Cutting a Rug
EARLY MODERNIST DESIGN
“Madame [Eyre] de Lanux has a strange and very personal taste in colour combinations which always makes her work interesting and unusual. Terra-cotta red, white and gray are one blend that goes well together; light tobacco brown, black and white is another. The fine grain of the type of wood, the softness of the leather, the roughness of the hand-woven rugs are used to bring out the best in otherwise banal objects” —Madge Garland
As we turn the page into a new year the popularity of mid-century furniture (not at all unsurprisingly) shows no signs of abating. Indeed in recent decades pieces from the likes of Pierre Jeanneret (1896-1967), Jean Prouvé (1901-1984) and Serge Mouille (1922-1988) have been fetching increasingly astronomical prices at auction; in 2007 for e.g. a manhole cover, designed by Jeanneret, molded with the map of Chandigarh, sold at Christie’s France for $21,600, and, fetching a similarly jaw dropping price, in 2017 a pair of Jean Royère’s (1902-1981) whimsically rotund Ours Polaire armchairs — upholstered in a thick mustard plush — went for just shy of $1 million. So prevalent now is the aesthetic that there are a number of contemporary makers and designers producing pieces that seem to be inspired by (whether that be deliberate or merely through a symbiotic absorption of the zeitgeist) the mid-century greats, and in particular, it would seem, the work of ever-in-vogue modernist architect Charlotte Perriand (1903-1999); from Fred Rigby’s sinuously curved Pebble desk to Emmanuelle Simon’s Elly dining table and Nada Debs’ Scattered shelving unit — all of which embrace something of Perriand’s particular brand of functionalist je ne sais quoi. Of course another twentieth century genre to have increased dramatically in popularity is Art Deco, and in particular, the more angular pared back works of designers such as Jean-Michel Frank (1895-1941), Eyre de Lanux (1894-1996), Pierre Chareau (1883-1950), Marc du Plantier (1901-1975) and T.H. Robsjohn-Gibbings (1905-1976). Often constructed of simple, yet elegant and luxurious materials, such as limed oak, mica, straw marquetry and parchment; light in colour and lacking in heavy ornamentation, such pieces work well in contemporary interiors (shaking off connotations of unpopular “brown furniture”, which, in any event, is most apt to describe the sort of heavy, inelegant nineteenth century furniture — typically in mahogany — seen gathering dust in rural antique stores; though of course a great deal of Art Deco — Jules Leleu’s (1883-1961) cheaper “diffusion line” for e.g. — can feel equally dated and unappealing).
There have been numerous fashionable and publicised collectors of Art Deco, from Andy Warhol’s (1928-1987) elegantly refined Carnegie Hill townhouse — bursting with furniture by the likes of Pierre Legrain (1889-1929) and Émile-Jacques Ruhlmann (1879-1933), to the sumptuously appointed and art-filled homes of restaurateur Michael Chow (b. 1939) and more recently, fashion designer Marc Jacobs (b. 1963); the latter of which being a veritable essay in sophistication and refined living, designed under the auspices of the late great Paul Fortune (1950-2020). Indeed when Jacobs auctioned much of the contents at Sotheby’s in 2019 the worlds of art and design swooned at his rarefied collection of works by master-craftsmen such as Jean Dunand (1887-1942), Eugène Printz (1889-1948) and Paul Dupré-Lafon (1900-1971). Such Art Deco gems are now frequently seen gracing the designs of Alyssa Kapito (b. 1986), Atelier AM and Caroline Sarkozy (b. 1950). As a result of this renaissance, seen ever more frequently in such interiors are wonderfully graphic Art Deco rugs by designers such as Evelyn Wyld, Ivan Da Silva Bruhns (1881-1980) and Leleu. Often woven in rich jewel like colours and composed of visually arresting geometric designs (in the case of Da Silva Bruhns combining pre-Columbian motifs, Modernist rationalism, and French Art Deco luxury), such rugs work wonderfully in modern interiors, providing a striking counterpoint to more minimalist contemporary furniture, or even the Industrialized rationalism of twentieth century modernists (as seen to great effect in the original interiors of Maison de Verre, Paris). We spoke to Jessica Swaffer — who, along with Mike Driver, her friend and business partner, founded Zouzou rugs — about the popularity of Art Deco, and why suddenly, out of the blue, they decided to design and manufacture rugs inspired by artist Francis Bacon (1909-1992) and the masters of European modernism.
Zouzou’s “ZZ-06-006” rug in bamboo silk, inspired by the early Modernist masters
The London List: How exactly did Zouzou come about?
