The history of furniture design is strewn with works that briefly graced the public stage before vanishing without the honour of a curtain call.

Crawl through the cellar of any major furniture producer and you’ll find them; the perfectly mummified remains of genuine design classics that failed to transform their creative majesty into hard cash.

Such as the so-called “Girard Group” by Alexander Girard.

Although best known for his textile and wallpaper designs Alexander Girard wasn’t averse to turning his hand to furniture design.

In addition to assisting Charles and Ray Eames with the creation of the La Fonda Armchair for the restaurant of the same name, Girard also created a wonderful collection of furniture for the lounges of Braniff Airlines. A partnership we wrote about in a previous post. Pastel coloured fuselages and all.

And from his Braniff lounge furniture the seating is the obvious highpoint.

Very much of their time, yet quite unlike anything George Nelson, Charles Eames or any of Alexander Girard’s other colleagues were creating, the “Girard Group” seating is defined by a wonderful low-level, flowing form. Technically they are linear and quadratic; you’d never guess by looking at them though.

Constructed from plywood and urethane foam with cast aluminium legs and back-supports, the chairs were upholstered in Herman Miller fabrics and available in pretty much any combination of colours and material types.

While not necessarily something we’d particularly want to spend a whole evening sitting watching telly in, for an airport lounge, hotel lobby or other public seating area they look pretty much perfect.

The tables don’t rock our boat quite as much. A little too restrained, don’t really look fully thought through. Look a little too much like a necessary, unloved afterthought.

But the seating…..

Although publicly released by Herman Miller in 1967, just two years later the “Girard Group” was discontinued. Simply being too expensive for the market.

Sadly. For they are truly the most delightful objects.

Lost Furniture Design Classics: A sofa from the Girard Group by Alexander Girard for Herman Miller (Photo © Herman Miller Archive)

And an armchair from the same collection (Photo © Herman Miller Archive)

Design for Use, USA. The cover of Alexander Girard's catalogue.

“Wooden spoon for pickled vegetables by John F. Kennedy”

? ? ?

John F. Kennedy. Green Mountain Woodcrafters, Vermont.

And no relation of Teddy or Robert.

Still cheered us up.

From March 20th until April 25th 1951 Stuttgart hosted the first post-war exhibition of modern American home furnishings and appliances in Europe.

Organised by the New York Museum of Modern Art under the title “Design for Use, USA”, the exhibition featured a cross section of American domestic design.

And a Who’s Who of mid 20th century American designers: Charles Eames. George Nakashima. Ray Eames. George Nelson. Eero Saarinen. Isamu Noguchi. Etcetera.

All presented in an exhibition concept and catalogue designed by Alexander Girard.

Aside from the very appetising list of objects displayed, the exhibition was and is interesting for a number of reasons.

Firstly because it took place some two years before Willi and Erika Fehlbaum made their fateful trip to New York; from which they returned with the seeds of Vitra in their hand luggage.

Imagine. Just for a second. If someone in Stuttgart had shown a little more entrepreneurial spirit.

No Vitra.

Which is an important lesson in grabbing the opportunity when it presents itself.

Secondly, the exhibition arguably kick-started the designer furniture industry in post-war Europe.

In her article “The “Advance” of American Postwar Design in Europe: MoMA and the Design for Use, USA Exhibition 1951–1953″¹ Gay Mcdonald argues that the whole exercise was simply concerned with promoting Americana in Europe in the context of the Marshall Plan. And when you read the original 1951 MoMa press release² its hard to disagree.

Doesn’t interest us.

As far as we’re aware Americans have always been obsessed with exporting their culture to the rest of the world. Be it blue jeans, hamburgers or oppressive security concepts in the name of freedom.

And of course they famously invented their own sports rather than assimilate those from other cultures.

But we trust that most Europeans, and indeed most Americans, are intelligent enough to form their own conclusions and opinions.

And so regardless of the motives, we find the exhibition was the right thing at the right time. At that period America, untouched by the war, was the motor of world product design. And MoMa was unquestionably the institution playing the biggest role in promoting American design innovation.

In 1951 most of Europe was busy re-building and was greatly in need of quick, efficient housing and furnishing solutions.

Ergo, let MoMa bring the best America has to offer to Europe. And let us take inspiration from those bits we like.

