Tapestry Gillon

Although he was Romanian by birth, architect and designer Jean Gillon’s heart and soul belonged to his adopted country of Brazil. The country’s culture and revered architecture served as a muse for his mid-century furniture designs. Today Gillon ranks among the most interesting figures in Brazilian modernism, which is characterized by sensual forms and beautifully handcrafted chairs, tables and cabinets built from exotic hardwoods.

Gillon was born in Iasi and graduated from the city’s George Enescu National University of the Arts. He then moved to Paris, where he studied tapestry, worked at the newspaper Le Monde as a cartoonist and moonlighted as a set designer for the Paris Opera Ballet. He eventually left Paris for Vienna, where he studied architecture at the School of Industrial Arts, known today as the University of Applied Arts. In the early 1950s, Gillon was a visiting lecturer at London’s Central School of Arts and Crafts.

In 1956, Gillon moved with his wife and two daughters to São Paulo, where he developed a passion for Brazilian architecture, namely the work of modernists such as celebrated architect Lina Bo Bardi and designer José Zanine Caldas. Gillon took on interior decorating projects and formed the Fábrica de Móveis Cidam, which later became Italma Wood Art, in order to design furniture for his clients. Gillon’s furnishings, produced at Italma and also in collaboration with manufacturers such as Probel, were immensely popular and could be found in the planned capital city of Brasilia, a project launched in 1956 by Oscar Niemeyer.

Gillon designed everything from bowls and baskets to centerpieces, tables and other objects and furniture. However, he was best known for his lounge chairs and sofas, including his iconic Jangada chair. Named for the Portuguese word for traditional Brazilian fishing boats, the award-winning Jangada was framed in jacaranda in the late 1960s. The welcoming seat of Gillon’s visually striking trapezoidal lounge chair features plush leather cushions that are supported by nylon fishing rope.

Gillon continued to produce furniture for Italma Wood Art until he retired in 2003. He died in 2007, and today Gillon’s pieces remain highly covetable among interior designers and collectors of modern furniture.

On 1stDibs, find a range of vintage Jean Gillon seating, decorative objects and serveware.

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively. 

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer. 

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by legendary manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.