PWB: Please can you explain briefly your family background?

HD: My father, Pierre Disderot (1920-1991) was a renowned French maker and publisher of lighting fixtures, or “luminaires” as we call them here. He was a designer too. From 1948 to 1985, he worked with the very best French designers, as with some foreign designers, like Jorn Utzon (1918-2008) and John and Sylvia Reid.

PWB: Can you talk a little about the connection between Disderot and Rotaflex (France and G.B.)?

HD: Pierre Disderot personally knew Bendt Hojberg Pedersen, the Danish inventor of the rotaflex process, and his wife Katze, he told me they had a friendly relationship until Bendt’s early death. Bendt introduced him to Utzon, circa 1953, because he started to release several of Utzon’s lamps in France as soon as early ‘54. What I don’t know is how they met, or whether he met Bendt before Bernard Stern, or afterwards… but, in accordance with the two men, he founded Rotaflex (France) around 1954, in parallel with his own firm Pierre Disderot Luminaires.

HD: In 1954, at the very same time, his two main designers, Michel Mortier (1925-2015) and Pierre Guariche (1926-1995), started a partnership with Joseph-André Motte (1925-2013) known as l’Atelier de Recherches Plastiques, or A.R.P. – a studio through which they boldly chose to merge their own creations, and their publishers as well: Disderot for lighting, Minvielle for furniture and Steiner for seating. This started a partnership called D.M.S.
From that moment, in the first year, A.R.P. designed about fifteen (known) original models for Disderot that included rotaflex shades, and became a leading strength in the launch of Rotaflex France. They designed the logotype, the promotional leaflets, and – my feeling is – that they set up the first range of Rotaflex shades for the French market, apart from some of Bernard Stern’s early models.
(Other French designers – Pierre Gautier-Delaye (1923-2006), André Simard (b.1927), René-Jean Caillette (1919-2005), and Pierre Disderot himself – also used rotaflex elements in their designs for Disderot)

(HD note: In the image above Disderot presented for the first time in France – the first fixtures incorporating the revolutionary ‘new’ process known as rotaflex, amongst the latest A.R.P. creations (in this picture 6 lamps include rotaflex parts).

HD: Along with some non-rotaflex Disderot models, A.R.P.’s “tripod mobile” (desk) lamps were distributed, and probably manufactured, in England, first by Bernard Stern’s other company, Geni Products, then (later) by Rotaflex GB.

PWB: When we first met you told me that you ‘saw Rotaflex everyday’ when you were a young boy, can you share any of these memories? (The ladies making the shades in the factory etc.)

HD: Rotaflex (FR) was a business ran by my uncle, Jean, and the two brothers were frequently discussing it; there were rotaflex shades and lamps (and dustbins) all around the house, obviously. I remember, later, accompanying the two men at the factory and the process being explained in front of the production line. It was slightly different from the Australian process we recently saw, as the wooden formers were positioned horizontally, rather than vertically for the women making the shades.

PWB: You mentioned that your parents were friends with John and Sylvia Reid, did they visit your family in Paris often? (Do you know how / when the Disderot / Reid family connection was first made?)

HD: Yes, they had a cordial relationship, I don’t remember them in Paris, probably because i was an infant at the time. They very probably met through Bernard Stern. The Reids contributed two beautiful lamps to the Disderot Catalogue in 1957, including a gorgeous brass and glass pendant, whose former version was issued by Forrest Modern in the UK. (c.1954).
My first remembrance of the Reids is in London, visiting them at home in 1967: I remember being impressed (and my parents too) by the modernity / newness of their house: low seating, multi level living room with an open kitchen in front of the windows (with a “crusher / shredder” in the sink !…)
At night, John took us to a theatre performance (all Indian actors) for which he had conceived the scenography. I was ten and it was an amazing experience, as I did not understand a word.

PWB: You also spoke when we met about a trip you made to stay with the Reids in the U.K. (around ‘67 / ‘69? Aged 12?) How long was this for, and can you share any memories of your experience please? (Cornwall / London / learning English / Waffles ?!) Were the Reids working at all whilst you were there?)

HD: Yes, I spent about three weeks, I think, during the ‘68 summer holidays with the Reids in Marazion, Cornwall. No work, but boating, fishing for Mackerel, hiking and family things like that. No waffles, but Dominic introduced me to the 99 ice creams. And the Thunderbirds TV program, although there was no TV.
As I recall, the house was a traditional (vernacular) one, stone walled, rather bare, remodelled with impeccable taste. They spoke perfect French and were incredibly helpful, and patient, with my English and my pronunciation. They were so nice and dedicated to helping me. When I started dreaming in English, I knew they had succeeded ;)