The 1927 Salon d'Automne featured a bar built of chrome, aluminium, and glass that propelled Charlotte Perriand to international prominence. By rejecting the era's reliance on rare woods and traditional craftsmanship, she established a new aesthetic for the machine age, focusing on industrial materials and the creation of highly functional, mass-produced living spaces.
Early Education and Creative Development
Born in the 1st arrondissement of Paris in 1903, Perriand was raised by a tailor and a seamstress. Her early artistic potential was identified by a high school teacher, leading her to enroll at the École de l'Union Centrale des Arts Décoratifs in 1920. Under instructors such as Henri Rapin and Maurice Dufrêne, she refined her approach to furniture design. By 1925, her work gained visibility at the Exposition Internationale des Arts Décoratifs et Industriels Modernes and through displays at Galeries Lafayette.
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In 1927, Perriand joined a studio where she, along with Pierre Jeanneret, functioned as three fingers on one hand. This collaborative environment produced foundational work in modern furniture, including the B301 sling back chair, the LC2 Grand Confort chair, and the B306 chaise longue. These pieces were marketed as machines for sitting, utilizing nickel- or chromium-plated tubular steel to support specific human postures. During the 1930s, her focus shifted toward egalitarian design, leading her to integrate traditional materials like wood and cane alongside handcrafted techniques, reflecting the influence of her grandparents' home in Savoie.
War, Exile, and Eastern Influence
Following her decade-long tenure at the studio, Perriand collaborated with Jean Prouvé on metal objects, including screens and stair railings, before the war shifted their focus to military barracks and temporary housing. When Paris was occupied in 1940, she traveled to Japan as an advisor to the Ministry for Trade and Industry to modernize industrial design. Forced into exile in Vietnam during the conflict, she dedicated her time to studying woodwork, weaving, and local design philosophies, most notably The Book of Tea, which continued to inform her professional practice for the remainder of her career.
Post-War Production and Legacy
Returning to Paris in 1946, Perriand operated as an independent architect, curator, and designer. The post-war era provided new opportunities for mass-produced furniture using plywood, formica, and aluminum. She exhibited alongside designers such as Pierre Guariche and Joseph-André Motte at salons organized by the Société des artistes décorateurs. Her later projects ranged from student housing to large-scale ski resorts. She remained active in the field until her death in the 7th arrondissement of Paris in 1999 at the age of 96.
Fast facts
- Born: 1903, 1st arrondissement of Paris
- Died: 1999, 7th arrondissement of Paris
- Education: École de l'Union Centrale des Arts Décoratifs
- Key Material: Tubular steel, aluminium, and chrome
- Primary Occupations: Architect, designer, photographer
- Notable Influence: The Book of Tea
- Citizenship: France
Questions readers ask
What was the significance of the Bar sous le Toit?
It served as a breakout project that showcased her move away from handcrafted luxury goods toward machine-age materials.
How did Perriand approach new design projects?
She preferred to spend time alone in a space to absorb its atmosphere before beginning the design process.
Achievements
- Worked as architect, designer and interior architect
