Grain De Cafe Cartier

Born in Buenos Aires, Nestor Perkal lives and works in Paris. Although he trained as an architect, his work has always been oriented to design and interior architecture. In 1985, Perkal founded an international design gallery in Paris, l’Espace Nestor Perkal, where he was among the first in Europe to show and sell pieces from the “New International Design” movement: Memphis Milano, Mariscal and many others.

From 1987 to 1994, Perkal was the artistic director of Algorithme — a goldsmith — where he invited many designers to work on edition projects that were highly successful in France and abroad. As a designer, Perkal has collaborated with Drimmer, Lou Fagotin, Artcodif, Veronese, etc. At CIRVA (International Research Centre on Glass and Plastic Arts), he created the Miroirs collection between 1994 and 1996.

As an interior architect, Perkal has furnished the café of the Maison Européenne de la Photographie in Paris, different areas for Cartier and the Cartier Foundation for Contemporary Art, as well as many private apartments and houses. He has been the curator and scenographer of exhibitions held at the Cartier Foundation (La vie en Roses, 1998), at the Galerie Chez Valentin, Paris (“chez Valentin 2000”), at the Passage de Retz (Paris, 2000), at the Museum of Contemporary Art of Rochechouart and the Grand Hornu in Belgium for the exhibition Désirs d’Objets (2003–04) and the Museum des Arts Décoratifs, Paris for the exhibition "Editer le design" (2006) and 100% Finlandia (2008). Perkal has been the director of the Research Centre on the Arts of Fire and Earth (CRAFT) of Limoges (1993–2009), developing strong and lively projects aimed at creating an experimental and artistic connection between industrialists and designers, architects and artists.

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

Vintage and antique wall mirrors add depth and openness to a space — they can help create the illusion that a narrow hallway isn’t so narrow. But you don’t need hundreds of enormous arched French or Italian mirrors framed in gilded bronze to dress up your home (maybe just a few).

A few well-placed large wall mirrors and other types of mirrors can amplify lighting and help showcase the decorative and architectural features of your home. For the Palace of Versailles during the 17th century, French King Louis XIV ordered the construction of the Hall of Mirrors after spending millions of dollars importing expensive Venetian mirrors from the revered glass-blowing factories on the island of Murano. A mirror-manufacturing rivalry between Paris and Venice took shape, and soon, across from 17 large windows that open out over the adjacent Palace Gardens on one side of the Hall, more than 350 mirrors — large mirrors made of groupings of small panes — were installed, effectively bringing the radiant colors of the outdoors into the opulent corridor.

Wall mirrors for your living room can work miracles — pull your landscaping’s colors and textures indoors, Louis XIV–style, by covering the length of an interior wall across from your living-room windows with wall mirrors.

For a similar effect, surrounding your mid-century modern wall mirror with leafy air plants and fern floor plants can amplify the sense of serenity that greenery offers in your home. Choose wall mirror frame styles to match your home’s decor, or shop for a frameless, organically shaped mirror that’s cut or beveled for a clean yet distinctive showpiece. For a free-spirited Bohemian feel, create a cluster of mismatched antique wall mirrors — an arrangement of circular Art Deco wall mirrors, Rococo-style silver leaf mirrors and decorative oval Victorian mirrors could add spice to an otherwise unadorned dining-room wall.

Elsewhere, there’s nothing vain about buying a full-length mirror for your bedroom, bathroom or walk-in closet to help you perfect your look for the day. Another may be needed in your entryway for a last-minute ensemble inspection. In fact, a shimmering 18th-century hall of mirrors awaits visitors behind the steel door of Stephen Cavallo’s atelier in Manhattan.

“We like to see the look on people’s faces when they walk in,” says Cavallo.

Decorating your home and office with wall mirrors is an art form in and of itself — get started today with the variety of antique and vintage wall mirrors on 1stDibs.