Vladimir Kagan Erica

The pioneers of modern furniture design in America in the mid-20th century all had their moments of flamboyance: Charles and Ray Eames produced the startling, biomorphic La Chaise; George Nelson’s firm created the Marshmallow sofa; Edward Wormley had his decadent Listen to Me chaise. But no designer of the day steadily offered works with more verve and dynamism than Vladimir Kagan. While others, it seems, designed with suburban households in mind, Kagan aimed to suit the tastes of young, sophisticated city-dwellers. With signature designs that feature sleekly curved frames and others that have dramatic out-thrust legs, Kagan made furniture sexy.

Kagan’s father was a Russian master cabinetmaker who took his family first to Germany (where Vladimir was born) and then to New York in 1938. After studying architecture at Columbia University, Kagan opened a design firm at age 22 and immediately made a splash with his long, low and sinuous Serpentine sofa. Furniture lines such as the Tri-symmetric group of glass-topped, three-legged tables and the vivacious Contours chairs soon followed.

Kagan’s choices of form and materials evolved through subsequent decades, embracing lucite, aluminum and burl-wood veneers. By the late 1960s, Kagan was designing austere, asymmetrical cabinets and his Omnibus group of modular sofas and chairs. For all his aesthetic élan, Kagan said that throughout his career, his touchstone was comfort. “A lot of modern furniture was not comfortable. And so comfort is: form follows function. The function was to make it comfortable,” he once commented. “I created what I called vessels for the human body.”

A diverse group of bodies have made themselves at home with Kagan designs. Among the famous names who commissioned and collected his designs are Marilyn Monroe, Gary Cooper, Andy Warhol, David Lynch, Angelina Jolie and Brad Pitt, and firms such as Gucci and Giorgio Armani. His work is in numerous museum collections, including those of the Victoria Albert and the Metropolitan Museum of Art.

Because of its idiosyncrasy, Kagan’s work did not lend itself to mass-production. Kagan never signed on with any of the major furniture-making corporations, and examples of his designs are relatively rare. As you will see from the offerings on 1stDibs, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.

Sit back, relax and get all of the ergonomic support you could ever need by introducing an alluring antique or vintage chaise longue in your living room or by your outdoor fire pit.

The chaise longue is an upholstered piece of furniture that was made popular in France in the early 16th century. This low reclining seat — a “long chair” in English — boasts an elongated form and low back that extends about half the length of the furnishing, affording the welcome opportunity for a sitter to put their feet up and relax. A comfortable common ground between sofas and daybeds, early iterations of chaise longues were discovered in Ancient Egypt and were later frequently used in both Greece and Rome.

In the late 1700s, the first chaise longues were imported to America, and English speakers have struggled with the name ever since. (In the United States, the term is frequently spelled “chaise lounge.”) So, how do you pronounce chaise longue? It sounds like “shayz lawng,” but limiting it to shayz is perfectly acceptable in the States.

Antique Victorian chaise longues and 19th-century chaise longues bring luxury and perhaps extravagance to your living space while mid-century modern chaise longues, designed by the likes of Adrian Pearsall, Vladimir Kagan or Milo Baughman, can alter an interior with dazzling geometric contours and richly varied textures.

On 1stDibs, find many kinds of chaise longues for your home — from sculptural works by Charlotte Perriand to plush and velvety Louis XVI pieces to minimalist contemporary versions to suit your understated decor.