Jessica Swaffer: Well it all started when I discovered Francis Bacon had made rugs in the late 20’s. I instantly fell in love, I had no idea he had a previous career in design before becoming a painter. I had never seen anything like them and became utterly obsessed. I began searching for a manufacturer to get a reproduction made for my home when a friend suggested designing my own. At the time my daughter was six months old and I had decided, just the week before, to leave my previous career behind and that seemed like the most perfect job I could imagine. I threw myself head first into learning about every modernist rug designer I could find so I could really try to emulate that period without just making poor imitations. Within a month I had the first series designed. I asked my good friend mike to join me to run the business side, as anything with numbers makes me break out in a sweat, which has turned into the perfect partnership.
Your rugs tend to be geometric abstract designs, inspired by twentieth century European modernism; who or what would you say are your main influences?
Oh so many, Ivan Da Silva Bruhns, Marion Dorn (1896-1964), Evelyn Wyld, Eyre de Lanux, Edward McKnight Kauffer (1890-1954), Gustave Miklos (1888-1967), Eileen Gray (1878-1976) are just a few. Everything Marie Cuttoli (1879–1973) produced fills me with so much joy, she worked with all of the best artists of the time — Picasso (1881-1973), Hans Arp (1886-1966), Joan Miró (1893-1983), Fernand Léger (1881-1955), Alexander Calder (1898-1976), Paul Klee (1878-1940), Max Ernst (1891-1976) .... I also adore the rugs the Omega Workshop designed.
Clearly the popularity of not only mid-century furniture, but twentieth century furniture en masse, is on the up and up; would say it in any way influenced your decision to start Zouzou?
Before starting Zouzou rugs I was not involved in the design world at all, I don’t think I was really aware of what was popular. I’ve always bought vintage furniture and had a passion for architecture pre 1950s. I don’t think consciously its popularity influenced my decision to start Zouzou, I just really love beautiful objects and hoped others would consider what I made to be beautiful.
Zouzou’s limited edition “ZZ-06-001” rug in bamboo silk, featuring a typically abstract design
On that note, what’s your favourite work of art?
Pregnant Woman (1971) by Alice Neel. I had a difficult time being pregnant so it resonates with me greatly.
And which artist(s) would you collect if you could?
I’ve always had an unhealthy obsession with David Hockney (b. 1937), particularly his drawings from the 70’s. All of Forrest Bess’s (1911-1977) paintings. I’ve also fallen in love with Diena Georgetti’s (b. 1966) work; she’s a contemporary Australian painter that draws on a lot of the same influences I do.
You’re influenced by a lot of Art Deco artists; rugs by the likes of Andre Arbus, Ivan Da Silva Bruhns and Jules Leleu seem to have been having a resurgence recently — why do you think that is?
I think there has been a hole in the market for some time and these earlier examples have come back in to fashion to fill this void. Art Deco design is so elegant and chic, I think people are searching for ways to make their lives feel this way, especially with so much time spent at home in the current situation we find ourselves.
With each collection your designs are limited to editions of ten, why do you keep the numbers so small, and can you see yourself expanding in future?
Next series we will be increasing to fifteen of each design. I really love the small quantities, it makes each one feel special.
Would you ever consider producing bespoke designs? Presumably, what with the growing trend for unique, craft led interiors, there would be a market for it within the industry.
We are asked about this regularly - at this stage we do not offer any customs sizes or bespoke designs. With our business still in its infancy, at the moment we prefer to keep the design process as simple as possible.
Zouzou’s limited edition “ZZ-06-003” rug in bamboo silk
The worlds of Art, fashion and design are becoming progressively intertwined, with an ever increasing focus on editorial, or “instagrammable” imagery; does that ever influence your approach to design?
When photographing the rugs Instagram is always on my mind as this is the only exposure our business has, but design wise it doesn’t play a part. Each series I try to have a broad variety of colours and compositions, all I take into account is that the designs could sit well in many different interiors and work cohesively together as a collection.
A two part question really: do you find Instagram an important marketing tool; and do you think it’s having an impact on the design industry at large?
Instagram really is the best marketing tool you can have. I’m thankful everyday it exists as you can reach so many different demographics so quickly worldwide. I’m sure it will be having a huge impact; to me the down side is how quickly you can get tired of certain images and objects through repeat exposure that should be iconic forever.
Over Saturation is something I've talked about in the past; which items of design, or which interiors, do you think have suffered from repeat exposure?
