June 19, 2026, 5:06 am | Read time: 4 minutes
For centuries, living has been more than just having a roof over your head. Our homes tell a story about us. They show our priorities, how we live, and often, how much money we can or want to spend. This is especially evident with designer furniture. However, myHOMEBOOK author Lena Hackauf is not easily impressed by an expensive chair.
The famous “Eames Lounge Chair” by Vitra has long been considered an icon in furniture history. Black or white leather, a curved wooden seat shell, timeless design. Depending on the version, the piece, including the ottoman, costs around 12,000 euros. And although I can understand why this and many other expensive designer pieces have become so famous, this number mainly elicits one reaction from me: a shrug. Not because I don’t appreciate good design. On the contrary. I like furniture that is well thought out, well-crafted, and can be used for a long time. Quality has its price. Craftsmanship too. That’s beyond question. But the more expensive a piece of furniture becomes, the more it seems to be about something other than the furniture itself.
When Furniture Becomes a Status Symbol
Design classics have shaped the world of furniture. Their forms are still copied and reinterpreted today. Many of these designs have rightfully earned their place in design history. Yet, sometimes I feel that it’s not the design being admired, but the price. Because, as with many luxury goods, part of the fascination with designer furniture operates through exclusivity. They are coveted but not affordable for everyone. Owning a chair with a five-figure price tag inevitably demonstrates purchasing power.
That may sound unpleasant, but living is always a societal issue. Living space, furnishings, and possessions are closely linked to social status. That’s precisely why the discussion about luxury furniture cannot simply be dismissed as a matter of taste. When we see a USM cabinet or a Wagenfeld lamp, we immediately associate certain ideas with them: high-quality, stylish, timeless (and expensive). These associations are not accidental. They have been shaped over decades by design history, media, brands, and cultural conventions. The problem begins when we start confusing financial exclusivity with aesthetic superiority.
Of course, a piece of furniture can be excellently designed. But does a chair really become more beautiful because the price is particularly high? Or do we perhaps find it desirable because only a few people can afford it? Especially in the world of interiors, these boundaries often blur. Owning certain design classics signals not only a particular style but also cultural and financial capital. Thus, various designer pieces become ambassadors for privilege.
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Expensive Furniture Is Often Mistaken for Good Taste
When I enter a home, I’m not impressed by the most expensive item. I’m impressed when someone has developed their own signature style. It’s clear: taste is subjective at the highest level. For me personally, taste is not about buying the most famous design classics. Taste is more about where people create something unique, regardless of their budget. Where spaces exude personality instead of price tags. Where the cost of a piece of furniture is not the focus, but the idea behind it.
Anyone with enough money can buy furniture that is already considered stylish. But that alone doesn’t make a home interesting.
Furniture Is Meant to Be Used
It can be a lot of fun to furnish rooms, choose furniture, and gradually create an environment where you feel comfortable. But eventually, coffee gets spilled on the sofa; the dining table gets scratched. Children leave marks or–as in my case–the pet always throws up on the carpet instead of the tiles a few feet away. In any case, it’s annoying when life leaves traces on furniture and furnishings.
Still, I also can’t understand treating pieces of furniture as if they were artworks behind bulletproof glass. At the end of the day, you should be able to sit on a chair without constantly thinking about the price. Designer furniture exists somewhere in a gray area. On one hand, it’s a piece of furniture and thus a utility item; on the other hand, it’s (partly) an investment. To increase the value of a piece, it should naturally show hardly any signs of use even after 10 or 20 years. Understandable if you hardly want to use a chair, shelf, or lamp. For me, however, a piece of furniture loses part of its purpose when the concern for its value outweighs the joy of using it. At the end of the day, a home is not a museum, but a place to live.