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Sometimes, a piece of furniture comes along and changes everything around us. If a painting is meant to be looked at and fashion meant to be worn, furniture is meant to be lived in—slept in, worked in, sat in. It dictates how we interact with our surrounding spaces, how we go about our every day. Even during the most mundane moments: George Nelson’s collectsion for Herman Miller, for example, created the template for cubicles, now omnipresent in office buildings around America.
But what are these pieces that have not only entered our homes but our collectsive consciousness? Vogue asked interior designers and professionals to find out. Their answers ranged from the simple farm table to Gaetano Pesce’s Space Age–esque Up chair. Some of them are akin to priceless works of art: Take Yves Klein’s Table IKB. In 1961, Klein painted a canvas with International Klein Blue, a color he invented himself. (The work now sits in MoMA.) Two years later, after the artist’s death, his widow shepherded a coffee table filled with the same ultramarine pigment to market, based on the late artist’s prototype. Yet, unlike fine art, design is a medium where form almost always follows function: You can still set your coffee mug upon a Table IKB—although we’d recommend a coaster.
Below, a list of the most iconic furniture designs in history, as chosen by the experts.
Sideboard by Charles Dudouyt
Charles Dudouyt’s sideboard is iconic for its reverence for craftsmanship and hand-finished detail. Working in the 1920s–1940s, he paired refined Art Deco geometry with a sculptural use of solid oak and bold proportions. Each piece carries its own story—shaped by material, maker, and time—and feels inherently timeless, intended to be passed down through generations. —Sarah Solis, Sarah Solis Design Studio
B35 Chair by Marcel Breuer
Marcel Breuer’s B35 cantilevered chair for Thonet has always felt like a beautiful gesture of pure intention. In the woven version, the steel and rattan are the purest of materials—one industrial, one organic—yet humble and noble. Breuer understood that modernism wasn’t about austerity, but about claritys—removing weight so presence could emerge. As we’ve been developing our next restaurant Marcel, owned and operated in partnership with Sotheby’s and inside the Breuer building, we’ve felt this thinking everywhere: discipline, proportion, and a kind of moral elegance. What moves us about Breuer is his pursuit of purity, material and otherwise: how material can feel grounded yet buoyant, rigorous yet alive, as he would say, a heavy lightness. Breuer designed at every scale with the same conviction—it’s a passion and obsession we share—from objects to architecture. The chair holds you the way the building holds the city—lightly, confidently, without excess, and with total grace. —Robin Alesch, Founder of Roman and Williams
Lampampe by Ingo Maurer
Two simple, geometric shapes made of softly-textured Japanese paper, each unique to its owner as the paper settles and crunches into place. They get better with age as the paper yellows. Mine has a spray of coffee and a slight tear from when my dog curled up on it when it was waiting to be reassembled after a move, and I love it more for these marks of life. It is the perfect marriage between a statement and something that blends into the background as a textural jumble of geometry. I often see them peeking out of the corner of the room of designers and those working in the arts. —Simone Bodmer-Turner, Founder of Simone Bodmer-Turner Studio Inc
Uto' Dining Chairs by Axel Einar Hjorth
One of my favorites of all time. The design and manufacturing happened in the ’30s, pre mid-century, and I say that because these chairs are incredibly ahead of their time. They look like they were made in the ’50s and ’60s, but it all happened so much earlier. Axel Einar Hjorth made some of the most modern tasteful pieces—such a futurist. These chairs are so simple, in a great Nordic pine, no hardware, but play on proportion. The chair is made up of rounded straight lines as seen on the spindles which trick your eye a bit. —Alan Eckstein, Somerset House
E 1027 Table by Eileen Gray
Designed for her home, Villa E-1027, on the Côte d’Azur, this table is a perfect example of Eileen Gray’s utility-meets-glamour approach to design. In chrome and glass, it’s a study in machine-age beauty and minimal elegance. I love how it simply sits beside something old in a room and makes it feel new. —Dan Fink
How High the Moon Armchair by Shiro Kuramata
