Black S Chair by Verner Panton for Herman Miller/Fehlbaum, Germany, 1973

Want to Learn More About Verner Panton?

Verner Panton is often thought to be one of the most influential Danish designers of the 20th century. He contributed to the Pop Art movement in the 1960s with sleek styles representing the oft-cited “Space Age” feel of the decade. Born in 1926, and initially working as an artist in Odense, Panton studied architecture at the Royal Danish Academy of Art before graduating in 1951. He then worked under Verner Panton , a fellow Danish architect and furniture designer. He was greatly influenced by Jacobsen, assisting him with various designs, including the famous Ant Chair. Soon after, Verner Panton started his own design company and became known for his bold and boundary-pushing ideas such as a collapsible house in 1955 and the Cardboard House and the Plastic House in 1960.

The notoriety of Verner Panton

In the 1950s, Verner Panton thought about making a stackable cantilevered plastic chair that was one complete piece, which led to the invention of the Panton S Chair, one of his most iconic and mass-produced designs. Another celebrated Panton creation was the Cone Chair in 1959, which caused a minor scandal and cemented his place as a visionary, exciting designer. These Dining Chairs , padded cone-shaped metal shells placed point-down on cross-shaped metal bases, the Cone began as a design for his parents’ new restaurant. A Danish businessman spotted it at the opening and offered to put it into production for Panton. When it was photographed in a Danish design magazine two years later, Panton draped naked with shop mannequins and models on the chairs. Needless to say this attracted a lot of publicity. After this, in the late 1960s and early 70s, he started designing “total environments”, including the Astoria Hotel at Trondheim in Norway, covering the walls and floors in the same pattern. He’s also known for his work for Der Spiegel, a German magazine based in Hamburg.

The return of Verner Panton

In 1995, British Vogue featured a naked Kate Moss on a Panton Chair, pushing his designs back to centre-stage after a brief time away from the spotlight. His 1960s pieces were put back into production and he was invited to design an exhibition at Trapholdtmuseum in Kolding, Denmark. The exhibition opened on 17 September 1998, but Verner Panton had died in Copenhagen 12 days earlier.

Herman Miller came into being in 1923 when a company man by the name of D. J. De Pree (1891-1990) bought the majority shares of the Michigan Star Furniture Company, with the help of his father-in-law, for whom he named the new venture. Like other furniture manufacturers in West Michigan at the time, De Pree focused on the production of replicas of ornate, 18^th- and 19^th-century European wood furnishings, until a bankruptcy scare brought on by the Great Depression drove him to seek a new direction. In 1931, De Pree brought in commercial artist Gilbert Rohde, who convinced De Pree that honest, functional designs characterized by clean, simple lines were the way forward—and thus set the course for Herman Miller’s influence on what would become known as the midcentury modern style. Two years later, the first Rohde-designed collection debuted at the Century of Progress Exposition in Chicago.

After Rohde passed away in 1944, De Pree hired architect-designer George Nelson as the company’s first official design director. By crafting a new, compelling corporate identity and collaborating with some of the most visionary designers of the day—Charles and Ray Eames, Isamu Noguchi, and Alexander Girard —Nelson earned the company international acclaim. Under his leadership, Herman Miller created some of the 20^th century’s most iconic objects, such as the Eameses’ DCM “Potato Chip” Chair (1945/46), Molded Fiberglass Chair (1950), and Eames Lounge Chair (1956); Noguchi’s Noguchi Table (1948); and Nelson’s own Bubble Lamps (1955) and Marshmallow Sofa (1965), to name a few. Notably, the Action Office Project I series by Robert Propst (1964) paved the way for adjustable and semi-enclosed work environments (a.k.a. cubicles) at a time when modernist design was increasingly adopted as the style for American corporate interiors. More recent office bestsellers include Bill Stumpf and Don Chadwick’s ubiquitous Aeron Chair (1994) and Studio 7.5’s high-tech, environmentally friendly Mirra Chair (2003).

Today Herman Miller and German manufacturer Vitra share many of the same licenses for midcentury modern masterpieces, the former sold in North America and the later in Europe. Much debate surrounds whether one produces better products than the other. The rivalry between the two companies notwithstanding, Herman Miller pieces have been extensively exhibited and acquisitioned into the permanent collections of institutions such as New York’s Museum of Modern Art, London’s Victoria & Albert Museum, and even Weil am Rhein’s Vitra Design Museum—and many, many more.

* All images courtesy of Herman Miller.