{"id":3393,"date":"2026-10-01T18:20:08","date_gmt":"2026-10-01T16:20:08","guid":{"rendered":"https:\/\/dizagn.fr\/?p=3393"},"modified":"2026-10-02T00:12:25","modified_gmt":"2026-10-01T22:12:25","slug":"rotin-mobilier-francais-annees-1950","status":"publish","type":"post","link":"https:\/\/dizagn.fr\/en\/2026\/10\/01\/rotin-mobilier-francais-annees-1950\/","title":{"rendered":"Can rattan be modern? Material and French furniture in the 1950s"},"content":{"rendered":"<br \/>\n<\/p>\n<p class=\"dizagn-credit-photo\"><em>Cover photograph: Galerie Pascal Cuisinier \u2014 \u201cLe Rotin 1950\u201d dossier.<\/em><\/p>\n<p><\/p>\n<style id=\"dizagn-journal-editorial\">\n\/* DIZAGN \u2014 JOURNAL EDITORIAL 20261001 *\/\nbody.single-post:has(.dizagn-journal) #main-content .container{max-width:1120px!important;width:88%!important;padding-top:64px!important;}\nbody.single-post:has(.dizagn-journal) #left-area{width:100%!important;padding-right:0!important;float:none!important;}\nbody.single-post:has(.dizagn-journal) #sidebar,body.single-post:has(.dizagn-journal) #main-content .container:before{display:none!important;}\nbody.single-post:has(.dizagn-journal) #left-area .et_post_meta_wrapper h1.entry-title,body.single-post:has(.dizagn-journal) #left-area 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th{padding:12px!important;}}\n\/* DIZAGN \u2014 FIN JOURNAL EDITORIAL 20261001 *\/\n<\/style>\n<br \/>\n<\/p>\n<div class=\"dizagn-journal\" lang=\"en-GB\">\n<p class=\"dizagn-kicker\">MATERIALS &amp; CRAFT \u00b7 DOCUMENTARY STUDY<\/p>\n<p class=\"dizagn-chapo\">How did a material associated with long-established craft practices contribute to the renewal of French furniture in the 1950s? Rattan offers a way to examine the relationships between material, form, construction and production.<\/p>\n<p>This study brings together Thibault Lannuzel\u2019s doctoral research and documents from Galerie Pascal Cuisinier, focusing on chairs by Joseph-Andr\u00e9 Motte, Janine Abraham and Dirk Jan Rol. It also brings an interior by Louis Sognot documented in the thesis into dialogue with a low table presented by Demisch Danant.<\/p>\n<nav class=\"dizagn-sommaire\" aria-label=\"Contents\"><strong>In this study<\/strong><a href=\"#material\">Material and workshop<\/a><a href=\"#motte\">Joseph-Andr\u00e9 Motte<\/a><a href=\"#abraham-rol\">Janine Abraham and Dirk Jan Rol<\/a><a href=\"#sognot\">Louis Sognot<\/a><a href=\"#sources\">Sources and method<\/a><\/nav>\n<h2 id=\"material\">Rattan as a material for invention<\/h2>\n<p>In the examples studied here, curves, weaving and joints are integral to the design of the seat. The material remains visible: it shapes the volumes and the way the body can occupy them. Our hypothesis is that the modern character of this furniture lies as much in the transformation of techniques and uses as in the choice of material.<\/p>\n<p>This proposition can be examined by comparing structures, without assuming that rattan alone determines form. Thibault Lannuzel\u2019s thesis places these experiments within the material conditions of post-war France and a network of designers and manufacturers. It distinguishes bendable rattan cane from the rattan core used, notably, for weaving. Their use produces different surfaces and structures [1].<\/p>\n<p>Rougier occupies a central place in this history. The thesis describes a small craft workshop with fewer than five employees, directed by Pia Rougier, with contributions from Joseph-Andr\u00e9 Motte, Ren\u00e9-Jean Caillette, Janine Abraham and Dirk Jan Rol. A modern aesthetic did not necessarily require a large factory: it also emerged through exchanges between designers and craftspeople. Louis Sognot, Joseph-Andr\u00e9 Motte\u2019s teacher at the \u00c9cole des arts appliqu\u00e9s, helped transmit this interest in rattan [1, p. 173].<\/p>\n<h2 id=\"motte\">Joseph-Andr\u00e9 Motte: from Tripode to Catherine<\/h2>\n<h3>Tripode: from basket to seat<\/h3>\n<p>The <em>Tripode<\/em> chair, designed in 1949 according to both sources, transforms a basket-like form into a seat with two handles. The thesis describes a woven rattan-core shell screwed onto six tapered wooden elements joined by a central metal component. Lightness and ease of handling contribute to the chair\u2019s use as well as its appearance.