Kuramata’s chair is a paradox made real. One of the most iconic pieces in design history, it perfectly fuses concept and function. Crafted from industrial wire mesh, it elevates a humble material into something almost ethereal. It becomes art without ever losing its purpose. A true cross-cultural encounter, it makes the invisible visible. —Simona Flacco and Riccardo Crenna, Co-founders of Simple Flair
Ours Polaire Sofa by Jean Royère
This iconic French 1950's design has dictated and inspired so many contemporary furniture styles of today. —Wendy Labrum
Jean Royère’s Ours Polaire shifted the design conversation around comfort into something sculptural and instantly recognizable. You can spot an Ours Polaire from across a room and immediately understand the point of view. It’s produced in extremely limited numbers and coveted by serious collectsors (and plenty of celebrities), which is why it commands that hefty price tag. To me, it’s a cultural object of design history wrapped into one unforgettable silhouette. —Jason Saft, Staged To Sell Home
Decades after its debut, it remains defiantly modern, enduring as the ultimate icon of sculptural elegance and timeless design. —Tommy Zung, Studio Zung and Shop Zung
Royere’s work provides such a softness while simultaneously making a bold statement in the space. His pieces feel like a warm hug, yet also remind you of the great history of French design. His pioneering use of a sculptural aesthetic feels timeless to this day. —Jessie Schuster, Jessica Schuster Design
Armchair by Carlo Bugatti
Unapologetically ornate, wildly imaginative, and a wonderful reminder that furniture can be as theatrical as fashion. Carlo Bugatti was a visionary of the Art Nouveau era whose chairs read more like operatic costumes than utilitarian objects. His work synthesized influences from North Africa, Japan, the Middle East, and Europe into a single extravagant expression of design that feels both ancient and completely ahead of its time. It shouldn’t quite work, and yet it absolutely does. The classic Bugatti armchair’s sculptural silhouette, with its swooping curves, metal inlays, tassels, and richly worked wood and parchment, is a masterclass in how furniture can transcend mere seating to become a symbol of story and craftsmanship. It’s a chair that doesn’t just ask you to sit, it asks you to consider why we ever settled for anything less expressive. So many iconic designs, from the Eames Lounge to the Serpentine Sofa, celebrate minimalism or ergonomic ingenuity. Bugatti’s armchair revels in excess, eclecticism, and the intoxicating pleasure of the unexpected. It’s confident. It’s eccentric. It knows exactly what it is. That, to me, is iconic. —Colin King, Artistic Director of Beni
The Tulip Table by Eero Saarinen
One of those rare pieces that feels fresh no matter how many times you see it. It’s sculptural and modern but understated. By simplifying the table down to a single pedestal, Saarinen made it feel more open and inviting. A true testament to its timelessness is that my grandmother’s original Tulip dining table now lives in our DC office. It reminds me daily that iconic design is both beautiful and enduring. —Zoë Feldman, Zoë Feldman Design
Bentwood No. 14 Chairs by Thonet
These chairs tuck in anywhere and somehow make a room feel finished without trying too hard. They’re also one of those rare designs that’s truly global. Most famously, the quintessential café chair you see everywhere, from corner bistros to grand dining rooms. In the historic homes we work with, we’re always looking for pieces that complement the architecture instead of competing with it. These slip effortlessly between antiques and more modern pieces, which is why you can live with it for years and never get tired of it. —The Brownstone Boys
"Shogun" Table Lamp by Mario Botta
This lamp is such an iconic piece that it perfectly presents the graphic-postmodern era. Mario Botta himself was an iconic designer, and his interiors influenced generations of designers. I think this lamp has longevity through its sculptural form as well as flexible and adjustable condition. —Nina Freudenberger, Freudenberger Design Studio
Rio Chaise Lounge by Oscar Niemeyer
This piece is incredibly iconic because it was designed in 1978 and still looks cutting-edge today. Not identifiable to a specific era, it remains fresh and transcends time. —Clive Lonstein
