talent to watch. The Bar sous le Toit showed her preference for designs that represented the machine age, a departure from the preference of the time for finely handcrafted objects made of rare woods. Perriand took advantage of the use of steel as a medium in this project, which formerly was used primarily by men. Despite the success of the Bar sous le Toit in getting her name known, Perriand was not satisfied with creating designs just for the well-off; she wanted to work for Le Corbusier and pursue serial production and low-cost housing. She was inspired by his books, because she thought his writings that criticized the decorative arts aligned with the way she designed. When she applied to work at Le Corbusier's studio in October 1927, she was famously rejected with the reply "We don't embroider cushions here." A month later however, Le Corbusier visited the Bar sous le Toit at the Salon d'Automne, which convinced him to offer her a job in furniture design. Work with Le Corbusier 1927–1937 At Le Corbusier's studio she was in charge of their interiors work and promoting their designs through a series of exhibitions. Perriand described the work as being highly collaborative between Le Corbusier, Pierre Jeanneret (his cousin) and herself; they were "three fingers on one hand." In 1928 she designed three chairs from Corbusier's principles that the chair was a "machine for sitting," and that each of the three would accommodate different positions for different tasks. At Corbusier's request, a chair was made for conversation: the B301 sling back chair; another for relaxation: the LC2 Grand Comfort chair; and the last for sleeping: the B306 chaise longue. The chairs had tubular steel frames. In the prototype models, the steel was painted; in production the steel tubes were nickel- or chromium-plated. In the 1930s Perriand's focus became more egalitarian and populist. Along with designing furniture and living spaces she was also involved with many leftist organizations, such as the Association des Écrivains et Artistes Révolutionnaires and Maison de la Culture. She also collaborated with the "Jeunes" in 1937 and helped to found the "Union des Artistes Modernes". In her designs from that period, rather than using chrome, which proved to be expensive, she began to use traditional materials such as wood and cane, which were more affordable. She also used some handcrafted techniques which she displayed at the 1935 Brussels