The Curatorial Genius of Suzanne Demisch

HUR CONVERSATIONS

Dec 17

Suzanne Demisch

The Curatorial Genius of Suzanne Demisch

By Bonnie Langedijk

For Suzanne Demisch, design is more than an aesthetic pursuit—it’s a form of cultural archaeology. As the co-founder of Demisch Danant, Demisch has built her career on uncovering and championing objects that tell stories. Established in 2005, alongside her partner Stéphane Danant, the Greenwich Village-based gallery specializes in the understated brilliance of French postwar design from the 1950s through the 1970s. The space provides an intimate stage for a list of carefully selected artists: Maria Pergay, Jacques Dumond, Joseph-André Motte, and other innovators who defined an era while remaining, for decades, just out of view.

Demisch’s approach is academic yet personal. Growing up in Bloomfield, Connecticut, she began collecting 18th-century Americana as a teenager—a passion for historical research and craftsmanship that still informs her work. It wasn’t until her twenties that she discovered the modernist allure of postwar French design. A Paris flea market encounter with Danant led to the opening of Demisch Danant.

At Demisch Danant, Demisch’s curatorial lens is as much about narrative as it is about form. The gallery’s exhibitions frame these works in the context of their creation, reminding us that design is not just an object but a reflection of its time. Through her work, Demisch continues to shape not only the market for collectible design but also how we understand its role in culture.

*Demisch Danant in Greenwich Village, New York. Photography by William Jess Laird.*

*Galerie Anne-Sophie Duval at Demisch Danant’s Galleries is Residence. Photography by William Jess Laird.*

Has design always been an innate part of your life?

When I was a teenager in Bloomfield, Connecticut I began collecting 18th-century Americana furniture as a teenager. I was drawn to the Americana style - the material, craftsmanship and historical research each piece carried. There is a series of American Furniture pieces from the 1730s to 1790s that fall under the Queen Anne and Chippendale styles. It is a mix of several influences such as Baroque, classical, and Asian. Particularly the high chest of drawers was one of my favorites which actually originated in Boston and Rhode Island.

“In our APPROACH to collecting design, we look for pieces that are not only artistically significant but also reflective of their cultural and historical context.”

What's the Demisch Danant lens on collecting design? And what has made it resonate with clients globally?

In our approach to collecting design, we look for pieces that are not only artistically significant but also reflective of their cultural and historical context. It's important for us to have stories behind each piece we bring in, allowing our clients to feel a connection to the work and bring that into their spaces. Our commitment to authenticity in our curation process resonates with clients globally. By blending historical designs with contemporary tastes, we offer a fresh perspective in the design world.

As you’re working with historic pieces, there’s much storytelling to do around every piece. How do you ensure those stories are told and how do you think about the object and the context it's placed in and how that influences the overall story or feeling a piece conveys?

The context of the piece is as important as the piece itself. Our role extends beyond being curators and gallerists; we also act as researchers for each work. As demonstrated in our recent French Pop exhibition, we aim to position the works within a broader context to reference their original significance. We consider their surroundings, history, and any changes that have occurred since the piece was created. This is our commitment to the designers.

*'Precious Strength, Maria Pergay Across the Decades’ exhibition at Demisch Danant. Photography by William Jess Laird.*

Do you have a favorite designer or design piece? What makes it special to you?

This is a tough question, I am inspired by many designers. If I had to choose one, it would have to be Maria Pergay. I have been a long time collector and curator of hers and continue to showcase her work after her passing. The Ring Chair holds as my particular favorite piece. It is a great representation of her work in my opinion - it shows her love of craftsmanship and her ability to maneuver steel while creating a modern, usable piece of furniture. And it embodies Maria's spirited personality – the design came to her as she was peeling an orange.

Demisch Danant is often referred to as a gallery that brought many under the radar pieces from the ’50s through the ’70s in French design to collectors and curators. What do you think it is about that era that has allowed for some of those pieces to go unnoticed?

That era held a lot of historical changes and allowed for many new talents to experiment with materials, production techniques and styles. It can be overwhelming to try and make sense of it all. Additionally, proximity in time often hinders the appreciation and understanding of historical work, as it generally takes some distance to fully grasp its context and significance. While focusing on this era, through research and sourcing, we were able to identify which were the leading movements and figures, and find the talents that needed acknowledgment for their work and contribution to French design, such as Jacques Dumond, Joseph-André Motte or René-Jean Caillette. Lastly, and I mentioned Maria Pergay previously, we've proudly been showing the work of other female designers and artists such as Sheila Hicks, Claude de Muzac, Janine Abraham or Jacqueline Lecoq. It is safe to say that their work was initially overshadowed by the dominance of male designers and artists in the industry at the time.

Absolutely. Has running the gallery influenced your philosophy on design?

When I met Stephane in 1999 at a Paris Flea market, we were both dealers eager to travel Europe and source new works and pieces. It was during this time that we recognized a void in the representation of French post-war design, which ultimately inspired us to establish the gallery in 2005. I actually see it more as our gallery's evolution as a reflection of our design philosophy.

That’s interesting. You work with clients but also curate exhibitions of your own. While the end goal is different, do you take the same approach? Or are these processes completely separate from each other?

My approach remains consistent. When developing exhibitions for the gallery, we envision situations in which Stéphane and I act as the clients. Through our interior design projects, we have the opportunity to place a real client at the center of our curation. There is a harmonious dialogue between the gallery exhibitions and our client advisory business. By adhering to collecting under our eye, we are able to blend these two practices together.

Has what clients look for changed over the years?

Their tastes naturally evolve over time. It is our responsibility to introduce new eras and pieces to incorporate into their space - we are constantly evolving together.

It’s a dance in a way. How has the internet and social media impacted that dialogue between galleries and buyers? Has the space collectible design and design galleries inhabit in culture changed?

Having an online marketplace allows for more options—you can now source a piece from anywhere in the world. It has created a platform for global collectors through websites and social media. There is a forum of shared archives and design inspiration that has shifted the tastemakers' culture of curation. However, many observers use social media passively to view gallery shows and collectible designs. This can prevent their ability to focus on details, conditions, and rarity, particularly with historical works.

It’s hard to filter it all, and I think that’s exactly where galleries with a distinct point of view come in. What excites you most about the future of collectible design?

That there is so much more to learn and research.

This interview has been edited and condensed for clarity.