ABSTRACT
For more than twenty years, Vidal and Sévigny had assiduously worked to create a distinct look for Knoll International (KI) France, one that moved it away from the International Style toward new associations with luxury and pleasure. As this chapter will examine, they forged a relationship of equals between modern and historical furniture and interiors, an especially significant association for the French market, and brought new meaning to Knoll's modern furniture by presenting it in contexts that were highly desirable to French and in turn American consumers. As members of the beau monde themselves, Vidal and Sévigny were perfectly placed to craft a glamorous European image for Knoll. Reif's article also hinted that a greater sea change was under way on the business side of Knoll. The opening in French attitudes toward modern design in general may also stem from significant changes in the position of the world of haute couture toward mass production.
