Airest : New Forms of the 1950s
Airest is one of the furniture industry success stories in New Zealand. Its products occupied a place in most households by the end of the mid-century era. The foundation sits with a conservative businessman who followed trends and produced pieces for the post-war lifestyle, embracing the new light and honest forms. Ces Renwick knew how to make products which sold well and was appointed to the head of the New Zealand Furniture Manufacturers Association. Like other New Zealand makers he looked at and adapted international trends and was influenced by designers like Fred Lowen of Australia.
One of the more ambitious group of pieces from the late 1950s which we have collected by Airest channels the work of American designer Vladimir Kagan. We feature these pieces in this article and it is likely that other designs were created from the same influence. The No. 6 armchair, affectionately referred to as the ‘Bahama Chair’ features opulent curves and sculptural forms, found in Kagan’s Contour range from 1950. Kagan’s work primarily catered to a wealthy, upper-class audience in New York, making the chair’s adaptation to a conservative, middle-class market in New Zealand an interesting choice. Only a few examples exist, so it must not have been a great seller.
The Sofarest Settee is a piece we've come across more often, also influenced by Vladimir Kagan, which was sold through retailers like Farmers and available in a selection of timbers. Sculptural and light looking with a functional telephone table to the side, it's an enduring and classic kiwi design favourite. Most rare to find is the R35 Sofa, which features a stunning, organic symmetry and rattan panelling.
The 1950s group of objects here remain collectable and suit a contemporary lifestyle even after 70 years with the right upholstery and interior styling. Currently we are pleased to feature a number of Airest designs in the gallery and we are restoring a Bahama Chair and Ottoman, available in the coming weeks. Please visit us or contact us for details.
Sofarest Settee by Airest (1950s) which references the work of American modernist designer Vladimir Kagan, Rug by Chiara Corbeletto for Dilana, Monique Lacey artwork courtesy of Föenander Galleries.
No. 6 'Bahama' Chair by Airest (1957)
The Search for New Forms of Expression in the 1950s
The 1950s marked a defining decade in the search for new expressions in furniture design, shaped by rapid social, technological, and cultural change. Emerging from the austerity of the post-war years, designers and manufacturers sought to create furniture that reflected optimism, progress, and modern living. The rise of suburban homes, new domestic ideals, and the growth of consumer culture provided fertile ground for experimentation with form, material, and function.
One of the central pursuits of the era was the exploration of organic, fluid forms that broke away from the rigid geometries of earlier modernism. Designers such as Charles and Ray Eames, Eero Saarinen, and Arne Jacobsen embraced sculptural shapes that were both functional and expressive, often inspired by nature and the human body. Their work demonstrated how furniture could be both an object of utility and a vehicle for artistic innovation.
Technological advances were equally influential. The development of new materials like fiberglass, plywood molding techniques, tubular steel, and plastics allowed designers to push boundaries in ways that had previously been impossible. These innovations opened the door to lighter, more affordable, and mass-producible furniture, expanding access to modern design for a wider audience.
At the same time, furniture became a reflection of changing lifestyles. The emphasis shifted toward flexibility, informality, and comfort, with designs tailored to open-plan living and multi-functional spaces. Pieces were designed not only as individual objects but as parts of an integrated, modern interior.
From the Archive / 'Sleepy Hollow' Chairs by Airest (1950s). Extremely rare to find, these oak armchairs have a reclined shape and unique, scissor shaped strips of oak to form the arm and leg rests.
'Sleepy Hollow' Armchairs and Sofarest Settee by Airest (1950s). Location: McClew House by Kenneth Albert (1966). Photograph: Steven Tilley.
The Influence of Vladimir Kagan
Vladimir Kagan (1927–2016) was a pioneering American furniture designer whose career helped define modern living in the mid-20th century. Born in Germany, Kagan immigrated to the United States with his family in 1938, settling in New York. He trained as an architect at Columbia University before joining his father’s cabinetmaking shop, where he gained a deep understanding of craftsmanship. By the late 1940s, Kagan had begun creating his own furniture, and his innovative approach quickly attracted attention.
Kagan’s work was distinguished by its sculptural forms, sweeping lines, and bold use of curves, which contrasted with the clean lines of much postwar modernism. His designs embodied both functionality and artistry, often appearing as fluid extensions of the human body. Iconic pieces such as the Serpentine Sofa, the Floating Curved Sofa, and his biomorphic lounge chairs became symbols of a new design language—one that blended comfort, elegance, and sensuality.
His sensitivity to materials also set him apart. Kagan frequently worked with wood, especially walnut and other rich timbers, which he shaped into organic frames. Upholstery was equally important, allowing him to create inviting, tactile forms that complemented the clean interiors of the 1950s and 1960s. Unlike many of his contemporaries who emphasized industrial production, Kagan valued the handmade and bespoke, tailoring his work to clients and architectural settings.
From the Archive / R35 Sofa by Airest (1950s), influenced by Vladimir Kagan. An oak case sofa with rattan panels to the sides is symmetrical and elegant on geometric, sculptural legs.
From the Archive / C9 Armchairs by Airest (1950s) incorporate geometric shapes and exaggerated forms in oak.
1950s Airest Poster by Frank Carpay, one of Crown Lynn's key collaborating artists. This free spirited figure in a dream like sky indicates a feeling of rest and peace that Airest often referred to in its text descriptions of its furniture.
.avif)
Sofarest Settee Advertising from New Zealand Furnishing and the Furniture Manufacturer (1957).
%202.avif)
Rocket Armchairs by Airest (1950s), taking cues from a similar design by Australian Fred Lowen of Fler Furniture.
.avif)
.webp)