Jeanneret, and before that Charles (1907-1978) and Ray Eames (1912-1988). Marcel Breuer’s (1902-1981) Wassily chair, Le Corbusier’s (1887-1965) LC4 chaise and LC2 armchair, Eileen Gray’s E1027 Table. I would say replicas play an equal part in over saturation of the imagery too though; but that’s a whole different topic! For me personally a perfect example would be the plaster work of Valentine Schlegel. When I first came across photos of her incredible fireplaces I was in awe. I immediately asked my partner, whose trade is heritage plastering, to one day recreate the shelves for me. Now after seeing the images so often they have slightly lost their magic for me — I still really adore her work, I’m just not as eager to live with it.
What was the last thing you bought and loved?
A folky wooden carving of a nude woman that spreads her legs; it’s beautiful and hilarious, she has a very stern expression.
An object you would never part with?
A1930’s German gilded wood sunburst mirror. My father always had many in his antiques shop; it brings back fond memories of my childhood growing up in Arundel in the South Downs, United Kingdom.
Something you have your eye on?
For months I’ve been trying to get my hands on a vintage Yves Saint Laurent Fieldcrest Towel Set in gold and navy after seeing them in photos of the Chinatown home of Emily Bode and Aaron Aujla (founders of Bode and Green River Project LLC, respectively). I really love investing in beautiful things that can be used every day.
What’s the best gift you’ve been given?
Last Christmas my partner bought me a Narciso mirror (c. 1970) designed by Claudio Platania for Pierre Cardin. He wrapped up only the concrete block base that the mirror sits in; I opened it and tried to feign excitement but had no idea what it was — I was very relieved when he returned a minute later with the full form.
The site that most inspires you?
Fondation Pierre Bergé-Yves Saint Laurent in Paris. In 2016 I went to Paris for 24 hours to see an exhibition of art and furniture that once belonged to Jacques Doucet and/or Yves Saint Laurent. The collection included two incredible rugs, one from Gustave Miklos and another by Émile-Jacques Ruhlmann (1879-1933). I wasn’t aware at the time, but it was probably this experience which planted the seed that led to my starting Zouzou rugs.
A selection of rugs from Zouzou’s archive
Where’s the most unforgettable place you’ve travelled?
It may sound slightly boring but Los Angeles. It’s my favourite place in the world. Before my daughter was born my partner and I took many holidays there. At the time we lived in an incredible 1936 apartment complex in Melbourne called Beverley Hills. It was influenced by LA courtyard apartments and Spanish revival architecture. On our first trip we had a note pad full of street addresses of buildings we wanted to see, mostly apartments but also many of the early modernist homes in Southern California (by the likes of Rudolph Schindler (1887-1953), Irving Gill (18701-1936) and Frank Lloyd Wright (1867-1959) etc). We weren’t expecting to enjoy the greater city but were blown away by the beauty we saw in the everyday. I fell in love the concrete roads, the bougainvillea and palms, all the different older neighbourhoods and I found the people to be mostly charming. On our later visits we have stayed at Chateau Marmont which I have become especially fond of.
Where would you like to go next?
I would really love to go to Shanghai to see their Art Deco and modernist buildings; from what I’ve seen many of their interiors are still in original condition.
What’s the best souvenir you’ve bought home?
In 2014 we drove to find everything built in Victoria by architect Walter Burley Griffin (1876-1937) and his office. An hour out of Melbourne in a town called Woodend there is the beautiful abandoned Wills’ residence built in 1929. Seeing the derelict condition brought tears to my eyes, my dream would be to buy it and restore it if I had the money. We took home a discarded concrete roof tile as a memento. The home is one of few remaining Burley Griffin Knitlock buildings, I’m a big fan of his and Marion Mahony Griffin’s (1871-1961) work and I love having a piece of their history in my home.
What’s your biggest indulgence?
Ordering pistachio ice cream and amarena cherries twice a week — delivered from our local Gelateria.
What’s the best book you’ve read in the past year?
Breakfast with Lucian: A Portrait of the Artist, by Geordie Greig. I have a strange fascination with artists that were pretty vile people — and Lucian Freud (1922-2011) is one of them. I really enjoy the ability to find someone hideous and absolutely love what they produce. I found it to be a wonderful insight into his life and character, which has made me appreciate his portraits even more. It is also my dream to find my own Clarke’s to dine at every morning when I’m an eccentric old lady.
What would you do if you didn’t work in design?
If I was incredibly rich I would buy an old mansion in the countryside with a swimming pool and a walled garden. I would transform it into a hotel, in the manner of La Colombe d’Or in Côte d'Azur, France. Maybe then I could eat breakfast there every morning at a table with starched white tablecloths.
What’s next?
Last year we had planned to make a rug with Australian artist Rhys Lee; 2020 put that on hold but hopefully we can make it happen this year. We are also considering producing limited edition prints of our original rug designs. I own an Ivan Da Silva Bruhns print that I really cherish and thought it could be a nice addition to the website.