{"id":109911,"date":"2025-09-10T10:00:00","date_gmt":"2025-09-10T08:00:00","guid":{"rendered":"https:\/\/www.mohd.it\/?p=109911"},"modified":"2025-09-05T16:26:04","modified_gmt":"2025-09-05T14:26:04","slug":"memohrable-the-imagined-interview-what-would-charlotte-perriand-say-today","status":"publish","type":"post","link":"https:\/\/www.mohd.it\/en\/magazine\/memohrable-the-imagined-interview-what-would-charlotte-perriand-say-today\/","title":{"rendered":"MeMohrable \u2014 The Imagined Interview: What Would Charlotte Perriand Say Today?"},"content":{"rendered":"\n

It was an attitude before it was a style \u2014 one that carried through the 20th century and continues to resonate today with the same quiet urgency: the impulse to bring order and clarity to the world around us. It was the spirit of Charlotte Perriand<\/a><\/strong>, a figure of the cultural avant-garde who, from the early decades of the last century, redefined aesthetic values and shaped a truly modern way of living. The interior was her chosen terrain \u2014 never a backdrop, but a catalyst, a framework for life itself. In the spaces we inhabit and use, Perriand pushed the boundaries of design, transforming the home into something both practical and inspiring<\/strong>.<\/p>\n\n\n\n

We picture her in her studio, beneath a pendant casting a soft shadow, saying: \u00abForm grows out of life. Pay attention to gestures, and furniture designs itself\u00bb<\/em>. That idea would weave through her entire career. In 1927, at just 24, her Bar sous le toit<\/strong> at the Salon d\u2019Automne<\/strong> caught critics by surprise: nickel-plated copper and anodized aluminum \u2014 new materials for a new way of gathering. Soon after came the atelier at 35 rue de S\u00e8vres<\/strong> with Le Corbusier<\/a><\/strong> and Pierre Jeanneret<\/a><\/strong>, where Perriand brought humanity to rigor, scaled rationalism to the measure of people, and made furniture part of everyday life.<\/p>\n\n\n\n

\"Proposition
Proposition d\u2019une Synth\u00e8se des Arts
<\/figcaption><\/figure>\n\n\n\n

One question today might focus on the table at the heart of the room. \u00abHave you noticed that the table has become a kind of social architecture? A domestic landscape \u2014 a place for studying, writing, cooking, and conversation. Give it a form that draws people together: oval, open, generous. Support it with a base that frees the legs; surround it with light chairs, different yet harmonious in color. Variety gives life its rhythm\u00bb. <\/em>These words reflect two of her key ideas: Ventaglio<\/strong>, with its irregular surface that discreetly accommodates wiring as a desk and dissolves hierarchies as a dining table; and Montparnasse<\/strong>, designed for her Paris studio, compact yet welcoming and sociable.<\/p>\n\n\n

\n
\n
\n
\n \n
\n Cassina<\/span> Ventaglio<\/span>\n <\/div>\n
\n Buy<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n Cassina<\/span> Montparnasse<\/span>\n <\/div>\n
\n Buy<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

A question about the armchair that changed the way we sit would take us back to the early 20th century. \u00ab<\/em>Grand Confort<\/em><\/strong> was my answer to the English club chair\u00bb. <\/em>Leather cushions, held in place by a chromed steel frame: structure and softness separated, each repairable on its own. Presented at the Salon d\u2019Automne in Paris, it embodied her conviction that \u00abmass becomes sign; comfort becomes measure. To innovate is to remove, not to add\u00bb.<\/em><\/p>\n\n\n\n

\u00abIt is more natural to rotate the body than twist the neck\u00bb.  <\/em>With that belief, she created the Fauteuil Tournant<\/strong> in 1927: tubular steel, leather, agile movement, minimal upkeep. Years later, the same intelligence took form in wood with Indochine<\/strong> (1943), a warmer version of the swivel chair: same function, different tactility. \u00abMaterial follows its time: in the 1920s, metal and leather; in the 1930s, during the crisis, wood; in Japan, <\/em>bamboo<\/em><\/strong>, with its elasticity that embraces the body\u00bb.<\/em><\/p>\n\n\n

\n
\n
\n
\n \n
\n Cassina<\/span> 3 Fauteuil Grand Confort<\/span>\n <\/div>\n
\n Buy<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n
\n
\n \n
\n Cassina<\/span> 7 Fauteuil tournant<\/span>\n <\/div>\n
\n Buy<\/a>\n \t\t <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n\n\n\n

