Louis Rault (1847 – 1903) was a French Sculptor, engraver, silversmith and jewellery designer.Between 1868 and 1875, Rault worked in the Boucheron workshop on the Place Vendôme in Paris. At the end of the nineteenth century, he set up a workshop where he produced silver and jewellery in the Art Nouveau style.
Bedin was one of the founders of the avant-garde Memphis group in Milan in 1981. Also, she has worked as an architect, industrial designer and professor. Her work is held in many important museums and private collections. Bedin’s aesthetic is typically colourful and self-consciously kitschy.
One of Patou’s most famous customers was the French tennis champion Suzanne Lenglen, whom he dressed both on and off the court. This lean and active young woman epitomised the 1920s “new woman.” She created a furore in 1921 when she wore Patou’s knee-length pleated skirt, which revealed much of her legs when she ran. The headband she wore while playing tennis was widely copied by women throughout the 1920s for day and evening wear.
He was an engineer at Tompson before setting up the small electrical firm Perfécla (Perfectionnement de I’Ecla), regularly working with architects and designers, including Pierre Chareau, and André Lurcat, René Herbst, and architect Robert Mallet-Stevens. For the latter, he produced the widely published 1929 lighting fixture designed by Francis Jourdain in the form of a suspended concave metal ring projecting rays onto the ceiling and reflecting a soft indirect light elsewhere.
A painter before becoming active as an interior architect, he was a cabinetmaker and designer of lighting, printed fabrics, and furniture. His furniture reflected the influences of Chippendale, Louis XVI, Directoire, Restauration, and Louis Philippe styles. Some of Nathan’s furniture was produced by Beyne.
He was active in research for the government-sponsored Mobilier International. His first plastic object was the 1953 Chair 157 in polyester, ABS, and elastomers produced by Artifort of Maastricht. Around 1955, he was one of the first to work in elasticised fabrics for Thonet and subsequently for Artifort.
He arrived in the United States in 1929, just in time for the great depression. As it happened the beginning of the depression was a fortuitous time for a talented designer with new ideas to arrive in the United States. The old design aesthetic was disappearing with the collapsing economy. Manufacturers wanted to stimulate demand for their products by offering customers new designs, and Loewy had an abundance of them with the ego to match. His mother had always told him, “It is better to be envied than pitied.”
Suzanne Guiguichon was a French furniture designer and decorator. She was born and worked in Paris. Since 1929 she worked as a designer with Maurice Dufrene at the Galeries Lafayette design studio La Maitrise in Paris. Most of the furniture, clocks, lighting, fabrics, rugs, accessories Guiguichon designed anonymously.
The creation in 1901 of the Société des Artistes Décorateurs (SAD) reflected the increasing significance in France of this new profession of Decorative Arts. This resulted from a series of government-funded projects carried out in the fine and applied arts schools of France to improve the status of applied arts and training.