In 1860, Antoine Roset—a nineteen-year-old waiter from Cruseilles in Haute-Savoie—was captivated by the magnificent beech forests of Bugey. He settled in Oussiat near Pont d'Ain and established a small factory manufacturing bentwood canes for parasols. By 1892, he'd purchased property in Montagnieu and installed water wheels on the Brivaz river to power his wood lathes, employing about thirty workers. But when women abandoned parasols at the century's end, Antoine pivoted brilliantly—converting his lathes to produce chair legs and frames, then complete chairs. A sign of fate, indeed.

His son Emile expanded the business, but tragedy struck in 1946 when Emile died in a road accident. Jean Roset—Antoine's grandson—assumed control and transformed the company during post-war reconstruction. With approximately fifty employees in 1950, Jean shifted focus to contract furniture, manufacturing modern Scandinavian-inspired pieces for institutions: colleges, universities, hospitals, and retirement homes. The material remained beech—inexpensive and easy to machine—but Jean innovated by combining metal, plastic, and precious woods like mahogany and rosewood. Roset furnished universities across Paris, Grenoble, and Chambéry, plus lecture halls at INSA Lyon.

By the 1960s, Jean's sons—Pierre and Michel Roset, Antoine's great-grandsons—joined the business during a period of creative explosion. They recognised an opportunity: pivot from institutional contract work to residential furniture, collaborating with visionary interior architects and designers rather than manufacturing in-house designs. This decision would define Ligne Roset's legacy.

The transformative year arrived in 1973. The company officially adopted the "Ligne Roset" brand, opened its first dedicated store, and launched Michel Ducaroy's Togo sofa—all simultaneously. The Togo proved revolutionary: an unstructured form with no hard points, just pillowy polyurethane foam encased in quilted fabric, allowing occupants to lounge, work, eat, or sprawl in virtually any position. It won the prestigious René-Gabriel prize for "innovative and democratic furniture" offering exceptional value. Cartoonist Claire Brétécher illustrated her "Frustrés" characters wallowing in Togos. Jacques Séguéla created advertising showing a modern woman sitting cross-legged on a Roset sofa, shelling peas. The brand was perceived as unconventional, even subversive—exactly the positioning Michel and Pierre sought.

The Togo became legendary. Over 1.2 million units sold across seventy-two countries. In 2020, it evolved into a complete collection—armchairs, two-seaters, ottomans—all manufactured using recycled, recyclable, non-toxic materials whilst maintaining Ducaroy's original spirit of informal, contemporary living.

Ligne Roset's collaborative philosophy attracted extraordinary talent: Pierre Paulin (whose 1953 Mushroom chair and Pumpkin armchair remain icons), the Bouroullec brothers (whose Ploum sofa—asymmetrical, cloud-like, accommodating four people in maximum comfort—resulted from extensive research into adaptability), Annie Hiéronimus (whose 1980 Plumy required bespoke manufacturing with hand-glued foam blocks and goose down), Philippe Nigro, Inga Sempé, and over seventy designers worldwide.

Today, Ligne Roset remains family-run into its fifth generation, with Pierre and Michel still guiding the company they've led for over half a century. Production remains concentrated in Briord, France—one of Europe's most advanced manufacturing complexes employing sophisticated UV acrylic varnishes that eliminate biocides, heavy metals, and halogenated compounds. All furniture uses FCBA-certified forest-friendly wood. Approximately 56% of factory waste is recycled. In winter, cabinetry is heated using an oven fuelled by wood scraps and sawdust.

With over 750 retail distributors across dozens of countries and forty-plus showrooms worldwide, Ligne Roset maintains its core philosophy: open-mindedness as business strategy, creativity as philosophy, non-conformism as policy, and intellectual curiosity as character trait. As Michel Roset explains: "A Ligne Roset chair or piece of furniture is always more than wood and foam."

At HFOC, we specialise in sourcing authentic second-hand Ligne Roset pieces—from the iconic Togo and Plumy to Paulin's classics, from the Bouroullec brothers' innovations to contemporary collaborations. Each represents over 160 years of French craftsmanship, offering discerning buyers furniture that celebrates bold, beautiful living at accessible prices.

Ligne Roset doesn't follow trends. It defines French design audacity.