Cassina LC: Telling the Authentic Edition from Copies
The LC range (LC1, LC2, LC3, LC4) is probably one of the most copied families of modernist furniture. The models designed in 1928 by Le Corbusier, Pierre Jeanneret and Charlotte Perriand circulate today under dozens of generic brands, in more or less faithful versions, at prices from a few hundred to several thousand euros. The only edition authorised by the rights holders is produced by Cassina, continuously since 1965. Everything else is not, legally, an LC: these are armchairs and chaises longues of similar inspiration, sold under other names. Below are the concrete points that distinguish a Cassina piece from a reinterpretation.
Why the distinction matters
Since 1965 Cassina has held the exclusive licence for the I Maestri collection, granted by the rights holders of Le Corbusier (Fondation Le Corbusier, FLC), Pierre Jeanneret and Charlotte Perriand. The licence covers the manufacture, signing and sale of the LC models under their official name. In France and Italy, producing copies sold under the LC name exposes the maker to legal action, and imports of unauthorised pieces into these markets are regularly challenged.
On the vintage market, the distinction matters for two reasons. Price, first: a second-hand Cassina LC2 or LC3 in good condition sells for clearly more than a copy, however well made. Traceability, second: a Cassina piece carries a marking that attests to its origin and approximate date of manufacture, so its history can be traced. A copy has no verifiable history.
The design, settled in 1928 and shown at the 1929 Salon d'Automne, rests on very precise proportions. To cut costs, copies often alter these dimensions (cushion thickness, seat height, tube diameter) in ways that are not obvious at first glance. In use, the difference can be felt.
How to identify an authentic LC
The Cassina marking
Every piece in the I Maestri collection carries a cold-engraved marking on the frame, usually on the back of an upright or under the seat. It includes the word "Cassina", sometimes the collection name (I Maestri), the model name, a serial number specific to the piece and the authors' signatures. For the LC range, these are the signatures of Le Corbusier, Pierre Jeanneret and Charlotte Perriand, with the FLC logo (Fondation Le Corbusier) and the ADAGP mention covering reproduction rights.
The engraving is sharp, shallow but legible, and well aligned. An imprecise strike, badly spaced letters or applied ink instead of engraving point to a copy. The oldest pieces, from the 1960s and 1970s, may carry a slightly different marking, with more irregular numbering or none at all, but the Cassina name is always there.
The tubular frame
On the LC2 and LC3, the frame is made of welded chrome-plated steel tubes, finished to tight industrial tolerances. The diameter is constant, the welds are invisible or carefully ground, and the chrome is thick and stable. On the LC4, the base is matt black lacquered steel and the cradle is bent in a single plane. Copies often show visible welds, thinner chrome that pits within a few years, or slightly different angles that upset the balance of the piece.
The cushions rest on elastic straps stretched between the uprights. On Cassina pieces, the straps are fixed with metal hooks; some copies use staples or visible screws, which do not hold up well over time.
Cushions and leather
Cassina offers several leather qualities, from smooth full-grain to thick grained leather, in a defined range of colours. Original leather develops a patina, darkens slightly and keeps its grain. The cushions are filled with controlled-density polyurethane foam, firm, which keeps its shape for a long time.
On copies, the leather is often thinner, sometimes a coated split that cracks after a few years. The cushions sag quickly and lose their edges. When the grain imitates a grained leather, it looks too regular, as if printed.
Proportions and dimensions
The official dimensions of the LC2 grand confort armchair, the LC3 grand confort grand modèle and the LC4 chaise longue are recorded in the Cassina archives and in several reference books on modernist furniture. Copies often take a few centimetres of liberty, a slightly lower seat or a shorter back, which change the silhouette. A tape measure is often enough to settle the question.
Common mistakes
The first thing to watch for is copies sold as an "Italian edition" with no mention of Cassina. Some resellers use the phrase to suggest a prestigious origin without guaranteeing it. Without the Cassina marking and the FLC/ADAGP signature, the piece is not an official LC, whatever its country of manufacture.
The second is pieces presented as "vintage reissues" with vague dating. Cassina has produced these models without interruption since 1965, so they are not reissues in the usual sense but continuous production. A 1985 Cassina piece and a 2015 one are both authentic, simply from different generations.
The third is reupholstery. An original LC2 recovered outside the Cassina workshop loses part of its value, especially if the work is approximate. An original patinated leather, even a slightly marked one, is better than a clumsy recovering.
Finally, some copies imitate even the marking. A few makers fit a generic plate bearing an Italian-sounding name. The original Cassina marking is engraved directly into the metal of the frame, never added on a screwed plate.
What we check
When an LC comes through our hands, we look for the original invoice if there is one, then examine the frame: Cassina marking, FLC/ADAGP signature, condition of the chrome or lacquer under raking light, and the main dimensions. We then assess the leather (grain, suppleness, condition of the stitching, signs of past repairs) and photograph the marking and signature.
By
LAPIERRE MARKET
