Why Mathieu Matégot Was Such a Fascinating Designer
Mathieu Matégot transformed perforated sheet metal into furniture and lighting that feel unexpectedly light, graphic and almost textile. For collectors, his work is recognisable—but attribution still depends on construction, proportions, documentation and the distinction between period production and authorised later editions.
Mathieu Matégot in brief
Born in Hungary in 1910, Matégot settled in Paris in 1931 after studying art and architecture in Budapest. His experience with industrial materials informed the technique for which he became best known: Rigitulle, a combination of perforated sheet metal and metal tubing that could be folded, curved and shaped with the visual delicacy of fabric.
Across the 1950s he applied this language to chairs, tables, shelving, lighting and smaller domestic objects. He later concentrated increasingly on tapestry, but the furniture of this period remains central to his design legacy.
What is Rigitulle?
Rigitulle is not simply “metal mesh.” Matégot used perforated sheet metal as a structural and expressive surface, bending it into thin planes that filter light and create graphic shadows. The material allowed robust objects to appear transparent and weightless.
- Perforated sheet: the pattern should remain legible through curves and folds.
- Metal tubing: frames and legs establish the outline and carry the load.
- Colour: painted surfaces reinforce the object’s silhouette, but colour alone never proves attribution.
- Light and shadow: the negative space is an essential part of the design.
Four designs that explain his language
| Design | Date | What to notice |
|---|---|---|
| Nagasaki chair | 1954 | A three-legged structure, curved perforated seat and back, and a highly graphic profile. |
| Copacabana lounge chair | 1955 | A low, embracing outline that balances tubular steel with perforated planes. |
| Dédal shelving | 1955 | Modular folded-metal units that create a larger geometric composition when grouped. |
| Satellite lighting | 1950s | Perforated shades turn the light source into a pattern of illumination and shadow. |
How collectors assess a Matégot piece
- Identify the model before the maker. Compare the overall silhouette, dimensions and junctions with documented examples.
- Study the metalwork. Perforation pattern, bends, welds and frame construction should be coherent with the model.
- Separate age from authenticity. Old paint, oxidation or wear may be consistent with age, but none is proof on its own.
- Ask what has been restored. Repainting, welding and replacement feet can affect both appearance and value and should be disclosed.
- Distinguish period production from reissues. Authorised contemporary editions can be excellent, but they should never be presented as 1950s originals.
- Request documentation. Labels, marks, provenance, underside photographs and published comparisons are more useful than a confident-sounding attribution without evidence.
Matégot at Spirit Gallery
Our archive has included the Nagasaki and Copacabana models as well as lighting and occasional furniture associated with Matégot’s perforated-metal language. Each listing is assessed individually; condition and restoration are documented rather than generalised from the designer’s name.
View or source Mathieu Matégot
Explore available and archived Matégot pieces, or send the gallery a sourcing request with the model, preferred finish, dimensions and destination.
Reference: GUBI’s Mathieu Matégot archive, including its documentation of Rigitulle, the Nagasaki chair and other authorised reissues. Reference links are educational and do not replace object-specific authentication.