"Upholstered chair" by George Nelson for Herman Miller from the Design for Use, USA catalogue

Gay Mcdonald quotes a source as stating that some 60,000 visitors attended the exhibition. That may not sound much; but one must remember that it was 1951. There were no budget airlines offering 20p flights to Stuttgart. And also a lot less “design industry”.

The aforementioned Vitra was still an inconsequential shop fitting company in Basel.

And so 60,00 is fantastic.

What is sadly not documented is who went and what they took away with them.

For just as every important and influential Manchester band of the late 1970s and early-to-mid 1980s can trace their origins back to 4th June 1976 and the Sex Pistols concert at the Lesser Free Trade Hall; we romantically hope that “Design for Use, USA” shaped European furniture design of the 50s and 60s.

However, without the documentation one can only conject on the long-term effect that the exhibition had on those who visited.

After Stuttgart the exhibition continued through Europe with stops in London, Paris, Zürich and the Milan Triennale.

The fact that no-one took the opportunity to organise European production licenses indicating that, maybe, it was all just too new. Too different.

However, it conceivably began a sensitising process that paved the way for Vitra to successfully launch the works of Eames, Nelson, Noguchi et al in 1957.

And indeed for Wilde + Spieth to successfully market Egon Eiermann’s chairs. Egon Eiermann began publicly working towards mass market furniture when he participated in the “Wie Wohnen ?” exhibition that took place in Stuttgart and Karlsruhe in 1949/50. Many of his designs however originated from the mid-1940s, and Eiermann was undoubtedly influenced by what he was reading from America in the specialist publications of the time.

We’re not saying he was copying. But Eiermann and Eames were certainly researching and experimenting in similar directions. Eames albeit a little quicker and more successfully.

Yet in 1951, only few industry figures would have been aware of this, and indeed in 1951 Eiermann’s SE 3 (the current SE 42),  allegedly, only sold some 153 times. And principally to architects. ³ Over the next decade however not only did the sales figure dramatically improve; but Eiermann’s chair designs – with their undeniable “Hint of Eames” – advanced to become European design classics.

But again we can’t actually prove that Design for Use, USA helped.

A RAR and and ESU Bookcase by Charles and Ray Eames as depicted in the Design for Use, USA catalogue

In addition to paving the way for a new understanding of home furnishings, “Design for Use, USA” also introduced Europe to new technological and business model initiatives; we started moulding plastics and established designer furniture producers in the style of Hermann Miller. But we did it in European way.

We, for example, have no confirmed information that Arne Jacobsen attended the exhibition; but undeniable is how passionately he embraced the use of synthetic materials appearing on the market throughout the 1950s and 60s. And how expertly he fused them with the best traditions of Danish handwork. The Egg and Swan perhaps standing as the best examples.

And so while we admittedly lack the documentation, there is more than enough circumstantial evidence to indicate that without “Design for Use, USA”  it would have taken the European furniture industry a little longer to find its feet.

And with potentially less interesting products.

What we can’t predict however is how the Kennedy dynasty would look today if they had concentrated on pickle spoon design rather than politics.

The Slinky by Richard T James: was also part of the Design for Use, USA exhibition

1. Gay McDonald “The “Advance” of American Postwar Design in Europe: MoMA and the Design for Use, USA Exhibition 1951–1953″ Design Issues: Volume 24, Number 2 Spring 2008. Pages 15-27

2. “MUSEUM’S “DESIGN FOR USE, U.S.A.” EXHIBITION SAILED FOR EUROPE JANUARY 5″ http://www.moma.org/docs/press_archives/1483/releases/MOMA_1951_0001_1951-01-04_510104-1.pdf

3. Arthur Mehlstäubler “Egon Eiermann – der deutsche Eames?” in Egon Eiermann (1904 – 1970)

Although Alexander Girard worked closely with Herman Miller and designers such as George Nelson or Charles and Ray Eames; Alexander Girard’s speciality was not furniture but fabrics, folk art and colour.

Born in America and raised in Italy Alexander Girard studied architecture in London before a lack of architectural openings saw him spend several years working as an exhibition and interior designer; most notably in Sweden where he worked in the design department of the Nordiska department store. In 1937 Girard moved to New York in search of architectural work, but again with a lack of opportunities he took on numerous design jobs. In 1951 Charles Eames persuaded him to join Herman Miller where in 1952 he was appointed head of the new textiles department.