What I appreciate about Oscar Niemeyer is that his background in modernist architecture gave him a new approach to furniture design. His use of high-quality materials and avant-garde techniques made his pieces iconic right from the beginning and led to objects that are the perfect marriage of sculpture and design. His Rio Lounge Chair is the perfect example, like living art. —Alberto Villalobos, A. Villalobos Design and New York Design Center Access to Design designer
Grand Confort Chair LC-3 by Le Corbusier
A masterclass in architectural claritys, the exposed frame expresses how the piece is built rather than concealing it. The tension between industrial precision and deep, generous cushions creates a compelling dialogue between discipline and comfort. Its modular proportions allow it to anchor both residential and hospitality settings with equal authority. The silhouette remains unmistakably modern, proving that true innovation transcends era. It represents a pivotal moment when furniture became an extension of architectural thinking. —Will Meyer, Co-Founder of Meyer Davis
The Pelican Chair by Finn Juhl
With its organic, almost anthropomorphic form, the Pelican Chair challenges traditional notions of symmetry and structure. It feels sculpted rather than assembled, embodying Danish modernism’s embrace of fluidity and humanism. The enveloping shape encourages a relaxed posture, making comfort integral to its visual identity. Its expressive silhouette adds personality to a space while maintaining a refined sensibility. It represents a shift toward furniture as art, where emotion and craftsmanship converge. —Gray Davis, Co-Founder of Meyer Davis
Tolomeo Lamp by Michele De Lucchi and Giancarlo Fassina
The Tolomeo lamp [by Michele De Lucchi and Giancarlo Fassina for] Artemide, in all its iterations. It’s a beautiful marriage of heft and levity; form and function. An industrial classic. —Sean Anderson
H-269 Lounge Chair by Jindřich Halabala
This is 1930s Czech modernism at its best with a sculptural expression that remains relevant today. Beautiful, versatile, and adaptable to a gorgeous tapestry, soft shearling, or bold print. —Michael Hofemann and Andrew Arrick, Finch Hudson
Table IKB by Yves Klein
This iconic cocktail table was done by Yves Klein, one of the most influential, prominent, and controversial French artists to emerge in the 1950s, also known as a forerunner of Minimal art as well as Pop art. Klein’s table is similar to his suspended pigment pieces, which were the genesis for this piece. The form of the table is very simple, very elegant, and meant really to disappear. The pigment is all. And since the pigment is loose, it does invite comparison to Klein’s belief in pure space: The eye penetrates what seems to be a limitless depth. Yves Klein is remembered above all for his use of a single color, the rich shade of ultramarine that he made his own: International Klein Blue. His table has become one of the most iconic and recognizable pieces of furniture transcending into art of the 20th and 21st centuries. —Gilles Clement, Gilles Clement Designs
Serpentine Sofa by Vladimir Kagan
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Vladimir Kagan is one of my favorite furniture designers from the 20th century. His mid-century modern pieces defined the curves of the era. In my own modern projects, curves tend to soften the sharp lines of the architecture, adding warmth and personality to the space. His stunning serpentine sofa is as relevant today as ever and still one of my favorite upholstery pieces.—Sara Cukerbaum, Principal Designer of SLIC Design
Wiggle Chair by Frank Gehry
The Wiggle Chair by Frank Gehry is hands down one of my favorite design pieces ever. It’s simple, sturdy, yet so playful in look, and I absolutely adore the experimental nature of using cardboard—it truly epitomizes design in perpetuity. It’s also a study on how to use more environmentally friendly materials. —Kelly Wearstler
New Lounge Chairs by George Nakashima
George Nakashima’s New lounge chair is an iconic example of American-Japanese design. Through the use of a free-form arm, which accentuates the wood’s natural characteristics, he reveals nature’s beauty. The form of the chairs and the hand-carved spindles are a reference to a traditional American design, the Windsor chair. —Robert Aibel, founder and codirector of Moderne Gallery
Up Armchair by Gaetano Pesce for B&B Italia
Innovative: all foam. Designed for delivery as a flat pack—open the box, and the chair grows out of a flat disc. So cool. —Robert Finger, Fogarty Finger
The Eames Lounge by Charles and Ray Eames for Herman Miller
