Rio de Janeiro bookcase, 1962-2025

This distinctive bookcase was conceived to display works of art alongside books. Designed in Rio de Janeiro in 1962 for Jacques Martin, Charlotte Perriand’s husband, it was originally intended to be used in the reception area of his apartment. Made from typically Brazilian solid rosewood,the “Bibliothèque Rio de Janeiro” is characterised by its imposing dimensions and regal construction.
The sliding doors are made of woven cane, a local folk craft technique used to make the shades of traditional houses which Charlotte Perriand discovered during a trip to Brazil.

The unique existing model of the “Bibliothèque Rio de Janeiro” currently belongs to a private collection. While a legendary piece of design, over the past twenty-five years it has only been exhibited three times, in Paris, including at le Centre Pompidou and le Petit Palais. The creation
of a limited edition as part of the Saint Laurent – Charlotte Perriand collection offers the opportunity to bring Charlotte Perriand’s works of art to a wider audience.

Mille-feuilles table, 1963-2025

Designed in 1963, the “Table Mille-Feuilles” comprises ten superimposed layers of two differentvarieties of wood, one light and one dark. Its circular top is bevelled around the edges and recessed in the centre to form concentric circles. Although a reduced-scale model was made, which Charlotte Perriand kept on her desk for the rest of her life, the “Table Mille-Feuilles” was never actually manufactured as machining the top proved too difficult.

This table is an exceptionally original piece, bearing witness to Charlotte Perriand’s creative genius. Made from the finest wood and in only thirty copies, each “Table Mille-Feuilles” is unique owing to the wood’s grain and the patterns created by the shaping process.

Indochine guest armchair, 1943-2025

Following her mission as advisor to the Japanese government on industrial art (August 1940–August 1941), Charlotte Perriand headed for Indochina, unable to reach the USA or Europe because of the war. In 1943, she was appointed Director of Crafts and Applied Arts in Indochina. At a time when disaster was sweeping through the Asia-Pacific region, Charlotte Perriand started a family with Jacques Martin, who was Director of Economic Affairs of Indochina. She designed several pieces of furniture for their personal use, including a guest armchair, of which only the drawing remains.

Eighty years on, the Saint Laurent – Charlotte Perriand collection has recreated this elegant chair — once lost in Indochina — with its seat crowned by a traditional Thai cushion composed of mats sewn together edge-to-edge. Combining modernity with a vernacular element, this design exudes a timeless charm.

Sofa for the Japanese Ambassador’s residence in Paris, 1967-2025

In 1966, Japanese architect Junzô Sakakura was commissioned by the Japanese government to design a new residence for the Japanese ambassador in Paris. He entrusted his friend Charlotte Perriand with the interior architecture and furniture design. Once again, she was to reveal her in-depth knowledge of Japan. For the large reception room, she designed a monolithic five-seater sofa whose prestige and solemnity structured the space architecturally. This majestic work consists of an over seven metre-long base that curves upwards on either side of the seating. Resting on four set-back legs, the sofa appears to float above the ground, while the caning on its flanks creates an impression of lightness.

Developing this exceptional and unique piece demanded a great deal of work from Charlotte Perriand at the time. Nearly sixty years later, the Japanese Embassy in Paris helped to identify every detail of this banquette so that it could be manufactured once more, in limited numbers.

Charlotte Perriand

Charlotte Perriand (1903-1999) is deemed to be one of the most important female furniture designers of the mid 20th century.

As early as 1927, at the age of 24, Perriand produced a number of critically acclaimed innovative pieces of metal furniture, which drew the attention of Le Corbusier and Pierre Jeanneret. The result was the beginning of a work relationship that lasted many years. At Le Corbusier’s studio Perriand developed a series of tubular steel chairs, among them the famous adaptable chaise longue, a first edition of which was marketed by Thonet two years later.

Perriand’s work continued to evolve and in the mid 1930s, she started to experiment with natural materials such as wood and cane. She traveled to Japan in 1940 as an official advisor on industrial design to the Ministry for Trade and Industry to advise the government on how to raise standards of design in order to develop products for export to the West. Perriand adapted local techniques of woodwork and weaving – straw, bamboo and twigs becoming her materials of choice.

It was especially after World War II, when Charlotte Perriand developed a new concept for the way of living by increasingly integrating the human dimension into her productions. Through flexible use of materials she achieved recognition with her pure and powerful style – as exemplified in her free form massive wood table models.

Conscious of economic and social realities, she decided upon large-scale production, and finding a new synthesis between tradition and industry. “Always concerned with innovation rather than trying to affirm a formula for renovation”, she designed various housing developments such as the Unité d’Habitation in Marseilles, with Le Corbusier in 1949, as well as rooms at the International Students’ Residence in Paris in 1953. Included was a library built in collaboration with Jean Prouvé and commissioned by André Bloc, the founder of the “Groupe Espace”.

Throughout her career, Charlotte Perriand dedicated herself to maintaining a standard for the quality of life: whether working-class housing developments, urban or rural dwellings, mountain refuges and hotels, she always approached her projects with the interest of humankind and environment in mind, by creating furniture which is both comfortable and functional.

Jean Prouvé used to say that she was among the rare designers blessed with spontaneous harmonic contemporary thought.