PERSPECTIVES: Luiz Kessler

Luiz Kessler, founder of JCRD Design, in the Phillips London gallery.

The Rio de Janeiro-born gallerist Luiz Kessler has made waves in the London design scene for his appreciation of details, reverence for history and culture, and his charismatic nature — to say nothing of his impeccable taste. These attributes come to life through JCRD Design, the gallery he founded that operates with a dynamic, global exhibition model, meticulously curating international presentations rather than operating from a single, permanent space. JCRD has exhibited in some of the world’s finest design fairs, including Design Miami and PAD London, and will soon participate in Salon NY — bringing Brazilian modernism to a broad audience.

But his expertise goes far beyond Brazilian design — he speaks of great works from a multitude of categories with intelligence and an infectious admiration. Earlier this month, Phillips sat down with Kessler to hear about his background, his favorite lots from the upcoming Design auction, and some choice tips for emerging design collectors.

PHILLIPS: How did you discover your love of design? How does this passion manifest in the work of JCRD Design?

LUIZ KESSLER: I wanted to say that I discovered this love in Brazil, where I’m from, and which remains the core of JCRD Design. But it was actually over 20 years ago, while traveling through the South of France, that everything began. I visited the Fondation Maeght in Saint-Paul-de-Vence — still one of my favorite places in the world. When I stopped by their café for a coffee, I noticed the most sculptural and intriguing chairs — heavy in presence yet refined in form. Captivated, I asked the lady behind the counter who designed them, and she replied, “Diego Giacometti.” Inside the foundation, I kept encountering more of his pieces — tables, stools, and an incredible lamp on the terrace. I was 18 at the time, and that moment sparked my lifelong fascination with design that blends art, craftsmanship, and soul — a philosophy that continues to guide everything we do at JCRD Design today.

P: What draws you to historical design?

LK: I love the idea of traveling back in time and imagining how groundbreaking those pieces were in their day — Pierre Chareau immediately comes to mind. Nearly a century later, his and many others’ works still feel timeless and continue to inspire contemporary designers. I’m fascinated by the impeccable craftsmanship of Joaquim Tenreiro just as much as I am by the raw honesty of Jean Prouvé. And of course, I’m deeply inspired by the beauty of the Brazilian vernacular — a vital part of our design process — championed by visionaries like Lina Bo Bardi and José Zanine Caldas.

Luiz Kessler in the Phillips London gallery.

P: What buying advice would you offer collectors new to the category? And what are your personal guidelines for collecting or sourcing works?

LK: It might not be a trivial exercise — we’re no fortune tellers, after all — but I’d advise new design collectors to look at a piece and ask themselves: “Will this still be considered timeless in 50 years?” or “Will I be as pleased to look at this piece years from now as I am today?” I’m a firm believer that good design requires a “yes” to both questions. That philosophy serves as both my buying advice and my personal guideline for collecting.

When it comes to sourcing, find someone who truly specializes in what you’re looking for. My dad once told me it’s better to excel at one thing than to be mediocre at many — and that wisdom applies perfectly to your design sources, too.

There are so many ways to discover great design — through dealers, galleries, art fairs, and auction houses — but ultimately, it’s the relationships you build with these people that make the journey of collecting so much more fascinating, beautiful, and insightful.

Luiz Kessler in the Phillips London gallery.

P: What is your most treasured object — both a single item from history and one from your personal collection?

LK: Francis Bacon once said that Michelangelo, Brancusi, and Rodin were the greatest sculptors the world has ever known. On that note, Constantin Brancusi’s Beginning of the World (1920) is my forever coup de coeur — a piece that continues to move me every time I see it.

From my own collection, it certainly is a plaster ‘Tête de Femme’ table lamp by Alberto Giacometti from the 1930s.

P: Which works from our upcoming London Design auction speak to you the most and why?

Jean Royère

Jean Royère, Large sideboard, circa 1955. Design London.

LK: The combination of wood and cane must be one of my favorite pairings in design. I also have a thing for sideboards — especially one of this size!

George Nakashima

George Nakashima, 'Slab II' coffee table, 1967. Design London.

LK: To me, there’s no such thing as too much wood in one’s design collection. Seeing such an impressive, large-scale, and rare coffee table by Nakashima is truly fascinating.

Charlotte Perriand

Charlotte Perriand, Early and rare armchair, circa 1946. Design London.

LK: I can’t resist a rare early piece — especially one by Perriand. There’s something electric about seeing her ideas in their raw, experimental form.

Jean Royère

Jean Royère, 'Val d'or' coffee table, circa 1962. Design London.

DK: Despite its strong structure, this table feels wonderfully light and understated — and it's painted in that distinctive red, a very specific hue so deeply associated with Royère's unmistakable aesthetic.

Hans Coper

Hans Coper, Small bottle with disc top, circa 1967. Design London.

LK: Hans Coper, together with Lucie Rie, are undoubtedly my favorite potters of the 20th century. I’ve always had a soft spot for ceramics in my design life, so it’s only natural I’d choose this beautiful piece by Coper, with its calm and soothing palette.

P: Lastly, if you could have one work from the sale, what would it be?

LK: It’s got to be Adolf Loos’ clock. Loos is one of those geniuses who, the more you research, the more you fall in love with. This clock does what great art and design should do — it transports you. If I had this piece, every day I’d be taken to one of my favorite projects ever, which turns out to be his: Dr. Vogl’s flat. I like to imagine that Jean-Michel Frank drew inspiration from it when he designed one of my other favorite interiors: the Rockefeller apartment in New York.