Petite Friture is bringing back René Herbst's Sandows seats. Agapecasa has put the Schwob table by Mangiarotti and Morassutti back into production. Ecart, relaunched by Pierre Yovanovitch, is reissuing Paul László's Avondale sideboard. Maison Leleu has reupholstered its chaises longues in Dedar. The furniture reissues 2026 has produced, and what they mean for anyone buying a chair today, filled Wallpaper* in January and the streets of Paris Design Week in September. We edit new furniture, drawn in Paris, and we also sell vintage through Monde Singulier, so this wave touches us from both sides. Our reading is short: good drawings are rare, and the editors know it better than anyone.
Four houses, one season
Start with the facts, because each reissue tells a different story. Petite Friture, Amélie du Passage's Paris house, known for living designers, has made Sandows its first historical reissue. René Herbst drew these seats in 1927: a chromed tubular steel frame and, in place of a seat, elastic tensioners, the same "sandows" the French used to strap a suitcase to a bicycle rack. Chair N°212, an armchair with wooden armrests, daybed N°114. Herbst co-founded the Union des Artistes Modernes in 1929 and died in Paris in 1982. His chair came back into production in May 2026, made in Italy, at around £555 in the UK. ICON covered the collection at launch.
The Schwob table is a different animal. Angelo Mangiarotti and Bruno Morassutti drew it in 1959 for the Villa Schwob, a house Le Corbusier built in La Chaux-de-Fonds in 1916 and 1917. A marble top held by gravity alone on an anodized aluminum frame, two side handles built into the structure so you can move it, every mechanical joint left visible. Agapecasa showed it with Silvera at Maison&Objet in January, in three sizes (65, 80 and 100 cm square) and four marbles. A 1959 coffee table without one line too many.
Ecart, the gallery Andrée Putman opened on rue Jacob in 1978, is back under Pierre Yovanovitch with ten pieces by Paul László, the Hungarian-born architect who set up in Beverly Hills in 1936. The Avondale sideboard, from the 1950s, is recognizable by its woven wood veneer. Maison Leleu, for its part, has released its "Classiques Modernes": the Ève, Coco and Marilyn chaises longues and the Aglaé cabinet, covered in Dedar fabrics. Wallpaper* published the full list of reissues seen in Paris, with Liberty's 150th anniversary wallpapers thrown in.
Why an editor reissues
The polite answer is heritage. The real answer is risk. Developing a new piece costs months of prototypes, structural tests and fabric approvals, and nobody knows, on the day production starts, whether the drawing will sell. A reissue has already passed the exam. The design is seventy or a hundred years old; it has been photographed, exhibited, copied and sold at auction. The doubt is gone. The press release writes itself.
The business model has been proven for decades. Cassina has been the sole licensee of the Le Corbusier, Perriand and Jeanneret pieces since 1964 and sells the LC4 chaise longue for €5,200 to €5,900. Vitra has produced the Eames pieces in Europe since 1957; the Lounge Chair with ottoman runs €8,800 to €11,400. Editions Serge Mouille has reissued the master's lights since 1999, at €3,000 to €8,000 a piece. Three solid houses living, in part, on drawings older than their customers.
Then there is demand. In the annual 1stDibs survey published in November 2025, 85% of the 468 interior designers polled said they buy vintage, and older pieces make up 36% of what they place in projects. When the original becomes unfindable, the reissue fills the gap. A 1927 Sandows with its original elastics belongs in a museum, not a living room. The reissue lets you sit in it. And, let us say it plainly, an official reissue is also a way to keep the copies at bay.
What the furniture reissues of 2026 mean for new design
Look at what is being reissued this year. A tube and an elastic. A slab of marble resting on aluminum. A woven veneer. A curved edge on a chaise longue. Each piece rests on a single idea, readable at first glance, with no decoration around it. None was built on a trend of its era; all were built on a constraint. Herbst used the sandow because it was light, cheap and available. Mangiarotti let the marble hold itself by weight because a hidden fixing would have been a lie.
