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Ligne Roset

From our store
Ploum sofa

Ploum sofa

As seen in:
  • The Drama

Ligne Roset

Director: Kristoffer Borgli

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Togo sofa by Ligne Roset (new)

Togo sofa by Ligne Roset (new)

As seen in:
  • White Lines

Designer: Michel Ducaroy

Ligne Roset

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Togo sofa (vintage)

Togo sofa (vintage)

As seen in:
  • White Lines

Designer: Michel Ducaroy

Ligne Roset

Shop Now
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Few filmmakers make ordinary interiors feel as uns Few filmmakers make ordinary interiors feel as unsettling as David Lynch.

In Blue Velvet, pastel diner booths, pink bedrooms, floral fabrics, old televisions and familiar furniture all seem ordinary at first. Then it all goes off on one.

Dorothy Vallens’ apartment is where that unease starts to grip. Dusky plum-purple walls, green curtains, heavy upholstery and pools of lamplight give the room a theatrical quality. There’s also a surprising plethora of snake plants, their tall, graphic leaves looking especially striking against those purple walls and adding another slightly surreal note.

Lynch creates dread through suggestion. A lamp, a curtain, a sofa or an apparently ordinary room can feel charged with something ominous through colour, lighting, composition and what might be waiting just beyond the frame.

Costume designer Patricia Norris also worked closely with Lynch on the film’s visual world, helping shape the sets, colours and atmosphere that make Blue Velvet feel both recognisable and suitably strange.

🔎 Explore more furniture, décor and interiors from film at filmandfurniture.com

Blue Velvet (1986), written and directed by David Lynch.
Bathrooms in Film No. 3: Bathroom rituals Bathroo Bathrooms in Film No. 3: Bathroom rituals

Bathrooms are full of rituals. Shaving. Brushing teeth. Applying make-up. Clipping toenails. Making phone calls from the loo. Bathing. Dressing. Looking in the mirror. Sometimes hiding out.

Film loves these small routines because they reveal character while giving actors something wonderfully ordinary to do.

In The Darjeeling Limited, shaving becomes a group ritual in the train washroom. Licorice Pizza turns the bathroom into a private spot for a phone call, while Poker Face makes use of the intimacy of a tiny loo. The Royal Tenenbaums gives Margot a perfectly period setting for her grooming and telephone habits, and Le Mépris brings strong mid-century colour and sanitaryware into play.

Then things get stranger. Paddington turns toothbrushing into slapstick, The Shining makes bathing and bathroom conversations deeply unsettling, Stuart Little gets his own miniature basin and mirror, while The Cook, the Thief, His Wife & Her Lover turns grooming into something ceremonial.

From tiles and taps to mirrors, basins and loos, bathrooms give filmmakers a concentrated little world for everyday behaviour.

🚿 Explore more furniture, interiors, set decoration and production design from film and TV at filmandfurniture.com.

#filmandfurniture
🎬 Inside the strange, seductive world of Teenage S 🎬 Inside the strange, seductive world of Teenage Sex and Death at Camp Miasma.

Production designers Brandon Tonner-Connolly (@brandontconnolly) and Matt Hyland (@oneonetwothree) transformed remote summer camps into a richly layered world of handmade art, vintage furniture and old-school cinematic craft.

🛋 Around 90% of the set decoration was sourced locally on Vancouver Island, including Billy’s weathered orange mid-century leather sofa.

🖼 Gillian Anderson’s character is surrounded by artworks inspired by Josef Albers and Vera Molnar, while the team also revived matte painting to create the film’s dreamlike landscapes.

We spoke to the designers about the furniture, interiors, art and practical filmmaking behind the film.

🔎 Read the full story at Film and Furniture. Link in bio.

@welcometocampmiasma Directed by Jane Schoenbrun @janedoesnotknow
Set Dec by hana Cook @iquitelikethedark
@mubi
#filmandfurniture
Bathrooms in Film No. 2: Mirrors, grooming, perfor Bathrooms in Film No. 2: Mirrors, grooming, performance and self-image

Few objects in a film bathroom work harder than the mirror.

Characters use them to get ready, apply make-up, shave, rehearse, scrutinise themselves, check the face they are about to show the world, or confront one they barely recognise.

Mirrors also give filmmakers another frame within the frame. A face can appear twice. Somebody can be watched without turning around. The room can suddenly feel larger, stranger, more intimate or more exposed.

Add lighting, tiles, cosmetics, taps and colour, and the bathroom becomes a perfect stage for transformation. From the pink-and-green haze of La La Land to the saturated glamour of The Neon Demon, the cool geometry of Decision to Leave and the unsettling reflections of The Substance, these rooms reveal plenty.

Films pictured include Black Mirror, Decision to Leave, Joker: Folie à Deux, La La Land, Last Tango in Paris, The Neon Demon, Parallel Mothers, Point Blank, Saltburn and The Substance.

Which bathroom mirror scene has stayed with you?

🪞 Find more production design, interiors and screen-worthy objects at Film and Furniture, filmandfurniture.com.

#filmandfurniture
Dinner at Eight (1933) is a glorious lesson in how Dinner at Eight (1933) is a glorious lesson in how Hollywood used interiors to sell fantasy.

Directed by George Cukor, with art direction led by Cedric Gibbons, the film is packed with vast rooms, mirrored furniture, polished floors, sweeping curves, satin, fur and pale surfaces designed to shimmer beautifully in black and white.

The standout is Jean Harlow’s bedroom as Kitty Packard: an enormous scalloped and tufted bed, mirrored dressing tables, gleaming accessories and enough white fabric to keep a dry cleaner in your phone favourites.

This was part of the lavish MGM look Gibbons helped establish during the studio era, where shades of white, cream, grey and silver created depth, glamour and plenty of reflective sparkle on screen.

The old money here feels restrained and traditional, while Kitty and Dan Packard’s interiors are brasher, shinier and gloriously new money.

Nearly a century later, the sets still look astonishing.

Which classic Hollywood film gets your vote for the best interiors?

👀 More film interiors, furniture and design stories at Film and Furniture. 
🔗 Link in bio.

#filmandfurniture
Bathrooms in Film No. 1: Bathing, soaking, hiding, Bathrooms in Film No. 1: Bathing, soaking, hiding, escaping

Bathrooms are meant for washing, bathing and shutting the door on everyone else for five minutes. In films, the bathtub often becomes something more dramatic.

A place to relax, recover, dream, hide, unravel, sing loudly, drink, think, or simply disappear beneath the bubbles.

And filmmakers have given us tubs at every extreme. Vast Bond bathrooms built for decadence. Marie Antoinette reclining in almost palatial surroundings. Stark, shadowy baths that feel eerie. Baths that become a stage, a refuge, a joke, a threat, or occasionally somewhere to share the water with a lamb.

The bathroom can also tell us an enormous amount about the character using it. The taps, tiles, lighting, bottles, towels and scale of the room all place us inside somebody else’s world.

Films pictured include A Clockwork Orange, Atonement, Asteroid City, Diamonds Are Forever, Gone Girl, Lamb, Marie Antoinette, Pretty Woman, Requiem for a Dream, The Nice Guys and The Phoenician Scheme.

Which film bath would you happily sink into?

🚿 For more interiors, furniture and design on screen, visit Film and Furniture at filmandfurniture.com.
🔗 Link in bio

#filmandfurniture
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