On light, she would remind us: \u00abIt isn\u2019t something you look at \u2014 it\u2019s something you live in. Filter it. Let paper and fabric soften it, let it slide across surfaces instead of blinding. Layer it: light for reading, light for conversation, light for quiet\u00bb.<\/em> Her inner East is present here too \u2014 in the calm of a lantern, in the discreet line of a folding screen that creates intimacy without walls.<\/p>\n\n\n\n

And on materials? \u00abFreedom lies in choosing the right ones\u00bb.<\/em> By \u201cright\u201d she meant honest: open-grain woods that reveal their texture, stones that wear well, satin metals that integrate rather than dominate. But \u201cright\u201d also meant traceable origins<\/strong>, finishes that age gracefully, pieces that can be dismantled and repaired. Hers was a modernity that rejected the disposable<\/strong> \u2014 not out of nostalgia, but out of awareness. It was not asceticism, but a new way of living, where time makes what we love more beautiful<\/em>.<\/p>\n\n\n\n

How would she define sustainability<\/strong> in 2025? \u00abIt is not an aesthetic; it is a lifecycle. It means choosing what lasts, what can be dismantled and repaired; reducing matter where it is not needed; tracing origins and respecting those who work. Beauty is responsibility, not ornament\u00bb.<\/em><\/p>\n\n\n\n

What values should guide designers and companies today? \u00abClarity, proportion, sincerity of material\u00bb<\/em>, she would answer, \u00aband the courage to say no to the superfluous. Value lies not in complexity, but in relevance\u00bb<\/em>.<\/p>\n\n\n\n

And what responsibility should design assume for the future? \u00abTo give time back to people and resources back to the planet. To design objects that endure, that change skin without discarding their body; to educate not with moralism, but with example. The future is not proclaimed \u2014 it is built, everyday life by everyday life\u00bb.<\/em><\/p>\n\n\n\n

\"Charlotte<\/figure>\n\n\n\n

At Place Saint-Sulpice<\/strong>, memory comes alive. Mirrors expand the room; an extendable wood-and-aluminum table<\/strong> seats five or eight with a simple crank; a frame inspired by aeronautical catalogues supports a vast glass top on rubber pads; around it the Fauteuils Pivotants<\/strong> in vivid colors and a lamp crafted from a car headlight. \u00abLuxury is intelligence in use\u00bb, <\/em>she smiles.<\/p>\n\n\n\n

Photography, her daily notebook, recorded materials, joints, light, and use. Today that memory lives on in active scholarship: since 1964, Cassina<\/strong> has preserved and renewed the work of Le Corbusier<\/strong>, Pierre Jeanneret<\/strong>, and Charlotte Perriand<\/strong>, in dialogue with the Fondation Le Corbusier<\/strong>, Pernette Perriand-Barsac<\/strong>, and Jeanneret\u2019s heirs. Cassina<\/a><\/strong>\u2019s iMaestri<\/strong> collection is a bridge between past and future: faithful to history yet updated responsibly in materials, finishes, and processes \u2014 traceability, repairability, longevity \u2014 so that icons remain living tools for modern life.<\/p>\n\n\n\n

\u00abDon\u2019t rush to finish\u00bb, <\/em> she would say before leaving. \u00abLet the home mature, let surfaces catch the light, let furniture find its place. Quality reveals itself over time: in the hinge that holds, in the chair that welcomes, in the surface unafraid of touch\u00bb. <\/em>Her final reminder<\/strong>: measure, not austerity. Design emptiness with the same care as fullness. In practice, this means sliding panels that separate and connect, nesting tables that act as graphic signs, surfaces that allow light to flow.<\/p>\n\n\n\n

What endures is a radiant vision of the home \u2014 relevant today in 2025: warm, practical, and refined; a living language of design that lasts, not as a trend, but as a vision. It can be summed up in three timeless images for the future: a table that brings people together, a light that softens instead of glaring, and a chair that invites conversation<\/em>.We picture Charlotte rising, her hand brushing the table\u2019s edge like a lingering musical note. \u00abDesign for the life you live, not for the image you chase\u00bb.<\/em> She leaves her studio, the door closing softly behind her, yet the room remains full \u2014 of light, of balance, of tomorrow.<\/p>\n","protected":false},"excerpt":{"rendered":"

An imagined dialogue in 2025: The words and works of Charlotte Perriand \u2014 from Grand Confort and Ventaglio to Indochine and the Ombra Chair \u2014 reflecting on sustainability, values, and responsibility in the present.<\/p>\n

Paris, 2025<\/p>\n","protected":false},"author":18,"featured_media":109915,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[],"class_list":["post-109911","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-inspire-me"],"yoast_head":"\nCharlotte Perriand: Ahead of Time, Even in 2025 - Mohd<\/title>\n<meta name=\"description\" content=\"An editorial journey across iconic designs and future visions: Grand Confort, Ventaglio, Indochine. 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