The Utilitarian Sculptures of Fashion Designer Pierre Cardin

Console T, 1979

The two opposing shapes in this piece come together to form an immediately recognisable design which has two doors and shelves in the lower part and two practical drawers in the upper part. The latter’s semi-circle sides are often seen in other works by Pierre Cardin.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Cabinet Pyramide, 1975

This peculiar chest of drawers forms an inverted pyramid shape, one of the most precious stylistic elements of Cardinian design. A horizontal barycentric line immersed in the black lacquer of this majestic piece of furniture adds a light and discreet decorative note.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Bureau Clé, 1978

The superimposition of a circle and a triangle help to distinguish this highly geometric study table with the shape conveying the image of a giant keyhole. This impressive composition not only is a decorative element but it also has a structural function: these characteristic elements are hand-crafted on solid wood blocks then composed and inserted as marquetries in the furniture’s specular geometric bodies.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Sellette, 1976

This fridge-bar cabinet is distinguished by the simplicity and elegance of the design. The protruding handle in the middle is a functional element, central to the whole creation and the horizontal red-on-black decoration makes it easily recognisable.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Présentoir, 1980

A saber-shaped profile leaning on a simple parallelepiped support is emphasised by two decorative parallel lines. The whole piece is divided into three particular elements, as if the lines are inlays of different dimensions. The recognisable curve is reminiscent of other works by Pierre Cardin, particularly from the ‘60s and ‘70s.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Commode Galle, 1975

Two semicircles separated by a rectangle: a disarming simplicity is used to describe one of the most peculiar signatures by its designer. A giant buttonhole is underlined by exploiting the black shadow of the joints that is produced by the three doors of this ice-white lacquered cabinet. A unique and often curved okoumé ribbon envelops this cabinet and emphasises its elegance.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Console, 1981

This console is characterised by the presence of a single support on which the parallelepiped structure of the main body of the composition rests entirely. The support divides the structure into two symmetrical parts. The attention is once again drawn to the centre of the work through the use of different shades of colour.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Console Chataîgne, 1978

One of the rare cases in which a Pierre Cardin Utilitarian Sculpture is left in its natural wood colour with its vertical grain. The characteristic winter fruit is here magnified and placed on its own hilum - the scar that connects the fruit to its shell, from which it takes nourishment. Smoothed by hand, it has a rounded shape from wherever you look at it. Two special hinges allow easy opening of the impressive front doors.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Etagère Hula-Op, 1979

Hula-hoops were extremely fashionable in the '60s both as a game for children and as a means of sports training. Pierre Cardin took inspiration from their shape and designed a pair of them in steel. He then used them to support four suspended, staggered drawers. He dedicated the harlequin of black and green lacquer and yellow-orange of the transparent paint Okoumé to the children.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Lampe Triangle, 1974

This creation uses the properties of optical fibre in order to simulate the fluctuation of the central body - in blue light – inside a string of five triangles. The string of triangles also functions as the central body’s support. The suspension is underlined by the transparency of the triangles that does not allow the light to break and therefore makes them visible to the eye of the viewer by illuminating only the outline.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Cabinet Champignon, 1977

On a base of oriental inspiration, a peculiar form stands. A practical pedestal gives its support to a stylised mushroom-shaped body that can be opened with two central support wings. Like other Pierre Cardin creations, the polyester lacquer, handmade in 12 layers from wood to the final clear varnish, is treated with free shades leading from the central orange bordeaux to an almost black periphery. The back of the structure is completely covered with a practical mirror.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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Lampe éclair, 1975

The circle is among the most common elements used in Pierre Cardin’s design. It characterises almost all his works. In this piece of furniture the stylised central lightning becomes part of a cabinet’s front doors, in green lacquer. In the dark, the user can only see the central element that gives the name to the work - the French word éclair translates as lightning or flash of lightning.

Pierre Cardin, Sculptures Utilitaires 1970-1975 Exhibition
17-24 January | Paris

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