The first time I saw Herman Miller’s historic Eames Lounge in person was when I was a young girl. At the time, I was too young to fully comprehend the timeless, transcendent heritage of this high-quality lounger, but my age did not prevent me from recognizing the Eames chair had strength in presence. I knew it was something beyond special.—Keita Turner, Keita Turner Design
Tables and Stools by Charlotte Perriand for Cassina
The use of humble materials to create elegant and iconic pieces of furniture is extremely hard to do. Charlotte Perriand was able to create beautiful, functional furniture with as little design as possible. I personally am very attracted to this approach to design, and Perriand’s work continues to speak to me and help shape what I do. This philosophy is particularly effective when designing large-scale hotel projects (like she did for Les Arcs) as it allows you to convey something interesting and elegant to guests without opulence. —Robert McKinley, Studio McKinley
Eros Side Table by Angelo Mangiarotti
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Angelo Mangiarotti’s Eros side tables are as good as it gets. You couldn’t invent anything more primitive—just two pieces of stone, held together by friction without any fasteners or attachments—but the way that the attachment is detailed makes a very basic idea into something whimsical, even sensual. —Nicholas G. Potts
Akari Lanterns by Isamu Noguchi
Noguchi’s lanterns are potentially my favorite items to use in almost every project. Made with traditional Japanese craft techniques, the lanterns are made of a wire structure and a rice-paper envelope, which gives them a beautiful glow of light. Though they have been used so many times, they still manage to keep their iconicity. Perhaps it’s their modesty, low price, uniformity, and simplicity that makes it easy for a designer to integrate them into almost every project. —Noam Dvir and Daniel Rauchwerger, BoND
Klismos Chair by T.H. Robsjohn Gibbingss for Saridis
The klismos chair is undoubtedly one of the design world’s most iconic pieces, having been reintroduced into interiors repeatedly for over a thousand years, starting with its great ancient Greek beginnings. It was first seen in fifth-century B.C. depictions of the furniture on vases and bas reliefs and later in similar views on Roman pottery and etchings. The chair fell out of fashion for hundreds of years; however, during the second neoclassical revival, it returned with great aplomb, dressing the drawing rooms and salons of all fashionable society from the 1780s till the late 1830s. At the turn of the 20th century, the Villa Kerylos in the South of France led the fashion again for Grecian-inspired interiors, and the klismos hit the scene once again.
My personal favorite revival, however, was the one directed in 1960 by T.H. Robsjohn Gibbingss, who met a Greek cabinet-making couple, the Saridis. Together they created the Klismos line of furniture, with special care taken to the reproduction of the klismos chair created in many wood finishes and metals. These pieces are now icons of the midcentury movement, wildly collectsible and highly prized. Very few designs have lasted in the ever evolving tastes of interior fashion. However, the klismos has been, and undoubtedly will continue to be, a beacon of style and good taste. —Martyn Lawrence Bullard
Grand Repos Armchair by Guillerme et Chambron
These chairs are everywhere these days—and for good reason. We purchased one for a client, and I fell in love and decided to get one for myself as well. I think these chairs are iconic in that they combine natural materials and classic techniques with a beautiful sense of formality. I can see the influence of Guillerme et Chambron in so many designers working today. This chair is classic enough for the most traditional of spaces but weird enough for adventurous design lovers. —GD
Longitude Chaise by Maya Lin for Knoll
This is the perfect decompression sanctuary in the form of an elevated chaise. The classic form combined on the platform base gives the illusion and feel of levitating off the ground. I absolutely love this vintage style for its simplicity, sleek lines, comfort, and illusion of floating. —Celeste and Satu Greenberg, Tuleste Factory
Office Furniture by George Nelson for Herman Miller
This is the transition moment from old-fashioned, freestanding office furniture to the panel workstations loathed for decades. Modern, updated functional furniture focused on ergonomics and integrated equipment (files in the desktop, phone in the side). Each piece serves a function and can be clustered based on task. Then the panels are thrown in to help with acoustics. All meant to be reconfigurable and flexible. —R.F.
