Poul Kjaerholm PK54 & Mira Nakashina Dining Table & Wooden Chairs Set, 1960s

For nearly two decades, Mira Nakashima worked in the shadow of her legendary father, master woodworker George Nakashima. She never intended to follow in his footsteps, but she was persuaded to join him in his woodworking business after earning a graduate degree in architecture from Tokyo’s Waseda University.

“My father was an architect who went to Harvard, didn’t like it and switched to MIT,” Nakashima explains. 

“I went to Harvard and loved it. He encouraged me to study architecture, so I did. I would rather have studied music. I was in a dance group and a choral group. After college, my godmother took me on a tour of Zen monasteries in Japan. I went to live there with an aunt to master Japanese, flower arranging and the tea ceremony. Then I went to Waseda University, learning architecture by the atelier system, where you actually build things. I married a fellow student and we began having children. After we moved to Pittsburgh and had more babies, my father asked me if I wanted to come ‘home,’ promising to build us a house near him. My husband liked the idea, so we went. I began to do part-time work for my father. It was just a job. Then my husband and I parted, so I went to work with Dad. It was never planned.”

That part-time position turned into a full-time job, and when George Nakashima died, in 1990, Mira was faced with a choice: continue the family legacy or shutter the business. As news of her father’s death spread, clients started canceling orders, fearing that the studio’s innovation would wane without him at the helm.

Skeptics proved wrong. Mira Nakashima continued to execute her father’s iconic designs — such as his Conoid chair — while also creating new ones of her own that take advantage of and highlight the unique characteristics and allure of her, and her father’s, favored material. 

“Keisho means ‘continuation’ in Japanese,” she says. “I am just as interested in traditional lines, classic proportions and fine wood specimens, but I work out my designs differently. The boards tell you what they want to reveal.”

Shop authentic Mira Nakashima tables, case pieces and more on 1stDibs.

A trained cabinetmaker, Poul Kjærholm’s use of industrial methods and materials in the 1960s brought a fresh, graceful, sleek new style to Danish modern design.

At what is now the Royal Danish Academy of Fine Arts in Copenhagen, Kjærholm studied under Hans Wegner and Jørn Utzon — an industrial designer and the architect of the celebrated Sydney Opera House. The latter greatly influenced Kjærholm’s furniture production techniques — although he employed natural materials such as cane and leather, to a far greater extent than his peers Kjærholm embraced the use of steel (rather than wood) framing for his chairs, daybeds and tables.

Kjærholm’s signal design was the PK22 chair of 1956, a low-slung leather lounger on a steel base. The ideas introduced in the PK22 — Kjærholm’s designs were named using a numeric system devised with his manufacturer, E. Kold Christensen — were refined throughout his career, as the offerings below show: the PK11 chair of 1957, with back and armrests formed by a semicircle of ash; the capacious, richly patinated leather seat of a vintage 1961 PK9 chair; the elegant rattan swoop of the PK 24 chaise longue (1965). The chaise longue's leather headrest, held in place by a steel counterweight, best shows Kjærholm's particular gift for combining technological advancements with a respect for traditional detailing.

While respectful of the past, Poul Kjærholm's sensibility is one of optimism and expectation. His was design for those who lived with verve and élan, and confidently anticipated the future.

Find a collection of vintage Poul Kjærholm furniture on 1stDibs.