The first lesson is the one we wrote on our about page before we knew this season's program: drawings that stand on their own. A piece that needs an explanatory text will not be reissued in 2090. The second lesson is about material. Steel, marble, wood, leather: the pieces that come back are made of things that age, not foam glued to plastic. The third lesson is less comfortable for our trade. A season of reissues also says that editors, when in doubt, prefer the archive to the risk. If the catalogs of 2050 still contain Herbst and Mangiarotti and nothing else, something went wrong in 2026.
What we do with that lesson
Monde Singulier Editions does not reissue. We edit new pieces, drawn in Paris under the artistic direction of Guillaume Delacroix, and we hold them to the test the reissues have just reminded everyone of. Cardinal rests on one idea: vertical slats of lacquered wood, joined in plain view, so light passes through and the piece never weighs on the room. The floor lamp at €990 filters light into vertical bands; the coffee table at €1,400 sets a slatted top on a slatted base. You understand the piece by looking at it once.
Romance rests on one gesture, the scalloped edge, carried from the armchair (€1,990 to €2,300 in velvet) to the paper tent pendant at €530. Deep black or off-white lacquer, turned legs, a deep and generously padded seat. Soft to sink into, sharp in profile. We do not claim to be Herbst. We only say we draw with the same demand: one idea, materials that age well, dimensions planned for real projects.
There is a deeper difference from the reissue logic, and it works in our favor. A reissue sells on the name; our pieces sell on the drawing and on availability. Everything is produced in series, made to order in 4 to 6 weeks, from a single piece for an apartment to a complete hotel project. No quota, no year-long waiting list. It is not the same promise as an LC4. It is a different one.
Reissue, original or new: how to choose
We sell all three, so we can be frank. The original is unique, carries its patina and its history, and it resells. But you have to find it, wait for it, accept its condition and its price, and sometimes give up on sitting in it every day. The reissue gives you a warranty, a known lead time and a new object, at the price of the name: the €5,200 of an LC4 pays for the license as much as for the tube and the hide. A new edition, ours or someone else's, charges you for the drawing and the making, not the archive.
Our advice comes down to three cases. Take the reissue when the original is unfindable or too fragile to use: a 1927 daybed is no longer a daybed. Take the original when the piece exists in numbers and in good condition on the market, a 1950s Mouille or a production Perriand chair, because it will hold its value. Take the new piece when you have a floor plan, a fabric to match, dimensions to respect and a delivery date. All three are good choices. The bad choice is the piece with neither drawing nor material, and that one never gets reissued.
Questions we get asked
Is a reissue worth as much as the original at resale?
Rarely. A reissue is a new object produced in series; the original carries its date, its workshop marks and its scarcity. Some long-running reissues, such as numbered Cassina pieces, hold their price well on the secondary market, but they do not catch up with a documented period piece. You buy a reissue to use it, not to flip it.
Why doesn't Monde Singulier Editions reissue anything?
Because our trade, from day one, has been to seek out and defend other people's work, and the originals already pass through the gallery and The Vestige. Editions exists to offer an available alternative when the collectible piece is unique or already gone. Reissuing would have been easier; drawing suits us better.
Where can I see the 2026 reissues in Paris?
The Petite Friture showroom for Sandows, the Ecart gallery on rue Jacob for László, Silvera for Agapecasa's Schwob table. Paris Design Week (September 10 to 19, 2026) gathered them in the Marais and Saint-Germain, and Maison&Objet had shown them back in January. Our own pieces are on ms-editions.com; ask us about seeing one.
Is a reissue a limited edition?
No, and the confusion is common. A reissue is a return to production, in series, sometimes for decades, like Cassina's LC pieces since 1964. Some houses add a numbered run for an anniversary, but the object stays available. Our collections work on the same principle: produced in series, made to order, no quota.
If a drawing that stands on its own matters more to you than the name on the label, the Cardinal and Romance lighting is a good place to start.