Discover the making of the Hexa 67 table. An iconic piece by Joseph-André Motte, reissued by La Chance in collaboration with the Mobilier national.
ASSOCIATED PRODUCT
Follow the production steps of the Salute side tables in marble and steel.
ASSOCIATED PRODUCT
Post-War French Modernity
Born in 1925, Joseph-André Motte belonged to the generation that firmly established French modernity in the post-war era. Trained at the École des Arts Appliqués in Paris, he championed a simple principle early on: a clear design, a constant attention to materials, and a modernity achieved as much through construction as through form.
In the France of the Trente Glorieuses (the thirty years of post-war economic boom), the State built quickly and on a large scale, and design became a tool to make this modernity visible and cohesive. New administrations, new prefectures, transport networks, cultural facilities: it was a period of conquest where modernity had to be visible, cohesive, and enduring—right down to the furniture
From Major Public Projects to the Daily Lives of the French
Joseph-André Motte‘s career unfolded across two complementary fields. On one hand, he participated in the State’s most prestigious projects: the interior design of the Orly airport terminal in the late 1950s, the Maison de la Radio in 1962, and the interior design direction for the Roissy-Charles-de-Gaulle airport terminal starting in 1969.
On the other hand, he transformed the daily lives of the French through his work for the Paris Metro. Rolled out between 1973 and 1983, the famous “Motte Style” combined beveled white tiles, lighting fixtures, and the iconic brightly colored shell seats to humanize and bring rhythm to the journeys of millions of travelers.
The Birth of an Institutional Table
It was within this context of major State commissions that, in 1967, the Mobilier National entrusted Joseph-André Motte with the design of a set of institutional furniture. The objective was clear: to create a sober, demanding modernity designed to endure over the long term of institutions.
From this commission was born a hexagonal table of rare formal rigor, inventoried under the name GMC 26. As early as 1968, this furniture set was installed in the offices of the Prefect of Val-d’Oise, in Cergy-Pontoise. This manifesto building, designed by architect Henry Bernard in the shape of an “inverted pyramid,” housed Motte’s table in the Prefect’s private office. For nearly sixty years, this table has circulated among the palaces of the Republic and is currently located in the private apartments of the Presidency of the National Assembly at the Hôtel de Lassay.
ASSOCIATED PRODUCT
La Chance settles into its new gallery on rue de Richelieu. From January 15 to March 1, the house presents a curated selction of new works – furniture, objects, and lighting – alongside a dsiplay of artworks developed in collaboration with Galerie Ketabi Bourdet, conceived as a natural dialogue
with the pieces on view. The exhibition also marks the unveiling of limited-edition works producedin the Parisian workshop integrated within the gallery.
Photo credit: Francis Amiand
La Chance continues its collaboration with
French designer Anthony Guerrée
The January presentation highlights the ongoing dialogue between La Chance and Anthony Guerrée, through pieces in which form remains legible while material carries the core of the narrative.
With Eclipse in its round version, the table asserts an almost ceremonial presence: an “offering table” resting on a wide, stable, deliberately massive base that echoes the architectural spirit of
the line. The black-and-white cerused wood finish, inspired by certain Art Deco references, introduces a subtle graphic contrast—at a distance, rigor; up close, a surface treatment that catches the light
and reveals the hand.
Marfa is revealed in a new version, featuring a double-fused
Murano glass top that evokes an “icy” materiality, seemingly frozen in transparency. Its deliberate irregularities become an optical quality—a living relief, far removed from industrial neutrality. The aluminum base, with its raw, cast-like character, anchors the piece in a direct sense of nobility. Here, upcycling is not a label but an aesthetic: a way of elevating transformation into a language.
La Chance welcomes a new Copenhagen-based studio
The gallery also presents the Para stools by Christian+Jade,
a Copenhagen-based studio. Their work employs a deliberately elementary vocabulary, constructed through the intersection of simple forms. Nothing is demonstrative; everything lies in the precision of proportions and the quality of execution. Spalted maple, leather seating, available in two natural tones—this radical simplicity allows no compromise, which is precisely what makes it desirable.
New works and pieces by the founders of La Chance
This January presentation is also an opportunity to discover several pieces authored by the founders themselves, where the object flirts with sculpture without ever losing its function.
With Rift, Louise Breguet introduces a volumetric mirror conceived as a limited-edition sculptural piece. Metal engages in dialogue with passementerie in a three-dimensional composition: reflection is no longer a surface, but a presence—an object that occupies space as much as it opens it.
