A Brief History of Herman Miller
Herman Miller: Ergonomics, Aesthetics, and the Curious Case of Corporate Soul
###(Essay I wrote for a Design class in 2024.)
A visual journey through the history of one of the world’s most influential furniture design companies
If corporations were people—and legally they are—Herman Miller would be that rare specimen: the 100-year-old with impeccable taste who somehow never lost touch with what’s cool. While most companies that reach their hundredth birthday have lost cultural relevance, Herman Miller has maintained a remarkable ability to evolve with changing times while preserving its essential character.
Genesis and the Great Pivot
Key milestones in Herman Miller’s evolution from traditional furniture maker to design icon
The Herman Miller saga begins in 1905, not with Herman Miller himself (who was merely the father-in-law of founder D.J. De Pree and financier of the operation), but with the Star Furniture Company in Zeeland, Michigan. This was essentially a traditional furniture manufacturer, the kind that produced sturdy wooden pieces that your great-grandparents might have preserved for future generations.
D.J. De Pree’s vision transformed a traditional furniture company into a beacon of modern design
But then the Great Depression hit, and while most businesses were simply trying not to dissolve into economic oblivion, De Pree made a counterintuitive bet: that high modernism—that avant-garde aesthetic that the average American viewed with roughly the same enthusiasm as experimental jazz—could be commercially viable. Against all odds, it worked.
Under the guidance of Gilbert Rohde, Herman Miller transitioned from traditional furniture to modern design precisely when most Americans were more concerned with having a roof over their heads than whether that roof was architecturally significant. This pivot away from tradition wasn’t just a stylistic choice; it was a philosophical realignment that would define the company for the next century.
The Post-War Renaissance: Innovation in Wood and Form
The strategic growth areas that defined Herman Miller’s post-war expansion
After World War II, when most Americans were ready to settle into comfortable conformity, Herman Miller doubled down on innovation. Charles and Ray Eames pioneered a technique for molding plywood that transformed an everyday building material into something almost organic—furniture that seemed designed to harmonize with the human body rather than simply support it.
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This period represents one of those rare convergences in capitalism where aesthetic vision and commercial interests achieve a productive balance. Herman Miller expanded beyond office furniture into residential pieces, healthcare designs, and various accessories, all while maintaining a design philosophy that treated furniture as something between functional tool and sculptural art.
Their collaboration roster reads like a Mount Rushmore of mid-century design: Charles and Ray Eames, George Nelson, Isamu Noguchi—names that would eventually become shorthand for an entire aesthetic movement. But unlike many high-design products that remain inaccessible to ordinary consumers, these designs were actually mass-produced, purchased, and used by everyday people.
The Icons: Design Classics That Endure
A showcase of the legendary pieces that have defined Herman Miller’s design legacy
The Eames Lounge Chair and Ottoman
The epitome of mid-century luxury: the Eames Lounge Chair combines comfort with timeless elegance
The Eames Lounge Chair and Ottoman (1956) might be the most successful attempt to make sitting down look sophisticated. Combining molded plywood with leather upholstery, it somehow manages to look both futuristic and timeless, suitable for both mid-century modern interiors and contemporary spaces.
The Eames Lounge Chair is one of the most iconic and influential furniture designs of the 20th century. Designed by Charles and Ray Eames in 1956, it is known for its distinctive and timeless style. The chair was created to provide both comfort and elegance, combining luxurious materials with a modern aesthetic. It has been featured in numerous films, television shows, and design exhibitions, solidifying its status as a design classic.
The Aeron Chair
Revolutionary office seating: the Aeron Chair transformed how we think about ergonomics in the workplace
Nearly four decades later, the Aeron Chair (1994) revolutionized office seating by acknowledging that humans have actual bodies with complex ergonomic needs. With its breathable mesh and adjustable features, it became the chair of choice during the dot-com boom. At approximately $1,805 per chair, it also serves as a telling indicator of a company’s priorities and resources.
Key features of the Aeron Chair include:
- Ergonomic design that supports proper posture (popular among gamers!)
