Since its establishment in 1978, Ecart International has been orchestrating the revival of exquisite furniture, lighting, and heritage artifacts from the dawn of the 20th century. These production pay homage to the indelible legacies of design luminaries who have ascended to the echelons of timeless distinction: Eileen Gray, Jean-Michel Frank, Adolphe Chanaux, Pierre Chareau, Michel Dufet, Mariano Fortuny, and more.
The entirety of their seating, furniture, and lighting collections bears the distinguished mark of French craftsmanship, a testament to the pursuit of refinement and excellence. Furthermore, the resplendent rugs, meticulously crafted, unfold their beauty through the artistry of hand-knotting in the mountainous ateliers of Nepal.
At the age of 53, Andrée Putman embarked on the journey that catapulted her into fame, leaving an indelible mark from New York to Hong Kong. Through the creation of Ecart International, she breathed life into the overlooked talents of 1930s furniture, resurrecting the designs of René Herbst, Jean-Michel Frank, Pierre Chareau, Robert Mallet-Stevens, Antoni Gaudí, Eileen Gray, and more. Her passion fueled the restoration, reissue, and promotion of these masterpieces, cultivating a catalog of remarkable coherence.
Driven by a desire to captivate at least ten souls, Andrée Putman far exceeded her expectations, captivating thousands with these revived pieces. Transitioning seamlessly from object reissues to spatial design, she traversed this path with an affinity for the purity of structures. Rejecting ostentatious luxury, she declared, “Pompous luxury is a polluting thing that horrifies me. I am interested in the essential, in the framework, in the backbone of things.”
In 1984, she revolutionized the concept of boutique hotels by transforming the Morgans Hotel in New York. This pivotal project marked a turning point in her career, showcasing her ability to craft a luxurious haven with minimal resources. Andrée Putman affirmed her distinctive style by presenting rooms of understated elegance and optical allure. As she reflected, “It’s because I started working in New York that the French asked for me.