Pierre Paulin’s revolutionary impact on furniture design remains a profound inspiration. Known for his sculptural, organic forms that blur the boundaries between art and function, Paulin’s designs—such as the Dune Ensemble and Mushroom Chair—continue to be icons of the modern era. However, what makes Paulin’s legacy even more fascinating is the ongoing work of his family. Through the studio Paulin, Paulin, Paulin, his wife Maia, son Benjamin, and daughter-in-law Alice not only preserve but actively reintroduce Pierre’s groundbreaking work to contemporary audiences, ensuring that his vision continues to inspire generations to come.
In addition to recreating celebrated Paulin pieces, Paulin, Paulin, Paulin also revisits archived prototypes and not-yet-produced designs bringing them to life in today’s context. Through this focus on family values, careful curation, and an unwavering commitment to preserve Pierre Paulin’s legacy, Paulin, Paulin, Paulin ensures that his designs remain not just relevant but transformative. This philosophy is set to be symbolised with the opening of a museum and storage facility in the mountains of southern France.
Table Ovale, Pierre Paulin, circa 1990
Benjamin Paulin
Table Ovale, Pierre Paulin, circa 1990
| Zachari Gotmy | In what ways do you think Pierre Paulin’s work has helped to elevate French design on the global stage and establish France as a prominent force in the design world? |
| Alice and Benjamin Paulin | Pierre Paulin’s discovery and use of stretchy fabrics in the late 1950s marked a revolutionary turning point in the world of design. Iconic early creations—such as the Mushroom, Groovy, Ribbon, and Tongue Chairs—introduced a strikingly organic approach, freeing furniture from the rigid constraints of traditional technical details. These groundbreaking designs reflected his background as a sculptor, a discipline that deeply shaped his philosophy; every angle of a piece had to be flawless, without compromise. Inspired by the technical fabrics used in the swimsuit industry, my father was captivated by how these materials perfectly enveloped the contours of the human body. Seeking to replicate this effect, he combined tubular structures influenced by Bauhaus principles to create a lightweight yet strong skeleton. He then incorporated Pirelli foam, borrowed from automotive design for its comfort. Finally, the entire structure was upholstered with knitted fabric—much like pulling a seamless sock over its form. This process resulted in the first truly functional, sculptural furniture pieces, setting a new standard and paving the way for subsequent designers: from Olivier Mourgue to Verner Panton. This innovative vision was deeply rooted in his family heritage. He was profoundly influenced by his two uncles: Freddy Balthazar Stoll, a Swiss-German sculptor, and Georges Paulin, a self-taught car design genius who invented the retractable roof and created some of the most iconic models for Rolls Royce and Bentley before his execution by the Nazis during World War II. Both were personal heroes of my father. |
| ZG | Could you tell me more about how you catalogue and preserve Pierre Paulin’s extensive archive and how this process influences the development of new projects? |
| A&BP | Our ambition is to expand the understanding of Pierre Paulin’s career. While he is widely recognised for the organic shapes we previously mentioned, we have chosen to focus on some of the lesser celebrated periods of his work. Our primary focus lies in rediscovering rejected pieces—prototypes I grew up with, which were originally dismissed by manufacturers as unsuitable for mass production. These pieces embody unfulfilled potential and today we are reviving some of them, bringing ideas from sixty years ago into the contemporary design landscape. We also strive to highlight lesser-known aspects of Pierre Paulin’s oeuvre, such as his limited-edition creations from the 1980s. For example, he was among the first designers to adopt the concept of limited editions, as seen with the Table Cathédrale in 1981. By reintroducing these works, we aim to ensure that his legacy remains dynamic, multifaceted, and continually relevant. |
| ZG | What specific qualities or details define a ‘Paulin’ piece? How do you ensure these qualities are retained when creating new pieces? |
| A&BP | A Pierre Paulin creation is defined by its welcoming and approachable nature. Each piece invites interaction, offering both an aesthetic appeal and comfort. His work balances functionality and simplicity, embodying timeless design principles. What sets Pierre Paulin’s designs apart is their lack of unnecessary embellishment. His pieces are composed of essential elements—backrests, seats, legs, and armrests. There are no purely decorative features; every aspect of their design serves a structural purpose. For Paulin, the decorative aspect of an object was always part of its structure. His designs reflect an ‘aesthetic of function’ in which beauty arises naturally from utility. |
| ZG | How involved are you in the production or curatorial process of global design exhibitions showcasing Paulin’s work? |
| A&BP | We are deeply involved in both curation and production. It’s our core mission to re-contextualise my father’s creations and connect them with today’s world while staying as faithful as possible to his vision. Through these exhibitions, we ensure that his designs remain relevant and continue to inspire across generations. |
| ZG | How does the family-owned nature of the business influence its decision-making and creative direction? |
| A&BP | As a small, family-run business, we are guided more by dreams and emotions than by financial imperatives. Fortunately, there is still a demand for Pierre Paulin’s pieces, allowing us to produce select works each year. This, in turn, supports our ability to publish books and organise exhibitions. Our independence enables us to remain true to our values and focus on preserving and celebrating Pierre Paulin’s legacy. |
| ZG | What do you see as the most distinctive aspect of Pierre Paulin’s design philosophy, and how does Paulin, Paulin, Paulin work to maintain this philosophy in new projects? |
| A&BP | Pierre Paulin was both a meticulous technician and a visionary dreamer. His designs were rooted in rigorous technical research yet imbued with a sense of utopia. Many of the pieces we are bringing to life today were once unfulfilled dreams—concepts that couldn’t be realised during his time. The way in which we are managing our project reflects this same utopian spirit, striving to bring his visionary ideas into the present. |
| ZG | How does Paulin, Paulin, Paulin engage new audiences and design communities with Pierre Paulin’s legacy? |
| A&BP | We’ve been fortunate to have cultural figures such as musicians and actors connect with our pieces. Their enthusiasm often introduces Pierre Paulin’s work to younger audiences in unexpected ways. It’s remarkable how the energy and vision of his designs resonate with today’s youth, almost as if his creations carry the vitality of his own youth from when he first conceived them. |
| ZG | What lessons can contemporary designers learn from Pierre Paulin’s approach to blending functionality with artistic expression in furniture design? |
| A&BP | The challenges faced by today’s designers differ greatly from those of my father’s time. While many now prioritise artistic expression over functionality, it’s important to remember that Pierre Paulin believed design should serve. He famously likened designers to dogs, serving a function, while artists were like wolves, beholden to no rules. He often questioned why someone would pretend to be a wolf when their role was to serve. |
| ZG | What lies ahead for Paulin Paulin Paulin? Are there any upcoming plans or projects that particularly excite you? |
| A&BP | We’re in the process of building a museum and storage facility dedicated to Pierre Paulin’s work in the mountains of southern France. Scheduled to open in two years, it will showcase over 350 significant works alongside his archives. This space will provide a comprehensive view of his contributions to design while offering an intimate connection to his legacy. Early next year, we plan to completely transform our home into a recording studio. We’re excited to invite our friends to experience the new space and discover the creations that will come out of it. |
Mitterrand Desk, Pierre Paulin, 1983
Elysée Desk, Pierre Paulin, Designed circa 1972, developed in 2024
Rosace table foot, Pierre Paulin, 1972
Elysée Table foot, Pierre Paulin, 1972