Atollo Table Lamp by Vico Magistretti
The Atollo table lamp designed by Vico Magistretti in 1977 is a modern Italian masterpiece that endures the test of time. Its clean geometric form and seemingly floating cap strike the perfect proportions. I love the ambient mood of the direct and indirect lighting. —Erick Garcia, Maison Trouvaille
Club 1910 Chair by Josef Hoffman
I love Josef Hoffmann’s upholstered furniture (which doesn’t get nearly as much attention as it should). Particularly the Club 1910 chair. They were completely ahead of their time in 1910, and the extremely deep tufted leather still looks fresh a hundred years later, almost like a more tailored ancestor of the Mario Bellini sofas that are everywhere right now. —NGP
Barcelona Chair by Ludwig Mies van der Rohe
The Mies van der Rohe Barcelona chair immediately comes to mind. Its streamlined form and durable materials are incredibly versatile and easily work with so many styles, from traditional formal antiques to contemporary furniture designs. The chair also ages beautifully over time and acquires a great patina on its leather. —Heide Hendricks, Hendricks Churchill
Louis XV Daybed
I absolutely love a Louis XV daybed. I have put them in dressing rooms, bedrooms, and even living rooms for extra seating or as an extra bed. If I come upon one or hear of one coming on the market, I never miss a chance to snatch it up. —Kathryn M. Ireland
Peacock Chair
Originating in the Philippines and traditionally made from fast-growing rattan vines, this thronelike chair has since the early 19th century been a favorite of portrait photographers. In the 1960s especially, the chair was a popular destination for the tushies of celebrities of every stripe, from Al Green and Dolly Parton to John Kennedy. Perhaps the most famous image of the peacock chair is the iconic poster of Black Panther cofounder Huey Newton, holding his rifle and spear. I love the peacock chair because it is made from humble natural materials but at the same time bestows a regal appearance to any queen or king who sits in it. —Justina Blakeney, Jungalow
The Farm Table
The simple farm table is a humble essential and yet has such powerful and timeless grace. Its organic materiality stands the test of time and is still of significance today, just as it was hundreds of years ago...but for somewhat different reasons, given the climate crisis. Also I love that the farm table is meant to show its wear, its patina and unique character alluding to all the meals shared and stories told on its surface across time and space. —Whitney Frances Falk, founder and CEO of ZZ Driggs
Torchere Without Leaves by Claude Lalanne
Claude Lalanne was a French sculptor who forged one of the most prolific partnerships of her generation with her husband, Francois Xavier, and became known as Les Lalanne. Torchere Without Leaves belongs to a limited edition of eight and is rooted in the language of nature as a response to modernism. This piece illustrates the unparalleled craftsmanship of Claude Lalanne and also exemplifies how Lalanne’s work sought to challenge the boundaries between art and design, capturing the attention of fashion designers such as Givenchy, Yves Saint Laurent, and Chanel. —Jennifer Roberts, CEO of Design Miami/
Superleggera Chair by Gio Ponti
Designed in 1957, at the peak of Gio Ponti’s career, the Superleggera chair was marketed as a chair so light even a child could pick it up with one finger. Ever since, it has been reproduced by Cassina, which still fabricates it today. This is a chair that encapsulates an essence of elegant Italian modernism; it’s immediately recognizable and can fit in well in both a minimalist and a more saturated design context. —N.D. and D.R.
Africa Dining Chair by Afra and Tobia Scarpa for B&B Italia
These chairs were designed for B&B Italia’s Maxalto series, which had a focus on pushing the boundaries of wood craftsmanship, and they certainly succeeded. Every time I see these chairs at auction or in person, they look practically new, which shows the level of ingenuity that went into crafting them. They are very comfortable, and the palisander wood with ebony inlay makes them striking—truly a set to design a room around. Not many were produced, but you can see the impact of this design in many of the chunky, more simplified styles of dining chairs and barstools designed today. —WM
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