Herman Miller Lounge Chair with Ottoman, Produced by Mobilier International

Mobilier International was a prominent French furniture company that produced high-end pieces for the French market in the latter half of the 20th century. The company’s mid-century modern offerings boasted a relaxed and functional elegance. Known mainly for its leather lounge chairs and chaise lounges, Mobilier International also distributed pieces like cocktail tables and writing desks.

The story of Mobilier International began in 1955, when Michel Schulmann established Arflex France to import Italian Arflex furniture and SICAF to import Scandinavian and other Italian designs. In 1957, Shulman set up Mobilier International to bring the whole collection together under a single brand. 

One of the company’s first significant imports was in 1959 with the Superleggera chair by Italian designer Gio Ponti. That same year, Mobilier International signed a contract to manufacture and sell Herman Miller furniture. The company had established itself as one of the few to offer mid-to-high-end modern furniture in France.

Throughout the 1960s, Mobilier International opened several manufacturing facilities. The company also introduced many now iconic designs, including Marco Zanuso’s Woodline armchair and the DSC 106 chair by Giancarlo Piretti. In 1968 alone, Mobilier International ordered 2,000 to 3,000 DSC 106 chairs per month to distribute in France.

In 1972, designer George Ciancimino created an interlocking aluminum furniture line for Mobilier International. The company also collaborated with Pierre Paulin on the Pacha furniture line for public buildings like hospitals and museums. Meanwhile, it continued importing international designs, like the Tizio lamp created by Richard Sapper for the Italian lighting company Artemide.

Mobilier International worked with several big names in furniture design throughout the 1980s, including Bruno Gecchelin, Pascal Mourgue and Bernard Govin.

In 1991, Mobilier International was sold to Haworth, an international office furniture manufacturer, ending the production of the company’s lounge chairs. Schulmann retired in 1994 and died in 2004, at the age of 94.

On 1stDibs, find Mobilier International seating, tables and more.

Charles Eames and Ray Eames were the embodiment of the inventiveness, energy and optimism at the heart of mid-century modern American design, and have been recognized as the most influential designers of the 20th century.

As furniture designers, filmmakers, artists, textile and graphic designers and even toy and puzzle makers, the Eameses were a visionary and effective force for the notion that design should be an agent of positive change. They are the happy, ever-curious, ever-adventurous faces of modernism.

Charles (1907–78) studied architecture and industrial design. Ray (née Beatrice Alexandra Kaiser, 1912–88) was an artist, who studied under the Abstract Expressionist painter Hans Hofmann. They met in 1940 at the Cranbrook Academy of Art in suburban Detroit (the legendary institution where Charles also met his frequent collaborator Eero Saarinen and the artist and designer Harry Bertoia) and married the next year.

His technical skills and her artistic flair were wonderfully complementary. They moved to Los Angeles in 1941, where Charles worked on set design for MGM. In the evenings at their apartment, they experimented with molded plywood using a handmade heat-and-pressurization device they called the “Kazam!” machine. The next year, they won a contract from the U.S. Navy for lightweight plywood leg splints for wounded servicemen — they are coveted collectibles today; more so those that Ray used to make sculptures.

The Navy contract allowed Charles to open a professional studio, and the attention-grabbing plywood furniture the firm produced prompted George Nelson, the director of design of the furniture-maker Herman Miller Inc., to enlist Charles and (by association, if not by contract) Ray in 1946. Some of the first Eames items to emerge from Herman Miller are now classics: the LCW, or Lounge Chair Wood, and the DCM, or Dining Chair Metal, supported by tubular steel.

The Eameses eagerly embraced new technology and materials, and one of their peculiar talents was to imbue their supremely modern design with references to folk traditions. Their Wire chair group of the 1950s, for example, was inspired by basket weaving techniques. The populist notion of “good design for all” drove their molded fiberglass chair series that same decade, and also produced the organic-form, ever-delightful La Chaise. In 1956 the Eames lounge chair and ottoman appeared — the supremely comfortable plywood-base-and-leather-upholstery creation that will likely live in homes as long as there are people with good taste and sense.

Charles Eames once said, “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” For very good collectors and thoughtful interior designers, a piece of design by the Eameses, the closer produced to original conception the better, is almost de rigueur — for its beauty and comfort, and not least as a tribute to the creative legacy and enduring influence of Charles and Ray Eames.

The collection of original Eames furniture on 1stDibs includes chairs, tables, case pieces and other items.