In addition to designing textiles Alexander Girard also designed exhibition stands for Hermann Miller and created interior design concepts for the stores; including T&O (Textiles and Objects) shop opened in New York in 1961 and whose range was dominated Alexander Girard’s passion for folk art.

Aside from his collaborations with Herman Miller Alexander Girard also worked for companies as varied as the Ford Motor Company, Hallmark Cards and Braniff Airways.

Greatly inspired as it is by folk art,  Alexander Girard’s work is often signified by it’s bold use of colour – and as such make wonderful Christmas gifts.

Vitra Wooden Doll No 12 by Alexander Girard

Vitra Wooden Doll No 12 by Alexander Girard

With his jester suit and cheeky grin Vitra Wooden Doll No 12 by Alexander Girard passes wonderfully into any modern Christmas scene. Originally created for T&O Alexander Girard’s wooden dolls never entered production during his lifetime – as Hermann Miller closed T&O before they could be introduced. However thanks to the Vitra Design Museum the Wooden Dolls have finally been released on an adoring global public.

Millerstripe Multicoloured Bright cushion by Alexander Girard

Millerstripe Bright by Alexander Girard as a Vitra Design Museum cushion

The cushion itself is not from Girard – rather the pattern. Originally designed in 1973 – so towards the end of Girard’s tenure at Hermann Miller – Millerstripe Multicoloured Bright was re-issued by New York based textile producer Maharam as part “Textiles of the 20th Century” collection. And subsequently chosen by Hella Jongerius to form part of the Vitra Design Museum cushion collection. With its simple geometry and vivid colours Millerstripe Multicoloured Bright is a wonderful example of how Alexander Girard incorporated the basics of folk art in his work.

Vitra Classic Tray Eden by Alexander Girard

Vitra Classic Tray Eden by Alexander Girard

As with the cushion, the tray is not from Alexander Girard – rather the pattern. Also created during his time with Herman Miller, Eden wonderfully combines childhood innocence with serious art. Printed on high-grade thermoset, the Vitra design Museum classic trays are dishwasher safe, food safe … and delightful.

La Fonda Armchair by Charles and Ray Eames from Vitra

La Fonda Armchair by Charles and Ray Eames

Although designed by Charles and Ray Eames the La Fonda Armchair was commissioned for one of Alexander Girard’s most important interior design projects in New York – the La Fonda del Sol restaurant in the Rockefeller Centre. Impressed by his work for the T&O shop the restaurant operators asked Girrad to design the interior of La Fonda del Sol with a South American folk art theme – a commission that initiated Girard’s first trip to South America, a study tour that took in Bolivia, Peru, Argentina and Brazil. In 2009 Vitra stopped production of the La Fonda Armchair – but (smow) still have one or the other in stock.

Vitra Wooden Dolls by Alexander Girard

Vitra Wooden Doll No 1-11 and 13-16 by Alexander Girard

Before we have a mutiny on our hands. Alexander Girard deisgned 23 dolls for T&O from which the Vitra Design Museum have released16. Each with their own personality and story. Weather individual or in a set, there can be few more adorable companions for the winter months. The full range can be viewed here.

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For thousands of men worldwide November ceased to exist in 2003.

Since then its all September, October, Movember.

Movember? – MOustache / noVEMBER.

By the organisers own admission the idea started as an alcohol induced attempt to re-introduce the moustache – and yes the initiators are Australian -  and has now evolved into a global event to raise money and awareness for and about prostate cancer.

In 2009 some 255,755 men spent Movember cultivating their top lip and in doing so raised some GBP 26 million for the partner charities. The money raised being used for awareness and education campaigns as well as for research and support

The testosterone containing elements of the (smow)blog crew are planning participating next year – a little bit of training being needed by the normally clean shaven, fresh faced colleagues – and so we had more than a touch of pride in our collective breast when we saw Vitra Wooden Doll Number 15 doing his bit for the cause.

We’ll keep you updated on how Nr 15′s Vibrissae develop – and more information on and donations to Movember can be found and made at movember.com

Wooden Doll Nr. 15 Movember - The first fortnight

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The familiar nature of Group D was continued with this meeting of two grandees of the international designer furniture circuit: Eero Saarinen and Alexander Girard.

With both still having an outside chance of qualifying for the semi-finals the start was edgy and imprecise.

