Although Angelo Donghia, was the first designer to put his name on furniture in 1973, Pierre Cardin’s venture in the field was far more successful. Cardin opened a custom furniture shop in Paris in 1975, and in 1977, he licensed his name for furniture, lighting and rugs that translated his fashion aesthetic into designs for the mass market., who didn’t design the pieces himself, felt that furnishings were a logical extension of his brand: and deferred to the pieces as his couture furniture.
Installation View from Pierre Cardin: Future Fashion
The red and black lacquer chest of drawers, titled Head of the Moon, was designed in 1978. While it was not designed alongside the looks on view behind it, Cardin’s tight visual language creates a natural link between the two.
Photographed as Part of the Exhibit Pierre Cardin: Future Fashion at The Brooklyn Museum.
I saw many, many breathtakingly beautiful things at The Salon Art and Design show at the Park Avenue Armory, and one of most unusual items, which I am sure I will never forget, was this three-drawer dresser by designer Kam Tin, which is covered on three sides in meticulously curated pieces of genuine Baltic Amber.
Have you ever seen anything like that? For this dresser, which Tin creates to-order so that no two are alike, the natural amber pieces are polished and mounted on the dresser’s wooden frame, fitted with brass legs, and topped with a plate of Italian tinted glass. The piece measures 27.5ʺW × 19.7ʺD × 31.4ʺH.
Amber Drawer Surface Detail
Each piece of amber was hand-selected for its color and inclusions. This chest of drawers has a retail price tag of $57,000.
Designed by Kam Tin for Maison Rapin at Decaso, Paris, France.
This spectacular bureau cabinet reflects the European fascination with Japanese and Chinese luxury goods in the early eighteenth century. The bright red surfaced imitated Asian lacquer, which was made from materials not available in Europe.
The motifs evoke the people and sights of the Far East, but they reflect the limited knowledge and stereotyped views that Europeans held of these distant countries. at the time the cabinet was made, this technique of using imitation lacquer was called “Japanning.” The original owner may have displayed small Asian porcelains in the upper niches of the cabinet.
Photographed in the Clark Institute in Williamstown, MA
By the 1920s, the skyscraper was a symbol of American modernity. Here, designer Paul Frankl uses maple and Bakelite to suggest the jagged, upward-reaching outline of a New York skyscraper. By breaking with the constraints of the past, this towering architectural form expressed the excitement and optimism of a new era.
Photographed at the Metropolitan Museum of Art in NYC.