Vladimir Kagan "Crescent" Swivel Lounge Chairs

Jack Lenor Larsen was a celebrated American mid-century modern textile designer born in Seattle. He fostered connections throughout the design and architecture industries beginning in 1950, and today, his influential eponymous design company is widely recognized for its muted hand-spun textured textiles. Larsen manufactured fabrics all over the world for more than six decades, using both traditional and modern weaving techniques.

Larsen initially studied in the architecture program at the University of Washington before he quickly realized he was instead interested in furniture design and interiors. He earned his MFA in 1949 from the Cranbrook Academy of Art — the go-to art school for design stars of the mid-20th century. The following year he moved and opened a studio in New York City where he launched his career. 

For one of his first commissions, which was to design curtains for the Lever House — a New York City icon designed by Gordon Bunshaft and Natalie de Blois — Larsen created a linen and gold metal-themed weave to complement the building’s famed glass walls. He designed similarly magnificent textiles for the Phoenix Opera House, the Wolf Trap Theater and more.

Nowhere is Larsen’s profound impact on textile design more evident than at LongHouse Reserve, his house in East Hampton, New York. Modeled after a seventh-century Shinto Shrine, the home and its surrounding sculpture gardens opened to the public in 1992. 

Larsen built LongHouse Reserve in collaboration with Charles Forberg. The property features sliding panels that showcase the revered artisan’s fabrics as well as works by Lucie Rie, Wharton Esherick, and Edward Wormley. The gardens feature sculptures by Willem de Kooning, Sol LeWitt and Yoko Ono.

Larsen had a solo exhibit at the Louvre in 1981. His work is held in the permanent collections of the Museum of Modern Art in New York, the Art Institute of Chicago and the Victoria and Albert Museum in London. 

Find vintage Jack Lenor Larsen lounge chairs, sofas, and dining room chairs on 1stDibs.

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.