A pair of 1950s Jaques Adnet chrome and walnut bottle holders for Christolfe

One of the most elegant and innovative 20th-century French furniture designers, Jacques Adnet created a simple, unadorned signature style that is both trim and vigorous. He began his career in the heyday of the Art Deco era, and in the 1950s, in association with Hermès, created chairs, lamps, desks and other pieces that employed slender metal frames clad in stitched saddle leather. With such furnishings, Adnet brought a fashion sensibility to design and decor that had not been seen since the 1920s prime of the great Paris couturier-decorator Paul Poiret.

Adnet was born in a provincial town in Burgundy, where he studied design before moving, along with his twin brother, Jean, to Paris to study at the École des Arts Décoratifs. After their graduation in the early 1920s, the brothers were hired to work in the decorative-arts atelier of the department store Galeries Lafayette, under the direction of Maurice Dufrêne, an Art Deco master who developed a singularly robust and opulent style. Both Adnets showed their work at the 1925 Paris Exposition Internationale des Arts Décoratifs et Industriels Modernes — the design fair from which the term Art Deco is derived. 

In 1928, Jacques Adnet took charge of the struggling La Compagnie des Arts Français, a decorative-arts firm founded by Louis Süe and André Mare that created modern furnishings that bore traces of 18th-century styling. Adnet immediately took the company in a different direction. He developed a simple lithe and lean look that incorporated industrial materials such as metal and glass, along with exotic woods and finishes such as parchment and sharkskin.

Adnet’s furniture begs to be described in terms of personalities: charming faux-bamboo side tables, suave chrome lighting and urbane club chairs. His most noted pieces, which feature sleek metal frames wrapped in Hermès leather, have a character all their own — smooth, elegant and self-assured, they inhabit a room with the same wit and grace as Jean-Paul Belmondo and Catherine Deneuve.

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Although he started his career as a jeweler in 1830 — after apprenticing with his copper jeweler brother-in-law years earlier — Charles Christofle (1805–63) recognized that Second Empire France had an untapped audience for luxury silverware and tableware.

Gold and silver gilt had been the high-end standard in the 18th century, yet society after the Industrial Revolution demanded a more affordable, but still refined, approach. So in the 1840s, Christofle cornered the market on electrolytic gilding and silver plating, dominating the hold on patents in the country for over a decade. His work soon attracted the attention of Louis-Philippe I and then Napoleon III, under whom he was named Fournisseur de l’Empereur, cementing the prestige of his brand.

While Christofle created decadent centerpieces and tableware for the French palaces — as well as prominent clients like the Orient Express — the company’s electroplating of silverware that was far less expensive than that made by silversmiths attained widespread popularity. At a time when many who could not afford gold or silver still used wooden utensils, Christofle was a game changer for at-home dining. An appearance at the 1893 World’s Columbian Exposition in Chicago furthered the company’s reach to American consumers who would soon rival the manufacturer’s European clientele.

The 20th century saw Christofle adapting to changing tastes in its offerings, such as the Aria collection, which debuted in 1985 with column-like lines on its flatware designed by Bernard Yot, and the playful egg-shaped silverware container introduced in 2015 that opens to reveal a full flatware set. The company also now sells barware, home accessories and even jewelry, harkening back to its roots. Now almost two centuries old, Christofle maintains its reputation as a leading flatware and silverware company under the ownership of the Chalhoub group, its utensils gracing tables in homes, hotels and restaurants all over the world.

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