- Breathable mesh material for comfort
- Adjustable features for personalized fit
- Durable construction for long-lasting use
The Noguchi Table
Isamu Noguchi’s sculptural masterpiece: where art meets function in perfect harmony
The Noguchi Table achieves a remarkable visual balance—a glass top supported by two interlocking wooden pieces that create a sculptural base. It’s furniture that functions as both practical surface and artistic statement.
The Noguchi Table is a unique and sculptural coffee table designed by Isamu Noguchi. It features a glass top balanced on two interlocking wooden legs. The design combines organic shapes and clean lines, creating a harmonious and functional piece of furniture. The Noguchi Table has been in production since 1947 and is still highly sought after today.
The Action Office
The Action Office: designed to liberate workers but eventually evolved into the modern cubicle
Perhaps most intriguing is the Action Office, which began as a liberation movement for office workers and ended up as the much-maligned cubicle. Robert Propst designed it with the best intentions—to give workers privacy, personalization, and freedom of movement. What he created was a system so flexible it could be manipulated into precisely what he was trying to avoid: the corporate honeycomb that came to define office environments for generations.
As George Nelson himself later observed, it became “admirable for planners looking for ways of cramming in a maximum number of bodies.” It’s a sobering reminder that even the most humanistic innovations can be corrupted when filtered through the imperatives of efficiency and cost-cutting.
The Innovative Marketing: Herman Miller’s Memorable Commercials
Herman Miller’s approach to advertising has been as distinctive as their furniture designs. Throughout their history, they’ve created commercials that reflect their design philosophy—clean, thoughtful, and often with a touch of wit.
One particularly fascinating example is their “Sweet Dreams” advertisement from 1999, which showcases the Aeron chair in a surreal, dreamlike sequence. The commercial features a businessman falling asleep in his Aeron chair, only to find himself gliding through an ethereal urban landscape while still seated. The ad beautifully communicates the chair’s otherworldly comfort without relying on technical specifications or ergonomic jargon.
You can view this captivating piece of Herman Miller history here: Herman Miller “Sweet Dreams” Commercial (1999)
What makes Herman Miller’s commercials stand out in the corporate furniture landscape is their willingness to approach office furniture as a cultural artifact rather than merely a utilitarian object. Their advertising, like their designs, aims to elevate everyday experiences—suggesting that the objects we use for work can be as thoughtfully conceived as those we choose for pleasure.
The Masterminds: Design as Philosophy Made Visible
![Designers of Herman Miller] The visionary designers who shaped Herman Miller’s distinctive aesthetic approach
The designers who shaped Herman Miller weren’t just creating furniture; they were articulating philosophies about how humans should interact with space, materials, and each other.
Charles and Ray Eames
Charles and Ray Eames: the dynamic duo whose partnership transformed modern furniture design
Charles and Ray Eames brought a democratic spirit to high design. Their famous motto—“the best for the most for the least”—reads like a utilitarian manifesto filtered through a design sensibility. When Charles Eames said, “It makes me feel guilty that anybody should have such a good time doing what they are supposed to do,” he was expressing a view of work as a potentially joyful activity, design as meaningful engagement with the world.
Charles and Ray designed perhaps their most famous (and expensive!) design for Herman Miller in the form of the Eames Lounge Chair and Ottoman. Their contribution with Herman Miller allowed them to fund their studio at 901 Washington Boulevard.
Isamu Noguchi
Isamu Noguchi: the sculptor who brought an artistic sensibility to functional furniture design
Isamu Noguchi, the Japanese-American sculptor who brought an Eastern sensibility to Western modernism, treated furniture as environmental sculpture. His table isn’t just a surface for placing things; it’s a presence that transforms the space around it.
Isamu Noguchi was a Japanese-American artist and landscape architect. He was born in Los Angeles in 1904 and spent his childhood in Japan. Noguchi studied sculpture and pottery in New York and Paris.
He collaborated with Herman Miller in the 1940s, designing the iconic Noguchi Table, which is still in production today. Noguchi also created other furniture designs for Herman Miller, combining sculpture and functionality.