The Iris lamp, designed by Jean-Baptiste Souletie, is presented for the first time in several versions. It is an ode to metal and its facets edges, reflections, tensions—like a piece of jewelry scaled for domestic space. Shown in chromed metal (triple version) and brushed brass, the lamp offers two interpretations of the same principle: a structured, precise light, never decorative in the superficial sense.
The Tower vase collection explores an almost physical relationship between transparency and opacity. Crystal disrupts perception, marble abruptly halts it: the ensemble plays with distortion, as if viewing a mineral depth through a shifting wave.
La Chance has inaugurated its new space in the heart of Paris, at 60 rue de Richelieu, Paris 2e arr.
Located between Palais Royal, the Richelieu Library, and Place des Victoires, the new address sits at the crossroads of Paris’s most vibrant cultural and creative district. Surrounded by design galleries, fashion houses, textile editors, flagship stores, and renowned restaurants, the neighborhood embodies a lively balance of tradition and innovation—an atmosphere that mirrors La Chance’s spirit.
Photo credit: Francis Amiand
Ground floor: Material Immersion
From the street, the gallery immediately draws visitors in with a nine-meter illuminated wall casting a soft glow across sculptural volumes clad in graphic wood veneers—somewhere between a tribute to Ettore Sottsass and the rigor of Jean-Michel Frank.
Handcrafted niches and irregular details punctuate the space, while a brutalist staircase in textured concrete creates a striking contrast and leads to the upper level.
First Floor: A Parisian Setting
Upstairs, the mood shifts. The space evokes the atmosphere of a Parisian apartment with Haussmann-style moldings, high ceilings, and abundant natural light. Walls finished with marble powder paint bring subtle texture, while stainless-steel accents highlight architectural details with a contemporary edge.
The flooring, a beige bouclé carpet, recalls the luxurious warmth of 1970s interiors. The meeting room embraces sharper contrasts: lacquered brown walls, pale blue carpet, and custom furniture designed to hold an extensive material library.
The offices are furnished with Mouvement™ pieces—the “contract” brand founded by La Chance’s creators and now featured in some of the most design-forward executive offices. The aesthetic is understated and ergonomic, with muted fabrics and tonal woods, forming a workspace both functional and conducive to collaboration and bespoke design.
The Courtyard Workshop
In the quiet of the inner courtyard, a dedicated workshop hosts the brand’s research and experimentation: material testing, moodboard composition, and development of tailored projects. This space reinforces the vital link between creation, production, and professional exchange.
A Venue Open to Other Forms of Creation
The La Chance gallery will regularly host contemporary artists presenting works in a variety of media beyond furniture. For its opening, an exhibition in collaboration with Galerie Kétabi-Bourdet will feature a selection of pieces from their program. Historic or vintage works will also occasionally enter into dialogue with the brand’s contemporary creations.
Designed with 1,940 sq. ft. (180 m²), the new space directly addresses the needs of architects, interior designers, and professional partners. It allows visitors to discover existing collections, explore specific project needs, and co-create bespoke pieces with La Chance’s designers.
In 2023, cocorico paris, founded by Mathieu Girard & Gauthier Pouillart, imagined the pro-working space, Wellio Paris Miromesnil.
Monument shelving system and Planet chairs, take place in this space with a cozy atmosphere.
Photo credit : Gilles Trillard
FEATURED PIECES
MONUMENT
shelving system
PLANET
chair
In 2022, Behan&Thurm designed a private residence in Vienna, Austria.
Block armchair and Sunday table are highlighted, in this historical castle.
Photo credit : Zoe Opratko
FEATURED PIECES
BLOCK
armchair
SUNDAY
table
Presented in collaboration with the Christophe Dupouy Gallery for the first time at PAD PARIS, the Borghese sofa by Noé Duchaufour-Lawrance is now available in a special edition. It is covered in 6-carat white gold leaf, patinated, and upholstered in Dedar fabric, Romeo and Giulietta silk velvet. Limited to only 8 pieces.
PAD PARIS from March 29th to April 2nd, 2023, Stand 36.
Credit Photo : La Chance
Photographs taken at Atelier De Ricou during the gold leaf application and in the upholstery workshop in the heart of Paris during the production of the special edition Borghese sofa.
BORGHESE, Noé Duchaufour-Lawrence, steel covered with white gold leaf 6 carrats patina. Dedar fabric, silk velvet, Romeo and Giulietta.
BORGHESE, Noé Duchaufour-Lawrence, steel covered with white gold leaf 6 carrats patina. Dedar fabric, silk velvet, Romeo and Giulietta.
