When French designer Pierre Paulin unveiled the GUBI F300 lounge chair in the late 1960s, its sculptural curves and experimental materiality set a new benchmark for modern seating, instantly cementing its place as a design icon.
Now, responsibly reimagined for the 21st century, the F300 returns alongside its companion GUBI T877 table at Cult Design — GUBI’s longstanding distributor in Australia and New Zealand. To celebrate, est Managing Director Miffy Coady spoke to GUBI CEO Marie Kristine Schmidt about the return of the iconic statement piece.
Produced in partnership with Cult Design.
GUBI is known for reviving design icons—how do you strike a balance between honouring legacy and pushing contemporary relevance?
Marie Kristine Schmidt: For GUBI, it’s never about nostalgia or simply bringing something back from the past, but about recognising the continued relevance of these pieces today. All new designs stand on the shoulders of the past and evolve from there. There’s a lot of really beautiful design that is still relevant today, hence, the conversation around timeless designs deserves to be revived, not because we want to remember the past, but because it makes sense right now.
When you look at the GUBI universe, you’ll always see a conversation between heritage and contemporary. Heritage anchors us — it connects past, present and future — but it only works when it evolves and speaks to the now. It’s what makes the brand interesting and compelling.
You’ve described your design process as ‘forensic’. Can you walk us through how that approach shapes product development at GUBI?
Marie Kristine Schmidt: The process always begins with a conversation with the family — in the case of the F300, with Benjamin Paulin. From there, we figure out what materials are available and any existing documentation or drawings. Then we start to study them by acquiring original pieces and sometimes even dismantling them to understand their construction.
In the case of the F300, there were very few drawings, so much of the work came down to studying proportions, scanning, and examining the material. It was a complex piece to produce in its time, because it was originally made with fibreglass — a material we would no longer use today for sustainability reasons. That challenge led to key learnings, particularly the need to find a viable alternative without compromising the design.
Pierre Paulin’s F300 Lounge Chair reissued by GUBI.
“The F300 speaks to the past, the present, and the future. It was designed to belong to the future, and that sense of futurism fascinated us.”
– CEO OF GUBI, MARIE KRISTINE SCHMIDT
As GUBI expands globally, how do you maintain a consistent brand voice while tailoring experiences to different cultural markets?
Marie Kristine Schmidt: It’s important to know where you come from. We’re not trying to change our brand. We know who we are and are proud of our heritage — we’re from Denmark, and our design studio is in Milan, so we combine Scandinavian clarity with southern warmth. When you think about it, GUBI is rooted in culture, art, and fashion — elements that resonate across geographies.
Being locally anchored, we need to understand what actually matters locally — understanding the colours, materials, textiles, and ways of living that matter to each place. We always try to launch into the market with this humbleness, and we’re fortunate to work with local architects, designers, and partners who can support us on the journey. However, our campaigns remain consistent, we don’t change our brand depending on where we are — they are developed with a global outlook from the start.
The recent Pierre Paulin reissues have received global attention. What drew you personally to these particular pieces? What is the process for selecting products for reissues?
Marie Kristine Schmidt: We’ve worked with the Paulin archive for some years, most notably on the Pacha collection. The process always begins with a conversation — we bring a perspective, the archive brings theirs, and together we explore which stories and narratives are worth revisiting. Where Pacha has a distinctly 1970s spirit — low-slung and beautifully staged — the F300 speaks to the past, the present, and the future. It was designed to belong to the future, and that sense of futurism fascinated us. It’s also a sculptural piece that reveals another side of Paulin’s work, which felt important to share within the GUBI conversation.
When it comes to selecting products for reissues more broadly, we think in terms of building moods and stagings for seasons ahead — often one, two, or three years into the future. We map out a portfolio that taps into relevant ways of living, always aiming to stay half a step ahead. We thrive on pulse and dynamism, pushing forward into new conversations and possibilities.
How do you define the emotional or experiential value of a GUBI product—and how important is that in today’s design landscape?
Marie Kristine Schmidt: Design is emotional — choosing GUBI means that design matters. Furniture needs to be functional, but it also has soul and a story. At the same time, furniture becomes a container for memories — it anchors experiences with family, and pieces can be inherited. Good design makes you fall in love, triggers memories and emotions, and that’s where its value lies.
The revived GUBI T877 side table is launching alongside the F300, bringing a playful counterpoint to the chair’s sculptural presence.
“For us at GUBI, it's a fundamental prerequisite that we discuss sustainability. Sustainability is a non-negotiable, but it's also about longevity.”
– CEO OF GUBI, MARIE KRISTINE SCHMIDT
From Copenhagen to New York and now London—what role does place play in shaping GUBI’s retail and design strategy?
Marie Kristine Schmidt: Place is important. In London, we didn’t want a standard box showroom but a space with local context and respect, which is why we chose a Georgian townhouse that shows a different perspective for GUBI. It allowed us to present the brand in a more domestic, lived-in setting. The smaller rooms let us curate distinct atmospheres — living, dining, even a spa or restaurant experience. Each city presents GUBI differently, yet always in a way that feels authentic to the brand.
You’ve collaborated with both emerging designers and design estates. How do you approach building trust and creative alignment in these partnerships?
Marie Kristine Schmidt: It’s about respect and time. With estates, the responsibility lies in continuing the legacy, which means investing in telling the story properly. With contemporary designers, it’s about building long-term collaborations. Trust is earned by presenting products beautifully, honouring their stories, and ensuring that designers can be proud of the results.
What inspired GUBI to select HiREK®, a high-performance polymer made from industrial plastic waste, for the F300 reissue—and how does this choice align with your commitment to sustainability?
Marie Kristine Schmidt: The F300 was originally made in fibreglass, and we needed something that maintained the material’s original intent — lightweight, glossy, and durable. HiREK® provided those qualities while also being sustainable. Finding a partner capable of producing it was challenging, but we succeeded with a manufacturer in Italy. This allows us to preserve the F300’s original design intent while meeting contemporary standards.
“Design is emotional. Good design makes you fall in love and triggers memories, and that’s where its value lies.”
– CEO OF GUBI, MARIE KRISTINE SCHMIDT
The F300 now comes in fresh options like Alabaster White and 1970s Pastel Green, along with a companion T877 side table. How do these new colourways and the enhanced material flexibility reflect contemporary design trends and consumer expectations?
Marie Kristine Schmidt: For the F300, we selected subtle, timeless colours that people can live with over the long term. It’s not a product that takes itself too seriously — it’s sculptural. The T877 side table, being a smaller and more accessible purchase, allowed us to introduce more playful colours, because people tend to be more willing to take colour risks with smaller purchases.
Looking ahead, what do you believe will define the next era of design—and where does GUBI fit into that vision?
Marie Kristine Schmidt: Longevity and timelessness will remain key. The home is increasingly central as a form of personal expression, especially in a digital age where it reflects how people present themselves. Design must be functional and beautiful, but also representative of individual identity. Next year, we’ll continue our sustainability journey, expand indoor–outdoor offerings, and explore new materials like glass. Materiality will be a strong focus, alongside our ongoing commitment to legacy and innovation.
Marie Kristine Schmidt, CEO of GUBI
