Michel Mortier is one of the pioneers of post-war French design, a key figure of the new generation of creators who, in the 1950s, brought the decorative arts into the era of modernity and contemporary design.
Exceptionally precocious, he graduated from the École des Arts Appliqués à l’Industrie at the age of 19. He began his career at the Studium Louvre before leaving Paris for Brussels, where he joined the furniture department of Le Bon Marché. He later became part of the design office of decorator Marcel Gascoin, the “pope of mass-produced furniture,” an advocate for simple, modular, and accessible furnishings—far removed from the opulence of Art Deco.
Triennale Armless Chair SF103 (1954)
It was during this period that he designed his first pieces of furniture and lighting, including the “M” series produced by Disderot. Each model had its own distinct features: the M1 floor lamp was a tripod combining a lampshade with a woven tray; the M4 pendant offered three different lighting modes (direct, to illuminate the table; indirect, aimed at the ceiling; or reflected, for a soft glow)—highly innovative for the time; the M3 desk lamp, in lacquered metal, stood out for its curved brass tube, allowing it to be used either as a wall lamp or a table lamp.
Seeking independence, in 1954 he co-founded the ARP (Atelier de Recherche Plastique) with Joseph-André Motte and Pierre Guariche, whom he had met while working in Marcel Gascoin’s agency.
Their ambition: to offer French manufacturers and editors innovative, serially produced furniture and lighting. Working with the best technical workshops of the time — Steiner for chairs, Disderot for lighting, and Minvielle for furniture — they created streamlined, modular pieces that achieved significant commercial success.
From 1959 to 1964, Mortier ran his own agency, designing small-series furniture. Passionate about architecture, he then turned to interior design projects for restaurants and corporate headquarters. After being certified as an architect by the Regional Council of the Order in 1977, he went on to design beautiful private homes in France and Portugal.
In the 1970s, he designed furniture for public institutions and, in 1972, developed the MP 2 program, a series of beech and plywood chairs and armchairs that could be disassembled and stacked.
Alongside his design work, he took up graphic design and taught in most of France’s leading art and design schools, including Boulle, ENSAD and Camondo.
Until the end of his life, he devoted himself to another of his passions: painting.
Hexagone Armchair SF112 (1960)
Some of his landmark creations include:
The “Triennale” armless chair SF103 (1954) in chrome-plated steel tubing—a feat of balance, awarded a gold medal at the Milan Triennale
The “Hexagone” armchair SF112 (1960), available in beech or teak, reflecting his love of wood and offering ergonomic comfort with original proportions
The so-called “Teckel” sofa SF116, produced by Steiner (1963), highly sought after in the 1960s
Armless Chair SFC3001 (1977)
Gifted in drawing, Mortier developed a precise, rigorous, and refined style. His creations displayed great modularity and functionality, blending diverse influences: straight and orthogonal lines inherited from the De Stijl movement; curves and tubular steel inspired by the Bauhaus; and wooden structures and joinery reminiscent of Danish cabinetmaking craftsmanship. His lighting designs also reveal a keen interest in innovative materials, such as the Rotaflex process.
Photo credits: Morgane Le Gall, Galerie Pascal Cuisinier