French by way of Morocco, Marquis of the Castelbajac clan, and designer for the stars (he created Madonna’s renowned “Coat of Teddy Bears”), Jean Charles de Castelbajac is certainly among the international Glitterati. But don’t hold that against him—his fashion designs have left a definitive mark on the late 20th. Century, and his furnishings are poised to exert an equally distinctive influence over the early 21st. Take, for instance, his recent collection, “25 Acrylic Dining Chairs by Jean Charles de Castelbajac et al.” for Tom Thomas in New York.

25 Acrylic Dining Chairs. Designed by Jean Charles de Castelbajac.

The retailer says the collection comprises “a line of pieces where Form, Image, Transparency and Light All Play Subtly Together… these Dining Chairs are both Whimsical and Classic in the same moment.” Not only that, but they may stand as the contemporary world’s best attempt at a legitimate reprisal of the authentic Bauhaus. While that may sound like hyperbole, consider that, just like the early Bauhaus, “25 Chairs” represents an admirable synthesis of a workshop mentality with creative artistry (the “et al” refers to collaborative designers); an ongoing effort to use new materials in an efficient way (each chair is made of “Smart Acrylic”); and a pronounced acknowledgment of the influence of advertising over art (not to mention the creative possibilities inherent in what one might refer to as a “billboard aesthetic”). The collection is also indebted to the notion of automated customization—clients choose from a roster of different profiles and different decorative elements.

While the preceding information should suffice to bear out the comparison between Castelbajac’s new collection and the Bauhaus, here’s one last correspondence: the most modern of the line and my favorite (a short-backed transparent number with slightly flared arms) has a certain aesthetic affinity with the work of Paul Klee.

Via Chair Blog.