Boris Lacroix came to the public’s attention beginning in 1927 by way of his luminary creations presented at the Salon of Artists and Decorators. However, the scope of his work activities was much more vast, extending to wallpaper, furniture and even interior design.
In 1924, Lacroix entered the fashion house of Madeleine Vionnet where he designed dresses, handbags and jewelry before being charged with furnishing and decorating Vionnet’s private residences. Lacroix himself designed numerous pieces of furniture that were produced by the cabinetmaker Regamey. This ensured for Boris Lacroix his collaboration with many colleagues, notably Jean-Michel Franck, Pierre Chareau, Francis Jourdain and Jean Dunand.
We also owe to Boris Lacroix some sconces, chandeliers and decorative vases.
Lacroix’s style is characterized by the predominance of geometric shapes, rigorous lines, straight angles and smooth surfaces without any moldings.
His wood furniture is often fitted with metal embellishments, while other pieces are constructed entirely in metal such as Duralumin.
In an interview published in the Revue de l’Ameublement in October, 1967, he acknowledged that after greatly admiring Ruhlmann, he was especially influenced by the art of Djo-Bourgeois and Louis Sognot.
Cf. P. KJELLBERG, Art Déco, Les maîtres du mobilier, Le décor des paquebots, Ed. de l’Amateur, Paris, 2000, p. 141-142.