George Nelson
George Nelson: the visionary design director who helped shape Herman Miller’s design philosophy
George Nelson, who served as Herman Miller’s design director from 1945 to 1972, might be seen as the company’s philosophical compass. Under his guidance, Herman Miller didn’t just make furniture; it articulated a coherent vision of modern life—one where objects were honest about their materials, clear about their functions, and unembellished by nostalgic ornamentation.
George Nelson was an American industrial designer born in 1908 in Hartford, Connecticut. He studied architecture at Yale University and is known for his innovative furniture designs. Some of his iconic creations include the Marshmallow Sofa and the Coconut Chair.
The Balance Sheet: When Aesthetics Meet Economics
The impressive financial performance that demonstrates how good design can also be good business
Herman Miller has achieved something rare in capitalism: enduring commercial success without aesthetic compromise. With annual revenue of $4.09 billion and net profit of $42.1 million, they’ve managed to marry artistic integrity with fiscal responsibility—achieving both design excellence and business sustainability.
The pricing of their iconic pieces—$1,805 for an Aeron, $6,895 for an Eames Lounge Chair—positions them at the intersection of accessible luxury and aspirational object. These are investment pieces, expensive enough to represent a significant purchase but designed to last decades rather than years.
As the company often states, their mission is “The best for the most for the least.”
The Green Angle: Sustainability Before It Was Common Practice
Herman Miller’s three-pronged approach to environmental sustainability
Long before corporate environmentalism became a standard marketing approach, Herman Miller was integrating sustainable practices into their operations. Their 15 Design Excellence Awards, 10 Sustainability Awards, and 8 Innovation Awards suggest a company that takes its environmental responsibility seriously.
Recognition of Herman Miller’s excellence in design, sustainability, and innovation
This commitment appears to stem from the same design philosophy that shaped their aesthetic choices: a respect for materials, an elimination of waste, and a long-term view of value. Good design, in the Herman Miller worldview, isn’t just about how something looks or functions today—it’s about how it exists in the world over time.
Future Trajectories: The Next Century of Design
The strategic priorities guiding Herman Miller into its second century
As Herman Miller moves into its second century, it faces the challenge that confronts all long-lived enterprises: how to honor its heritage while remaining relevant. Their three-pronged focus on sustainable design, workplace innovation, and international expansion suggests they understand the core tension—between preservation and evolution—that defines any enduring institution.
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Sustainable Design: Herman Miller aims to continue its commitment to sustainable design by exploring new materials and manufacturing processes that minimize environmental impact.
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Innovation in Workplace Solutions: The company is dedicated to developing innovative workplace solutions that enhance productivity, collaboration, and well-being for employees.
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International Expansion: Herman Miller plans to expand its presence in international markets by establishing strategic partnerships and opening new showrooms to cater to a global customer base.
The workplace solutions focus is particularly relevant in an era where the very concept of “workplace” is being redefined. When offices can be anywhere, what becomes of office furniture? When work happens in digital spaces, what physical supports do our bodies require?
The Philosophical Chair: What Herman Miller Really Sells
What makes Herman Miller more than just a furniture company is that they’ve always understood they’re not really selling furniture at all—they’re selling a particular vision of how modern life could be. Not just more comfortable or stylish, but more honest, more intentional, more humane.
Their most iconic pieces aren’t just functional objects; they’re arguments made visible—propositions about proportion, material, comfort, and value. When we choose an Eames chair over a generic office seat, we’re not just making an aesthetic choice; we’re endorsing a specific set of values about design, quality, sustainability, and the relationship between humans and their built environment.
In a world of planned obsolescence and disposable everything, Herman Miller’s century-plus commitment to enduring design feels almost radical. They’ve maintained a consistent philosophy through depression, war, cultural revolution, digital transformation, and globalization—adapting to changing conditions while maintaining core principles.
Which might be the most valuable thing they offer us: not just better chairs to sit in, but a better way to think about the objects with which we surround ourselves.
References
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