Alexander Girard however was first to find his rhythm and came close with an intricate Names fabric. Eero Saarinen responded with a clever Grasshopper chair, a move which produced the most delightful Millerstripe Multicoloured bright and neutral combination response from Alexander Girard.

And the 1:0 lead.

And with his travelling army of Wooden Dolls cheering him on Girard held on for  deserved victory.

The Group D table and all Group D results can be found here.

After the strenuous match against Alexander Girard, France decided to rest Ronan and Erwan Bouroullec for the match against Eero Saarinen.

Their replacement, the enfant terrible of contemporary French design Philippe Starck however failed to match the old Finnish master; too often Philippe Starck strove forward with fairly predictable and poorly considered approaches.

Eero Saarinen was able to make use of the gaps produced by Philippe Starck to good effect scoring with his Tulip Chair and a pedestal table for a thoroughly deserved 2:0 victory

The Group D table and all Group D results can be found here.

Philippe Starck failed to get the better of Saarinen's Tulip Chair through Knoll International

Both Ronan and Erwan Bouroullec as well as Alexander Girard had to wait a long time for their opening match in this years (smow) designer furniture world cup – but for the sell out crowd in Pretoria the wait was more than worth it.

Although born in New York, Alexander Girard qualifies for Mexico on account of the Wooden Doll side of his family tree. Opening up with an impressive selection of traditional southern Portuguese patterns Girard was initially confused as the Bouroullec brothers appeared to use the patterns as the basis for a lamp; this turned out to be a clever ruse to allow the brothers to introduce their Algue room divider and so take a 1:0 lead.

Alexander Girard responded with an ever more aggressive range of textile formations which appeared to have Ronan and Erwan Bouroullec beaten; until they produced a counter attack in the form of a Vegetal chair for Vitra.

And that was that.

2:0 for Ronan and Erwan Bourollec against Alexander Girard.

The Group D table and all Group D results can be found here.

Despite the support of his Wooden Doll relatives, Alexander Girard lost his opening match against Ronan and Erwan Bouroullec

Alexander Girard

We used to love flying. But after Lufthansa’s decision to send us on unwanted world tour rather than directly from Frankfurt to Edinburgh we’re getting a bit sick of the sight of boarding gates.

And so as we flew pointlessly around Northern Europe we found ourselves pinning for Alexander Girard.

Although principally remembered as one of the worlds leading authorities on folk art, Alexander Girard was also one of the first “corporate graphic designers”; and undoubtedly his most aesthetic commission was that for Braniff Airways.

Back in the day when flying was a relaxing joy and airlines still treated guests as important.

Having, allegedly, received his pilots license from Orville Wright, Paul Braniff founded “Paul R. Braniff, Inc., Airline…Oklahoma City to Tulsa” in 1928. Over the next three decades the airline grew with the American economy and entered the jet age in 1959 with the purchase of their first Boeing 707.

In 1965 Alexander Girard was commissioned to redesign the airlines corporate identity.

The central feature of Girard’s concept was the use of single pastel colours for the fuselages, seven in all; red, blue, brown, green, orange, yellow and grey.

The result was not only a highly distinctive and individual fleet of 707s; but a distinctive and individual fleet of 707s that still looks fresh and exciting today.

But not just the airplanes themselves were painted in Girard’s pastel colours, the concept included luggage trolleys, staircases, vans, tow trucks and indeed everything that an airline needs on the roll-field.

In addition Alexander Girard designed nearly every aspect of both the plane and terminal interiors be it check in desks, seat upholstery or cutlery and crockery. The Italian fashion designer Emilio Pucci designed the uniforms.

Looking over pictures of the Braniff Airlines brand Alexander Girard created, its hard not to get romantic for those far gone days when jet airline travel was still something magical and special.

Fortunately airports themselves can still be oases of style and grace and so as we enjoyed the comfort of the Arne Jacobsen Series 7 chairs from Fritz Hansen at Frankfurt Airport, we allowed ourselves to dream of those sadly missed days.
And designers such as Alexander Girard

(More information on Braniff Airlines and some wonderful photos can be found at http://www.braniffpages.com)

Seris 7 by Arne Jacobsen for Fritz Hansen - and dreams of Braniff Airlines

As many of you will be aware, the construction of the VitraHaus was not without it’s controversy.

For all the decision to paint the outer walls black.

