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Perriand was born in Paris, France, to a tailor and a seamstress. Her high school art teacher noticed her drawing abilities early on, and her mother eventually encouraged her to enrol in the Central Union of Decorative Arts school (French: École de l'Union Centrale des Arts Décoratifs) in 1920 to study furniture design until 1925.
The Répertoire du goût moderne is a five-volume set of folios depicting domestic interior design, created in 1928-29 and illustrated with the print technique pochoir by many famous designers and architects including Charlotte Perriand, Robert Mallet-Stevens, Gabriel Guevrekian, Francis Jourdain, Etienne Kohlmann, and Djo-Bourgeois. [1]
Chaise longue à réglage continu, also Chaise longue modèle B 306 à réglage continu or Chaise longue B 306 (later Chaise Longue - LC4, in 1964), is a chaise longue designed by Le Corbusier, Pierre Jeanneret, and the French designer Charlotte Perriand, who worked in the atelier of the Swiss-French architect Le Corbusier and his partner Pierre Jeanneret.
In 1928, Le Corbusier and Perriand began to put the expectations for furniture Le Corbusier outlined in his 1925 book L'Art Décoratif d'aujourd'hui into practice. In the book he defined three different furniture types: type-needs, type-furniture, and human-limb objects.
The exhibition served to coin "Art Déco", the term that came to describe design between the World Wars, particularly French modern design. The museum is somewhat on a par with similar and venerable decorative-arts and design-focused institutions such as the more international Victoria and Albert Museum in London .
From 1927 to 1937 they worked together with Charlotte Perriand at the Le Corbusier-Pierre Jeanneret studio, rue de Sèvres. [2] In 1929 the trio prepared the "House Fittings" section for the Decorative Artists Exhibition and asked for a group stand, renewing and widening the 1928 avant-garde group idea.
Grand Confort is a cube-shaped high armchair, whose leather cushions are held in a chrome-plated steel corset.It was designed as a modernist response to the traditional club chair in 1928 by a team of three: Charlotte Perriand, Le Corbusier, and his cousin and colleague Pierre Jeanneret. [1]
In 1954-1955, she began her collaboration with architect and designer Charlotte Perriand. Simone produced fabrics in linen, cotton and wool for Charlotte's benches. The benches were exhibited at Steph Simon's gallery in Paris. She weaved with ecru, gray, beige, olive green and black colors for the Paris Museum of Modern Art in 1961.