Omega Dressing Table (1921): Louis Vuitton’s Art Deco Vanity
Presented at Milan Design Week 2026, Louis Vuitton revisited one of its earliest design ventures: furniture.
In the early 1920s, the maison began extending its language beyond travel goods into interiors, commissioning pieces that reflected a new modern lifestyle. Among them, a singular object: the Omega dressing table designed in 1921 by Pierre Legrain, a decorative artist who redefined the balance between geometry, material and function.
This 1921 Omega dressing table, the first furniture creation ever commissioned by Louis Vuitton, returns today in lacquered wood and leather, its curved silhouette intact.
Legrain’s work belongs to the language of Art Deco: controlled lines, deliberate contrasts, and a precise use of material. Emerging in Paris in the 1910s and reaching its height in the 1920s, Art Deco defined modern luxury through geometry, stylisation, and structure.
The Omega dressing table is a clear example of this approach and remains a defining reference for the Art Deco vanity table. Its form is not decorative, it organizes the space around it. The curved structure frames the seated figure, integrates mirror and surface, and reduces the vanity to a compact, architectural object.
In my work, the vanity often takes a similar position.
It is where the scene is set.
It often occupies the center of the composition, or its most dominant area. The figure, the mirror, and the small gestures of getting ready all happen there.
In a boudoir, as in my illustrations, the vanity reflects the person who uses it, through the objects placed on it, the perfumes, the lipsticks, the details chosen and returned to over time.
As with the Omega dressing table, an Art Deco vanity is not just a functional object but a focal point within the room. It shapes the atmosphere of the boudoir and gathers the elements that define it.
It is where an intimate dialogue takes place, in the simple act of getting ready.
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