<\/p>\n<p>The design date should be distinguished from the date of its presentation at the Salon des arts m\u00e9nagers, placed in 1953 in note 394 of the thesis [1, p. 173; 2].<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/rotin-tripode-galerie-pascal-cuisinier.jpg\" width=\"2339\" height=\"1654\" alt=\"Two Tripode chairs by Joseph-Andr\u00e9 Motte, showing woven shells, handles and wooden supports.\" loading=\"lazy\"><figcaption>Joseph-Andr\u00e9 Motte, Tripode chair, designed in 1949. These two examples reveal the woven shell, handles and wooden support. <span>Photograph: Galerie Pascal Cuisinier.<\/span><\/figcaption><\/figure>\n<h3>Catherine: separating shell and support<\/h3>\n<p>With the <em>Catherine<\/em> chair, dated 1952, the seat takes the form of a broad bowl carried on a metal structure. The contrast between the woven surface and the slender supports makes the construction particularly clear. Considering these two models together reveals the variety of solutions explored by <a href=\"https:\/\/dizagn.fr\/en\/designer-joseph-andre-motte\/\">Joseph-Andr\u00e9 Motte<\/a> using the same material.<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/rotin-catherine-galerie-pascal-cuisinier.jpg\" width=\"2339\" height=\"1654\" alt=\"Front and side views of Joseph-Andr\u00e9 Motte\u2019s Catherine chair, with a woven rattan shell on a metal frame.\" loading=\"lazy\"><figcaption>Joseph-Andr\u00e9 Motte, Catherine chair, 1952. Front and side views distinguish the woven shell from its metal structure. <span>Photograph: Galerie Pascal Cuisinier.<\/span><\/figcaption><\/figure>\n<p>The presentation of Joseph-Andr\u00e9 Motte\u2019s stand in the March 1953 issue of <em>Meubles et d\u00e9cors<\/em> places Tripode within a furnished interior. In the lower-left photograph, its woven shell and support appear beside a daybed: the chair belongs to an arrangement that brings seating, storage and sleeping together [1, p. 512, fig. 401].<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/archive-motte-tripode-1953-these-fig401.png\" alt=\"Joseph-Andr\u00e9 Motte\u2019s 1953 stand with a Tripode chair visible in the lower-left photograph\" loading=\"lazy\"><figcaption>Joseph-Andr\u00e9 Motte, At Home\/Rougier stand, \u201cFoyer d\u2019aujourd\u2019hui\u201d section, 1953. <em>Meubles et d\u00e9cors<\/em>, no. 655, March 1953. Reproduced in Thibault Lannuzel\u2019s doctoral thesis, p. 512, fig. 401. Period document \u2014 All rights reserved.<\/figcaption><\/figure>\n<h2 id=\"abraham-rol\">Janine Abraham and Dirk Jan Rol: the geometry of Soleil<\/h2>\n<p>In the second half of the 1950s, the <em>Soleil<\/em> chair by Janine Abraham and Dirk Jan Rol developed another relationship between the seat and its surrounding space. Its curved elements form an open envelope around the seat. Repeated lines give the object its presence while allowing the eye to pass through it.<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/rotin-soleil-galerie-pascal-cuisinier.jpg\" width=\"2339\" height=\"1654\" alt=\"Soleil chairs by Janine Abraham and Dirk Jan Rol, with curved rattan elements forming an open envelope.\" loading=\"lazy\"><figcaption>Janine Abraham and Dirk Jan Rol, Soleil chair. Bent rattan and an open structure. <span>Photograph: Galerie Pascal Cuisinier.<\/span><\/figcaption><\/figure>\n<p>These experiments formed part of a collaboration with Rougier and the rattan trade association. The thesis documents the <em>Ressort<\/em> chairs and <em>Citron<\/em> armchairs by Janine Abraham and Dirk Jan Rol at the 1957 Salon des arts m\u00e9nagers, combining rattan and metal with the involvement of the metalworker Zanin. Their modern character also depended on this distribution of skills between design, rattan work and metalwork [1, pp. 174\u2013175].<\/p>\n<p>The view of the Rougier stand at the 1955 Marseille Fair broadens the enquiry to interior design. It documents the place of rattan within a furniture ensemble by Janine Abraham, beyond the isolated chair [1, fig. 707].