Site of the interviews, Dar Liouba, Essaouira, Morocco, 2004.
Part Two | Interviews in Morocco
In 2004, after Suzanne Demisch and Stephane Danant met Maria Pergay over coffee in a Paris cafe, the pair were invited to Pergay’s home in Morocco. She was living in an operating hotel that she had purchased from near ruin and decorated herself, incorporating both influences of Moroccan culture as well as her own personal, unique vision. She named the hotel Dar Liouba - Dar meaning home in Arabic, and Liouba being a Russian term of endearment she used for her mother. Although Pergay moved back to Paris, Dar Liouba is still operating as a hotel in Essaouira today.
Within the interiors that Pergay designed, they entered into a dialogue that would enlighten Demisch on Pergay's personal and professional history, her inspirations and unique modes of thinking.
Demisch Danant is excited to share with you the following interviews that occurred at that pivotal moment in both Pergay’s life as a designer and our formation as a gallery. We are grateful for these moments and Pergay’s insights, which have been foundational to Demisch Danant’s mission – the celebration of design, the human stories and insight behind great furniture. In releasing these conversations, we hope to open a new chapter in Pergay’s legacy, as we continue to honor the creative and varied life of Maria Pergay.
Pergay's silver works displayed at her shop located in Place des Vosges, Paris, 1960s.
“I am a radio; catching some ideas, some riddles, some colors, that’s all.”
Maria Pergay and Suzanne Demisch delved into Pergay's artistic philosophy of "precious strength," comparing her work to jewelry—both beautiful and durable. In 1970s France, Pergay's modern yet luxurious designs captivated collectors. Her journey from silver objects to large stainless steel furnishings began in the 1960s at her shop on Place des Vosges in Paris, which attracted notable figures like Dalí and Courrèges. Pergay likened her creative process to tuning into a radio, capturing diverse inspirations. The 1970s were a time of experimentation, and although continually interested in exploring new technologies and materials, Pergay had yet to find anything as inspiring as stainless steel.
Pergay in her metal workshop where she produced pieces for her new collection, 2004.
Maria Pergay and Suzanne Demisch discuss the iterative nature of the creative process, acknowledging that not every attempt is successful, but the willingness to try is essential. Pergay reflected on how new ideas flourished unexpectedly for her in Hong Kong, highlighting the evolution of her career through distinct chapters. They delved further into Pergay's pioneering work with stainless steel in the 1970s and her excitement for future projects, even if the public reception could be mixed. Pergay expressed gratitude for the atelier craftsmen who have been integral to bringing her creations to life since her early silver designs. Demisch noted the dynamic progression in Maria's work, the anticipation surrounding her upcoming collection, and the creative energy that keeps driving her forward.
Maria Pergay’s Flying Carpet Daybed and stainless-steel amethyst Low table at the Maison et Jardin Exhibition organized by renowned decorator Jean Dive in Paris in May 1968, reproduced in Plaisir de France Magazine, 1969.
In a reflective discussion with Suzanne Demisch, Maria Pergay revisited her groundbreaking career. She recalled navigating her profession as one of the few women in her field, emphasizing her role as a communicator rather than a traditional designer. Works that Pergay highlighted include a lacquer screen that exemplified her ability to merge preciousness with strength, and her pivotal debut at the Maison et Jardin in 1968. Curated by Jean Dive, the first exhibition of her stainless steel furniture collection established her as a trailblazer in French design and transformed stainless steel into a key material for modern furniture.
French magazine advertisement for Maison Jansen, featuring a stainless steel Daybed, 1971.
Maria Pergay reminisced with Suzanne Demisch about her collaboration with interior decoration office Maison Jansen, specifically the challenges and innovations in her work, including the Lit Tapis Volant / Flying Carpet Daybed (1968) and the iconic Chaise Anneaux / Ring Chair (1968). They discussed how Pergay's designs, which often required collaborating with industrial craftsmen, were shaped by her experiences and creative vision. Despite the demands of her varied projects, Pergay managed her Place des Vosges shop and designed advertisements to complement her work. The conversation then reflected on the lasting importance of her oeuvre, its renewed appreciation, and her new collaborations, including a partnership with Demisch Danant.
Triple-tiered table in stainless steel and copper, exhibited at Galerie Maison et Jardin, May 1968.
Maria Pergay and Suzanne Demisch reviewed unique creations from Pergay's portfolio, including a table crafted from a mix of brass, steel, copper, gray lacquer, silver, and gold, featuring sculpted belt buckles. Demisch noted the frequent use of velvet in the designs, which Pergay stated complements the softness of stainless steel, ensuring harmonious material interactions. Pergay also discussed her color choices, favoring 1970s browns to complement steel’s cool tones and align with current trends. They looked at photographs of Pergay's diverse projects, from large obelisks for a hotel lobby to furniture pieces designed for Maison Jansen. The discussion showcased Pergay's innovative use of materials and colors, the creativity and versatility inherent in her work.
Stainless steel door with inlaid exotic wood at the Al-Hada royal palace.
Maria Pergay and Suzanne Demisch continued their discussion of materials, examining a panel series in a photograph that Demisch received. Pergay speculated that these panels might have been created by a contemporary, as she did not recall them herself. They also examined two dark wooden doors and explored an apartment featuring Pergay's works. Suzanne Demisch and Stephane Danant reflected on their various encounters with Pergay's pieces through antique markets and archival research, noting how these fragments of her creative legacy gradually led them to rediscover her influence and the ongoing impact of Pergay's artistry.
Sketch by Maria Pergay.
Maria Pergay and Suzanne Demisch discussed Pergay's upcoming collection, marking a significant moment in her career. Pergay reflected on balancing family life, personal matters, and aging while preparing for this new chapter. Despite the challenges, she remained creatively active and passionate about her work, likening the aging process to the journey of a train. The conversation also delved into Pergay's role in architecture. She recounted her early experiences from the 1970s, when she worked with clients' architects, and later when she directly engaged with builders on projects in Saudi Arabia. Her approach involved advocating for her designs while collaborating, achieving a blend of compromise and visionary design.
Portrait of Maria Pergay taken by Suzanne Demisch, Morocco, 2005.
In this personal interview, Maria Pergay reflected on fame and recognition with humility, attributing her success to fine craftsmanship and materials, especially steel, rather than seeking personal acclaim. She preferred meaningful, quiet conversations over social gatherings. Pergay found joy in the rediscovery of her work through Suzanne Demisch and Stephane Danant's research, noting the special significance her pieces hold. She emphasized the crucial role of craftsmen in realizing her designs, valuing their skillset and dedication.
Pergay also shared a poignant personal story about a fortune-teller's predictions. When she was 22, a fortune-teller described her future as an artist with her own studio and a reunion with her father, who Pergay indeed reunited with years later in Uzbekistan. Through these reflections, Pergay revealed the profound connection between her artistic work and her personal life experiences.