Serpentine Sofa, circa 1950

The voluptuous contours of Vladimir Kagan's (1927–2016) 1950 Serpentine sofa were designed to bring people together.

The S-shaped piece provided both flexible group seating on an armless form as well as a focal point for mid-century entertaining. Unlike most sofas, this one was not designed to be pushed against a wall. Also, people were not supposed to sit on the Serpentine in a row. Rather, the sofa presided over the center of the room as a swoosh of plush seating. The original design included casters so it could easily be maneuvered around for a party or to provide a better view of new art on the walls.

Born in Germany, Kagan’s interest in furniture began with his father, a Russian master cabinetmaker. Following the rise of the Nazis, a young Kagan immigrated to the United States in 1938 and shortly thereafter enrolled as an architecture student at Columbia University. Nearly 15 years later, Kagan opened his first furniture company. His concept of modern living was featured in the furniture designs at the Monsanto House of the Future, which was on view at Disneyland from 1957 to 1967.

Upholstered in inviting materials, such as seductively hued velvet and Alcantara, Kagan’s furniture demonstrated how modernism could be beguiling even while breaking with the rigid norms of the past. Reflecting the biomorphic shapes in art and sculpture that such creators as Isamu Noguchi promoted as well as celebrating Scandinavian design, each piece was made for both comfort and form in its organic shape. 

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 others 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. Furniture 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 burl-wood veneers. 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 said 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 once commented. “I created what I called vessels for the human body.”

A diverse group of bodies have made themselves at home with Kagan designs. Among the famous names who commissioned and collected his designs are 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 1stDibs, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.