Vladimir Kagan Furniture
The pioneers of modern furniture design in America in the mid-20th century all had their moments of flamboyance: Charles and Ray Eames produced the startling, biomorphic “La Chaise”; George Nelson’s firm created the “Marshmallow” sofa; Edward Wormley had his decadent “Listen to Me” chaise. But no designer of the day steadily offered works with more verve and dynamism than Vladimir Kagan. While others, it seems, designed with suburban households in mind, Kagan aimed to suit the tastes of young, sophisticated city-dwellers. With signature designs that feature sleekly curved frames, and chairs, tables and cabinets that have dramatic out-thrust legs, Kagan made furniture sexy.
Kagan’s father was a Russian master cabinetmaker who took his family first to Germany (where Vladimir was born) and then to New York in 1938. After studying architecture at Columbia University, Kagan opened a design firm at age 22 and immediately made a splash with his long, low and sinuous “Serpentine” sofa. Signature lines such as the “Tri-symmetric” group of glass-topped, three-legged tables and the vivacious “Contours” chairs soon followed.
Kagan’s choices of form and materials evolved through subsequent decades, embracing lucite, aluminum and burled wood veneer. By the late 1960s, Kagan was designing austere, asymmetrical cabinets and his “Omnibus” group of modular sofas and chairs. For all his aesthetic élan, Kagan says that throughout his career, his touchstone was comfort. “A lot of modern furniture was not comfortable. And so comfort is: form follows function. The function was to make it comfortable,” he has said. “I created what I called vessels for the human body.”
A diverse group of bodies have made themselves at home with Kagan designs. His clients and collectors have included Marilyn Monroe, Gary Cooper, Andy Warhol, David Lynch, Angelina Jolie and Brad Pitt, and firms such as Gucci and Giorgio Armani. His work is in numerous museum collections, including those of the Victoria & Albert and the Metropolitan Museum of Art.
Because of its idiosyncrasy, Kagan’s work did not lend itself to mass-production. Kagan never signed on with any of the major furniture-making corporations, and examples of his designs are relatively rare. As you will see from the offerings on these pages, even decades after their conception, Kagan pieces still command the eye with their freshness, energy, sensuality and wit.