For the third time on this online magazine, we are pleased to let you discover how some of the pieces on sale were before restoration.

We had the pleasure to receive Véronique Lorelle, journalist from the daily newspaper "le Monde", to talk about Eastern European design.

From 5 to 8 March 2020, Galerie Parallèle exhibits a selection of furniture at La Rotonde Stalingrad. This event takes place in collaboration with 4 contemporary fashion photographers, represented by Tiphaine Aubry. They are Alessandro Merlo, Alex Huanfa Cheng, Chiron Duong and India lange.

Jiri Jiroutek is a Czech designer from Pardubice. In the 1960s, he designed a series of original, easy-to-produce chests for Interier Praha, making them accessible to as many Czechoslovakians as possible at the time.

In the aftermath of the Second World War, the various countries of the Eastern Bloc had the opportunity to reflect on how to design and furnish the interiors.

For the second time on this blog, we make you discover how we restore our vintage pieces so that they can furnish your interior in a modern way while keeping the authentic design of the time!

The duality that exists in Poland, in terms of design, as we have noted through the production entities can be compared to that which affects French furniture between 1945 and 1967.

After Stalin's death, within the various countries attached to the USSR, interior architecture was marked by a renewal. Nevertheless, a certain continuity can be noted over the decades. It is characterized by the persistence of a certain tradition that existed before the communist regime.

During the thaw period, several elements bear witness to the birth of a new aesthetic. They are objects with bright colors, abstract and organic forms.

The 15th December, 2017 the National Museum in Warszaw opened the Gallery of Polish Design

You may have already wondered what the condition of the vintage pieces was like before they were put on sale on our site? The answers are here!

During the thaw period, Socialist Realism was rejected. This rejection is twofold, since it is the fault of both artists and regimes. In Poland, the break occurred mainly during the Polish October of 1956.