhouettes common in Scandinavian design of the same era, Richard carved his own path with this sharply angled, asymmetric form. The tabletop bends confidently at a 45-degree turn, creating a dynamic L-shape that instantly energizes the room.

The color-blocked laminate surface — a vibrant red that shifts into a soft neutral at one end — is quintessentially mid-century. It’s graphic without being overwhelming, warm without being whimsical. The pigment practically sings against the natural wood edging and tapered legs, which soften the composition with organic warmth. This combination of materials and color makes the table feel surprisingly contemporary. It would be right at home in a 1955 Paris apartment — or a 2025 Brooklyn loft.

Quiet Craftsmanship Behind the Bold Look

Though visually playful, the table maintains the technical discipline for which Richard was known:

• Precision joinery and a perfectly balanced silhouette

• Slim, tapered legs that echo Scandinavian influence while remaining unmistakably French

• Plywood construction and laminate surfaces, both hallmarks of mid-century democratic design

• A strong emphasis on function first, with beauty emerging from structure rather than ornament

The result is a piece that feels light, practical, and unmistakably intentional.

A Rare Example of French Mid-Century Color Play

Color was not as widely embraced in French modernist furniture as it was in American or Italian design. That’s what makes this Richard table so special: it offers an unexpected burst of chromatic confidence from a designer usually associated with muted palettes and sober materials.

Its bold red plane doesn’t simply decorate the table — it shapes how the table interacts with space. The angled form directs your eye across the tabletop like a visual arrow, inviting movement and conversation.

Why This Table Still Feels Revolutionary

Today, Richard’s work is cherished by collectors and admired by curators for its clarity of vision. But this table, in particular, resonates because it bridges two worlds:

• The restrained functionalism of French post-war design

• The spirited optimism of mid-century color and graphic experimentation

It’s a piece that plays well with others — minimalist sofas, sculptural lighting, or even boldly patterned rugs — without losing its own distinct identity.

This 1955 Alain Richard low table is more than a piece of furniture; it’s a perfectly preserved snapshot of a designer exploring new forms, new colors, and new ways of living. With its asymmetrical angles, warm wood details, and that unforgettable color-blocked top, the table feels as fresh today as it did seventy years ago.

Photographed in Demisch Danant Furniture Gallery in NYC.