Jean Prouvé was a self-taught architect and designer from France; he was admired for his metalworking, which later inspired the Structural Expressionist movement. Throughout his career, Prouvé explored integrating the application of innovative manufacturing technology into his design practice.

In 1930, he helped to establish the Union of Modern Artists; "We like logic, balance, and purity." This was evident in processes and materials that dominated the execution of designs. However, Prouvé upheld that his work was not connected to a definite aesthetic.

Prouvé was also a member of the French Resistance; in the period after World War II there was an amplified interest in utilising pioneering techniques and materials for the mass assembly of furniture. This heightened the commonality of materials: plywood, aluminium, and steel, which became greatly popularised.

Prouvé challenged modes of construction and conformist materials. His architecture journey accomplished maximum frugality, promising to reach the requirements of the largest possible number of people.

In addition, Charlotte Perriand and Pierre Jeanneret were Prouvé's trusted collaborators who created various furniture designs. Their work preferences the public sector, creating prestigious commissions for the budding health, education, and administration boroughs. Throughout the late thirties, they contributed to producing a portfolio of models for hospitals, schools, and offices.

Perriand collaborated with designers who shared similar values early on in her career, she acclaimed intense recognition, alongside her imaginative design of the chaise longue.

Her revolutionary designs shaped the 20th century, and Perriand’s modern ideas can be unearthed in the way we live today, from the choice of materials to her conclusion that good design is for everyone. Charlotte Perriand lived as a resilient, independent woman, a pioneer whose work contributed to assisting the definition of modern interiors. In the late 1920s, she began presenting the machine-age aesthetic using steel, aluminium, and glass to create furniture at Le Corbusier’s architectural studio into the late 1930s.

The work of Perriand transformed who could access furniture, the core of her attitude expressed a fresh understanding of furniture by eradicating all elements that seemed unessential. In her career, she created numerous inventions with Le Corbusier and Pierre Jeanneret, which are considered as crucial historical signifiers; such as the formation of Méribel chairs during the 1950s.

Charlotte Perriand said that ‘dwellings should be designed not only to satisfy material specifications; they should also create conditions that foster harmonious balance and spiritual freedom in people’s lives.’

Although she had subscribed to Le Corbusier’s philosophy about domestic space, completely assimilating individual components with a whole whilst evolving concepts for prefabrication and the elastic usage of space. She deployed industrialised materials and technology, as well as implementing credible strategies with conventional processes. Perriand reformed the appearance of 20th-century interior design and her legacy is recognised in collections exclusively across the world.

Her work often comprised of tubular steel frames and the use of chromed aluminium and glass, which originally caught the attention of the architect, Le Corbusier, who hired her as the head of his studio's interior design team. Her designs were visualisations of his architectural theory, as he stated, 'A chair is a machine for relaxing'.

Perriand was an advocate for gifted female designers; “The only advice I would give would be to stay within the reality of things, that is, the execution, the concrete, and then, she would have to make herself known, produce little things, show them, etc.” Her unwavering political stance, alongside evident advocacy for gifting the world with, at the time, uncommon combinations of furniture intended for necessity.

Perriand was sympathetic to the distress experienced in the world, she understood that design could compose a spirited role in ascertaining results that met communities as equals. The idea that the objects we surround ourselves with and the surroundings we occupy affect our state of mind. She turned her beliefs into action by generating objects informed by functionality and rationality to stimulate a better world.