BORGHESE, Noé Duchaufour-Lawrence, steel covered with white gold leaf 6 carrats patina. Dedar fabric, silk velvet, Romeo and Giulietta.
BORGHESE, Noé Duchaufour-Lawrence, steel covered with white gold leaf 6 carrats patina. Dedar fabric, silk velvet, Romeo and Giulietta.
BORGHESE, Noé Duchaufour-Lawrence, steel covered with white gold leaf 6 carrats patina. Dedar fabric, silk velvet, Romeo and Giulietta.
SNOW, sofa, Note Design Studio,
Seat : Pierre Frey Chenille Igor Coton fabric
Legs : Pierre Frey Pauline Ficelle fabric
FLOAT, coffee table, Luca Nichetto, grey colour
MARMINI II, chair, Hannes Peer, Pele de Tigre marble, Pierre Frey Bold Safran fabric
HOPI, ottoman, Marta Bakowski, black Marquina marble
SALUTE, side tables, Marbre Pele de tigre (right) and Indian Green (left)
LAMINA, table, Hannes Peer, Estremoz veiné marble
RONIN, chair, Emil Lagoni Valbak et Frederik Werner, structure in black stained ash and seat in Nobilis Awassi Galet fabric
SNOW, sofa, Note Design Studio,
Seat : Pierre Frey Chenille Igor Coton fabric,
Legs : Pierre Frey Pauline Ficelle fabric
FLOAT, coffee table, Luca Nichetto, couleur grise
HOPI, ottoman, Marta Bakowski, Marquina black marble
SALUTE, side tables, Pele de tigre marble (right) et Indian Green (left)
SNOW, sofa, Note Design Studio,
Seat : Pierre Frey Chenille Igor Coton fabric,
Legs : Pierre Frey Pauline Ficelle fabric
FLOAT, coffee table, Luca Nichetto, grey colour
ICONIC, mirror, Lucie Koldova et Dan Yeffet, black Marquina Marble
SALUTE, side tables, Pele de tigre marble (left) et Indian Green (right)
SNOW, armchair, Note Design Studio,
Seat : Pierre Frey Opio Kiwi fabric,
Legs : Pierre Frey Medium Army fabric
FLOAT, coffee table, Luca Nichetto, grey colour
MONUMENT, shelving system, Hannes Peer, Pele de tigre marble, black stained ash
SNOW, sofa, Note Design Studio,
Seat : Pierre Frey Chenille Igor Coton fabric,
Legs : Pierre Frey Pauline Ficelle fabric
FLOAT, coffee table, Luca Nichetto, grey colour
HOPI, ottoman, Marta Bakowski, Black Marquina marble
SALUTE, side tables, Pele de tigre marble (right) et Indian Green (left)
SNOW, sofa, Note Design Studio,
Seat : Pierre Frey Chenille Igor Coton fabric,
Legs : Pierre Frey Pauline Ficelle fabric
SALUTE, side table, Indian Green marble, Sebastian Herkner
SNOW, sofa, Note Design Studio,
Seat : Pierre Frey Chenille Igor Coton fabric,
Legs : Pierre Frey Pauline Ficelle fabric
SNOW, armchair, Note Design Studio,
Seat : Pierre Frey Opio Kiwi fabric,
Legs : Pierre Frey Medium Army fabric
SNOW, armchair, Note Design Studio,
Seat : Pierre Frey Opio Kiwi fabric,
Legs : Pierre Frey Medium Army fabric
SALUTE, side table,Pele de Tigre Marble, Sebastian Herkner
Italian fashion brand Fendi has partnered with the French Academy in Rome to refresh six lounges at the Villa Medici, located in the heart of Rome.
Kim Jones worked with Sylvia Venturi Fendi and the Mobilier National to create a selection of modern French and Italian furniture for the various salons.
The Borghese coffee table designed for La Chance by French designer Noé Duchaufour-Lawrance was selected for the Pensioners’ Lounge. For this event the Borghese coffee table is made for the first time in marble.
Crédit : Villa Medici’s reception Salons re-enchanted by Kim Jones and Silvia Venturini Fendi.
Photo © Daniele Molajoli pour la Villa Médicis
BORGHESE, Noé Duchaufour-Lawrance, Textured steel structure and Viana Verde marble
BORGHESE, Noé Duchaufour-Lawrance, Textured steel structure and Viana Verde marble
BORGHESE, Noé Duchaufour-Lawrance, Textured steel structure and Viana Verde marble
BORGHESE, Noé Duchaufour-Lawrance, Textured steel structure and Viana Verde marble
