Pierre Paulin Pumpkin Lounge Chairs for Ligne Roset, France, 2008

Pierre Paulin introduced a fresh breeze into French furniture design in the 1960s and ’70s, fostering a sleek new Space-Age aesthetic. Along with Olivier Mourgue, Paulin developed chairs, sofas, dining tables and other furnishings with flowing lines and almost surreal naturalistic forms. And his work became such a byword for chic, forward-looking design and emerging technologies that two French presidents commissioned him to create environments in the Élysée Palace in Paris.

Paulin was born in Paris to a family of artists and designers. He initially sought to become a ceramist and sculptor and was studying in the town of Vallauris near the Côte d'Azur — a center for pottery making, where Pablo Picasso spent his postwar summers crafting ceramics — but broke his hand in a fight. He enrolled at the École Camondo, the Paris interior design school. There, Paulin was strongly influenced by the work of Charles and Ray Eames, George Nelson and Arne Jacobsen, as was reflected in his early creations for the manufacturer Thonet-France.

It was at the Dutch firm Artifort, which he joined in 1958, where Paulin blossomed. In a few years, he produced several of his signature designs based on abstract organic shapes. These include the Butterfly chair (1963), which features a tubular steel frame and slung leather, and a group of striking seating pieces made with steel frames covered in polyurethane foam and tight jersey fabric: the Mushroom (1960), Ribbon (1966) and Tongue (1967) chairs. The revered designer not only introduced new construction techniques to Artifort furniture but contributed fresh materials, Pop art colors and dazzling shapes to the mid-century modern era as a whole.

In 1971, the Mobilier National — a department of France’s Ministry of Culture in charge of furnishing top-tier government offices and embassies — commissioned Paulin to redesign President Georges Pompidou’s private apartment in the Élysée Palace. In three years, Paulin transformed the staid rooms into futuristic environments with curved, fabric-clad walls and furnishings such as bookcases made from an arrangement of smoked-glass U shapes, flower-like pedestal chairs and pumpkin-esque loungers.

Ten years later, the Mobilier National called on Paulin again, this time to furnish the private office of President François Mitterand. Paulin responded with an angular, postmodern take on neoclassical furniture, pieces that looked surprisingly at home in the paneled, Savonnerie-carpeted Louis XVI rooms. As those two Élysée Palace projects show, Paulin furniture works well both in a total decor or when used as a counterpoint to traditional pieces. His creations have a unique personality: bright and playful yet sophisticated and suave.

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With enduring designs like the immensely plush, Pop art–inspired Togo lounge chair and sofa, Ligne Roset has become synonymous with radical luxury furniture. However, when Antoine Roset (1841–93) started the company in 1860 in the small French town of Oussiat, its focus was on wooden umbrella handles.

In 1892, Ligne Roset’s founder expanded with a property in Montagnieu where he set up a wood-processing factory, eventually expanding into manufacturing chairs. After his death, his wife, Marie-Victorine, took over before his son, Emile Roset, began leading the company in the 1910s.

It wasn’t until after World War II that Antoine’s grandson, Jean Roset, would recognize the need for furniture in settings like schools, hospitals and retirement homes and take inspiration from Scandinavian modern design for functional pieces made primarily from affordable beech.

Under Jean, Ligne Roset supplied quite a few European institutions with beautiful wood furnishings. In the 1970s, he shifted the company’s focus again, this time looking to domestic and residential markets. Around this time, Jean’s two sons, Pierre and Michel, joined the company.

Ligne Roset opened its first store in 1973 with one of the most popular collections being designer Michel Ducaroy’s Togo modular sofa and chairs — classics of contemporary French design that look like oversize bent pillows.

After the success of this initial designer collaboration, Ligne Roset brought on more guest designers over the following decades, including Didier Gomez, Pascal Mourgue, Peter Maly, Pierre Paulin, Inga Sempé and Ronan and Erwan Bouroullec. Paulin’s Elysée sofa and Pumpkin chair — designed in 1971 for Elysée Palace — are among the brand’s most popular pieces. In 1975, the company introduced its Cinna brand, known to collectors for the Sandra sofa designed by Annie Hiéronimus and other alluring seating.

Ligne Roset continues to be run by the Roset family who works on revolutionary furniture in partnership with a variety of collaborators. It has operated in Briord since 1973 where it produces its iconically sleek and innovative pieces.

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