<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/archive-rougier-janine-abraham-1955-these-fig707.png\" alt=\"Rougier stand by Janine Abraham at the Marseille Fair in 1955\" loading=\"lazy\"><figcaption>Rougier stand, Janine Abraham, Marseille Fair, 1955. Meubles et d\u00e9cors, nos. 688\u2013689, December 1955\u2013January 1956. Reproduced in Thibault Lannuzel\u2019s doctoral thesis, p. 573, fig. 707. Period document \u2014 All rights reserved.<\/figcaption><\/figure>\n<h2 id=\"sognot\">Louis Sognot: building with cane and open space<\/h2>\n<p>Louis Sognot\u2019s interest in rattan extends the enquiry to furniture and interior design. The photograph of his stand with the rattan industries\u2019 trade association at the 1951 Salon de la Soci\u00e9t\u00e9 des artistes d\u00e9corateurs shows the material used at different scales: dining chairs, armchairs, a settee and tables form an ensemble. Rattan contributes to the organisation of an interior, beyond the individual armchair [1, pp. 83\u201384; p. 477, fig. 223].<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/archive-louis-sognot-1951-these-fig223.png\" alt=\"Louis Sognot\u2019s stand with the rattan industries\u2019 trade association at the 1951 Salon des artistes d\u00e9corateurs\" loading=\"lazy\"><figcaption>Louis Sognot and the Chambre syndicale des industries du rotin, Salon de la Soci\u00e9t\u00e9 des artistes d\u00e9corateurs, 1951. <em>Ensembles mobiliers<\/em>, Charles Moreau, vol. 11, 1951, pl. 39. Reproduced in Thibault Lannuzel\u2019s doctoral thesis, p. 477, fig. 223. Period document \u2014 All rights reserved.<\/figcaption><\/figure>\n<p>A low table by Louis Sognot, produced by Chevallier and dated 1950 in Demisch Danant\u2019s entry, offers another point of observation [3]. Through the glass top, one can see the supporting canes, their connections and the openwork element below. Glass and rattan perform distinct roles: one provides a flat, transparent surface, while the other defines the frame and curves of the furniture.<\/p>\n<figure class=\"dizagn-figure\"><img decoding=\"async\" src=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/louis-sognot-table-chevallier-demisch-danant.jpg\" alt=\"Louis Sognot low table in rattan and glass, Edition Chevallier, presented by Demisch Danant\" loading=\"lazy\"><figcaption>Louis Sognot, low table, dated 1950 by Demisch Danant. Rattan and glass, Edition Chevallier, 48.5 \u00d7 120 \u00d7 48 cm. Photograph: Demisch Danant. <a href=\"https:\/\/www.demischdanant.com\/works\/louis-sognot\">View the gallery\u2019s entry<\/a>.<\/figcaption><\/figure>\n<p>Bringing the archive together with this contemporary photograph invites us to examine how bending, bindings and the combination with glass make construction legible. It illuminates the variety of Louis Sognot\u2019s work without identifying the table presented by Demisch Danant with the models visible in the 1951 stand.<\/p>\n<h2>Looking at and documenting rattan furniture<\/h2>\n<p>The comparison distinguishes three levels: the properties of the material, the designer\u2019s decisions and the capabilities of the workshop or manufacturer. The differences between Tripode, Catherine and Soleil show that one material allows different constructions. Rattan can thus be studied as a set of technical possibilities, used in relation to specific projects.<\/p>\n<p>A designer\u2019s name, a design date or a manufacturer alone cannot establish the history of each example. Period photographs, publications, dimensions and construction details must be compared with the object. Production figures and the exact circumstances of commissions would require further verification in manufacturers\u2019 archives.<\/p>\n<p>Rattan illuminates a form of modernity rooted in the reinterpretation of craft knowledge. Weaving can produce a load-bearing surface, bending can define an envelope, and combining rattan with metal can distinguish seat from support. To understand French furniture of the 1950s, we need to examine what designers did with materials and the conditions under which their proposals became objects.<\/p>\n<p><a href=\"https:\/\/dizagn.fr\/en\/recherche\/\">Explore DIZAGN research<\/a> \u00b7 <a href=\"https:\/\/dizagn.fr\/en\/expertise\/\">Discover our approach to expertise<\/a>.<\/p>\n<hr>\n<p><strong>Corpus and method.