Specialist of decorative arts and design, Guillemette Delaporte was in charge of the twentieth-century department of the Paris Musée des Arts Décoratifs from 1987 to 1996. She organized under its aegis exhibitions on Charlotte Perriand in 1985, UAM (Union des Artistes Modernes) in 1988, VIA (Valorization of Innovation in Furnishing) in 1990, Italian furniture design in 1991, and design from the ‘60s and ‘70s in 1995. She published a book on style from 1930-1950 in collaboration with Yvonne Brunhammer, 1987, a dictionary of twentieth-century designers with Pierre Kjellberg, 1994, monographies on René Herbst, Flammarion, 2004 and Marcel Gascoin, Norma, 2010.
In the Sixties a new age is born. Arts from different fields, considered major or minor, converge. This is an arts synthesis, aim of the Modernist movement, as artists, architects, interior, graphic and fashion designers, photographers or musicians, create a new art of living.
Furniture is used as a communication symbol, as ever. It reveals a new society who, turning its back on the postwar period, has a frenzy for consuming, looking for new sensations, with an optimistic view of the future. All extravagances are allowed. Inflatable seats echo utopic architectural projects. New technology especially that of plastics and its large range of possibilities, opens a revolution in the art of living and in particular new ways to sit down. Breaking free from function, seats become sculpture. The word “design” appears, as a rupture from traditional furniture.
The Decorative Arts Museum in Paris plays a major role in this context, through its numerous exhibitions concerned by these new languages in architecture and design during this decade. There, in 1969, a design center is opened, the Centre de Création Industrielle (CCI) which integrates in 1973 the brand new modern art Museum : the Centre Georges Pompidou. The oil crisis is the end of the euphoric times, questioning the universal esthetic advocated by Modernism. A new international style is born, that of Post-modernism.