How does a simple chair become a prized auction item? What mysterious chemistry transforms plywood and leather into a design phenomenon? And how can a keen collector even start to spot tomorrow’s icons today?
When Furniture Becomes Art
In the rarefied world of art collecting, information about investment pieces is readily available. When it comes to furniture design, not so much. Most of us are familiar with rock-star pieces such as Hans J. Wegner’s Shell Chair (1963), Ludwig Mies van der Rohe’s Barcelona Chair (1929), or the iconic Eames Lounger Chair and Ottoman (1965) – an original set can fetch up to $10 000 on auction.
Locally, designer Gregor Jenkin’s showstopping steel dining tables are highly coveted and generally resell for more than they were originally bought for.
According to Susie Goodman, Executive Director at Strauss & Co Auctioneers, certain furniture and design objects have, in recent years, become a global phenomenon and a key growth point, particularly when there has been softness in aspects of the art market. “In South Africa, our design department is two years old and design between furniture, glass, and silver has become such a collectable within the art ecosystem ,” she says.
What Makes a Design Collectable?
A furniture piece’s journey from functional object to auction-house star is never accidental. There appears to be a foolproof formula for identifying design items that are – or will become – collectables: they are most often than not the product of aesthetic innovation, cultural resonance, scarcity and, always, a compelling story.
Take that Eames lounger, designed in 1956 by Charles and Ray Eames and produced by Herman Miller. What transformed this chair from cutting-edge chair design into an icon was not merely its materials (moulded plywood and fine leather), but also its revolutionary blend of comfort and modernism.
With post-war design heralded as innovative and optimistic, it was inevitable that the mid-century era would yield many icons. Jill van Dugteren, Design and Decorative Arts Co-ordinator at Strauss & Co, notes that the craftsmanship, honesty, and intelligent design of the Danish aesthetic have contributed to the enduring value of that country’s iconic mid-century furniture.
South Africa’s Design Icons
Similarly, South African designers such as Haldane Martin, James Mudge, and Tonic create furniture with “cultural visibility”. Their designs are highly photogenic and achieve celebrity status by being instantly recognisable. “What builds value is craftsmanship, authenticity and scarcity of the real thing ,” Jill adds.
Nicky Myburgh, Cape furniture specialist at Strauss & Co, emphasises the importance of identification in confirming a piece’s value. Mass-produced items, she explains, lose their value. What renders an object collectable is a clear mark of origin that allows for traceability, exceptional craftsmanship, the use of high-quality materials, and a story that explains the context of the design.
For these reasons, the prices of Cape Furniture, for example, soared in 2013.
Items at the top of Nicky’s list of local collectables include a Cape armoire with silver escutcheons, as well as designs by South African studios er, Haldane Martin, and Gregor Jenkin.
The New Generation of Design Collectors
Fittingly, Cape Town now plays host to the fourth edition of Cape Town Furniture Week (18–21 February), a four-day celebration of contemporary design featuring open showrooms, exhibitions, talks, and behind-the-scenes factory tours. The event is designed to inspire both industry professionals and the broader public.
Bilala Mabuza, founder of Cocoon Lifestyle Studio and Chief Curator of Women in Design Africa says when it comes to design icons, she looks for pieces that speak of process, provenance, and honesty.
“You can feel when a designer or maker has put their heart and soul into a structure or piece. Designs that reflect their environment, reference the genius of their origin, or evolve cultural touchstones are the ones that often endure. If a piece can hold emotional weight and story, it’s already halfway to being a true collectable.”
“I gravitate towards designers and makers who can create a dialogue between who they are, where they come from, and their craft lineage in their designs,” she adds,
A designer’s guide to South African Collectables
Bilala lists these African designers at the top of her collectable list:
• Cheick Diallo, architect and furniture designer from Bamako, Mali. His impeccable furniture and objects challenge common perceptions of African Design with their modern sensibility and solid craftsmanship.
• Zizipho Poswa, whose large-scale ceramic and bronze sculptures are a bold interpretation and representation of African womanhood and her matrilineal heritage.
• Thabisa Mjo of Mash. T Design, whose work consistently incorporates heritage and craft legacy; her Tutu Light forms part of major global collections, including the Louvre.
• Ananta Design Studio, founded by Viveka and Rucita Sassen, whose lighting designs merge Indian ancestry with South African lived experience in a celebration of global craft culture.
Cape Town Furniture Week – a citywide event with multiple venues – takes place from 18–21 February at Church House.