<\/strong> This research article brings together Thibault Lannuzel\u2019s thesis, the descriptions and photographs in Galerie Pascal Cuisinier\u2019s \u201cLe Rotin 1950\u201d newsletter, and Demisch Danant\u2019s entry for a low table by Louis Sognot, Edition Chevallier. Formal comparisons are readings of the documents, without physical examination of the illustrated furniture. They establish neither direct lines of influence between designers nor the manufacturing chronology of individual examples.<\/p>\n<h2 id=\"sources\">Sources and references<\/h2>\n<ol>\n<li>Thibault Lannuzel, <em>G\u00e9n\u00e9ration Formes Utiles. \u00c9tude d\u2019un groupe de designers en France, 1945\u20131973<\/em>, doctoral thesis in contemporary art history, Universit\u00e9 Paris IV\u2013Paris-Sorbonne, supervised by Arnauld Pierre, defended on 19 November 2016. Chapter IV, \u201cL\u2019industrie fran\u00e7aise innove\u201d, section \u201cLe rotin\u201d, pp. 172\u2013176; section on Louis Sognot, pp. 83\u201384; figs. 223 (p. 477), 401 (p. 512), 503\u2013504 and 701\u2013720. References follow the thesis\u2019s printed pagination.<\/li>\n<li>Galerie Pascal Cuisinier, <em>FOCUS \/\/ Le Rotin 1950 \/\/ Rattan 1950<\/em>, newsletter dated 1 October 2026, dossier supplied to DIZAGN. <a href=\"https:\/\/galeriepascalcuisinier.com\/\">Galerie Pascal Cuisinier<\/a>.<\/li>\n<li>Demisch Danant, <a href=\"https:\/\/www.demischdanant.com\/works\/louis-sognot\">Louis Sognot, <em>Low Table<\/em>, 1950, Edition Chevallier<\/a>, entry DS0001 and photograph, accessed 2 October 2026.<\/li>\n<\/ol>\n<p><em>DIZAGN text based on Thibault Lannuzel\u2019s doctoral research. A comparative synthesis of sources, not a physical appraisal of the illustrated examples.<\/em><\/p>\n<\/div>\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00c0 partir des recherches doctorales de Thibault Lannuzel, une \u00e9tude du rotin chez Motte, Abraham et Rol : constructions, ateliers et questions de datation.<\/p>","protected":false},"author":2,"featured_media":3413,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[54],"tags":[],"class_list":["post-3393","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-actualite"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Rotin et mobilier fran\u00e7ais des ann\u00e9es 1950 | DIZAGN<\/title>\n<meta name=\"description\" content=\"Rotin et mobilier des ann\u00e9es 1950 : Joseph-Andr\u00e9 Motte, Janine Abraham et Dirk Jan Rol, \u00e9tudi\u00e9s \u00e0 partir de la th\u00e8se de Thibault Lannuzel.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/dizagn.fr\/en\/2026\/10\/01\/rotin-mobilier-francais-annees-1950\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Rotin et mobilier fran\u00e7ais des ann\u00e9es 1950 | DIZAGN\" \/>\n<meta property=\"og:description\" content=\"Rotin et mobilier des ann\u00e9es 1950 : Joseph-Andr\u00e9 Motte, Janine Abraham et Dirk Jan Rol, \u00e9tudi\u00e9s \u00e0 partir de la th\u00e8se de Thibault Lannuzel.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/dizagn.fr\/en\/2026\/10\/01\/rotin-mobilier-francais-annees-1950\/\" \/>\n<meta property=\"og:site_name\" content=\"DIZAGN\" \/>\n<meta property=\"article:published_time\" content=\"2026-10-01T16:20:08+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-10-01T22:12:25+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/dizagn.fr\/wp-content\/uploads\/2026\/10\/rotin-galerie-pascal-cuisinier.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1654\" \/>\n\t<meta property=\"og:image:height\" content=\"2339\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Thibault Lannuzel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Thibault Lannuzel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"15 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/dizagn.fr\\\/2026\\\/10\\\/01\\\/rotin-mobilier-francais-annees-1950\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/dizagn.fr\\\/2026\\\/10\\\/01\\\/rotin-mobilier-francais-annees-1950\\\/\"},\"author\":{\"name\":\"Thibault Lannuzel\",\"@id\":\"https:\\\/\\\/dizagn.fr\\\/#\\\/schema\\\/person\\\/a74342303a86d50db0d9567a67f9a5df\"},\"headline\":\"Le rotin peut-il \u00eatre moderne ? 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