We at (smow)blog can however exclusively reveal that other options were considered.

And below we publish exclusive pictures of the rejected colour schemes.

VitraHaus in Hella Jongerius Polder sofa look

Berlin based, Dutch designer Hella Jongerius has created the Vitra Colour Laboratory to help encourage VitraHaus visitors to be more imaginative and creative in their use of colour. One version of the VitraHaus colour scheme played with Jongerius’ Polder Sofa colour scheme.

VitraHaus with an Algue by Ronan and Erwan Bouroullec finish

Breton brothers Ronan and Erwan Bouroullec‘s classic Algue room divider was also considered as a possible colour scheme for the outer walls of the VitraHaus. Was however rejected owing to the number of Bouroullec items that are on display inside the VitraHaus.

VitraHaus a la Kast by Maarten van Severen

Belgian designer Maarten van Severen is one of the real “in house” favourites at Vitra, and a man whose time came far too soon. As a tribute to one of the true legends of Belgian design a colour scheme was created that paid homage to Maarten van Severen’s Kast shelving unit.

VitraHaus in Verner Panton Panton Chair classic red

The cooperation between Vitra and Danish designer Verner Panton opened a whole chapter in the Vitra story; the creation of specially commissioned pieces in collaboration between Vitra and the designer. In honour of the life and work of Verner Panton the possibility of painting the outer walls of the VitraHaus in Panton Chair classic red was considered.

VitraHaus from Vitra as a homage to Charles and Ray Eames

No two people are more intimately associated with the Vitra story than Charles and Ray Eames. And so it was no surprise that one of Ray Eames’ classic textile designs – namely small dot pattern – should be considered for use on the outer walls of the VitraHaus.

In the end, black won through as the outer colour of the VitraHaus…. but it could all have been so different…

VitraHaus as it could have been: In Millerstripe Multicolored Bright by Alexander Girard finish

As traditional as roasted chestnuts and corked sherry, gift recommendations are what make Christmas for us.

This year, however, we start with a friendly warning.

The lead times for many of our suppliers are creeping upwards – and although we have a well stocked and bountiful warehouse; should you want to order something extra special as a gift for a loved one, and we have to order it – it’s getting tight.

The “traffic light system” in the (smow)shop provides an instant guide to availability; should you however have any queries please contact the (smow) customer service centre in advance of ordering. There a team of highly trained advisers can provide detailed information on availability and delivery times.
Unless they’ve found the Glühwein!

Below we present a selection of suggested festive gifts. Just heed our words, and order early ….

Liesmichl by Nils Holger Moormann for Moormann

Liesmichl by Nils Holger Moormann for Moormann

Nils Holger Moormann’s Liesmichl is not only the ideal side table for all Bibliophiles it is also the perfect gift for all Bibliophiles. With storage space for books, an ingenious holder to ensure you don’t lose your page and a handy shelf for mince pies and sherry, Liesmichl offers everything you need to ensure a relaxed and stress-free reading experience.

Classic Trays from Vitra

Classic Trays from Vitra

That little something different for all fans of 1960s graphic art. The Vitra Design Museum have produced a wonderful range of plastic trays featuring classic designs by Alexander Girard, George Nelson and Charles & Ray Eames. From bold geometric forms over abstract an onto modernistic folk art there is something for everyone in this beautiful collection.

Rabbit Lamp from moooi

Rabbit Lamp by Front for moooi

For all those who don’t have room for the absurdly fantastic Horse Lamp – or who suffer from Equinophobia – Front’s Rabbit Lamp is more than a touch of leporidaen charm for your home or office; it’s also a warming and atmospheric lamp perfect for desk, side-table or bedside table.

Cobb Grill

Cobb Grill

Summer may be gone – but it’ll come again. And in any case with Cobb Grill you don’t need sun, wasps and the great outdoors to barbecue – the patented design of the Cobb Grill means it can be safely and smoke free used indoors. Barbecue Goose… lovely stuff

E 14 Rattan Stool by Egon Eiermann from Lampert

Rattan Stool E 14 by Egon Eiermann from Lampert

For that colonial, South Sea Island feel you can’t beat Rattan furniture. And nothing says W. Somerset Maugham more than Egon Eiermann’s 1950s designs. At 42 cm high and with its concave top the E 14 is perfect as an occasional stool or as an unoccasional side table