This summer, the Vitra Design Museum invites visitors to experience The Shakers: A World in the Making—a groundbreaking exhibition that examines one of history’s most distinctive design movements and its unexpected relevance in the 21st century.

How a Radical 18th-Century Sect Continues to Shape Contemporary Design?

Running from 7 June to 28 September 2025, the exhibition presents over 150 original Shaker artefacts alongside contemporary commissions that bring their legacy into the present.

*Meetinghouse bench, Canterbury or Enfield, NH, c. 1855. Photo: © Vitra Design Museum / Alex Lesage, courtesy Shaker Museum, Chatham, New York*

The Shakers, a religious community born in 18th-century England and later established across the American colonies, are often remembered for their minimalist furniture and communal lifestyle. But their contributions to design go far beyond aesthetics. With a belief system rooted in equality, celibacy, pacifism, and communal labour, the Shakers approached design as an act of spiritual devotion. Their work—ranging from architecture and furniture to tools and textiles—embodied these values with clarity and intention.

Design as Worship

Curated by Mea Hoffmann (Vitra Design Museum), Shoshana Resnikoff (Milwaukee Art Museum), Hallie Ringle and Zoë Ryan (Institute of Contemporary Art, Philadelphia), The Shakers: A World in the Making seeks to recenter the Shaker story within its complex social, spiritual, and material origins. Rather than reducing the “Shaker style” to a set of formal traits, the show presents it as the outcome of a deeply integrated worldview—one where worship, work, and design were indivisible.

Milan-based studio Formafantasma crafted the exhibition design, creating a space where history and contemporary art intersect. Alongside rare Shaker artefacts—furniture, tools, architectural elements, and garments—visitors will encounter new works by seven international artists and designers. These contemporary voices respond to Shaker culture in ways that are personal, critical, and often surprising.

Bonnet form, North Family, Mount Lebanon, NY, 1860 Shaker Museum, Chatham, New York

Cobbler’s bench, Mount Lebanon, NY, approx. 1845 Shaker Museum, Chatham, New York

Seed box, Mount Lebanon, NY, c. 1880. Shaker Museum, Chatham, New York

Four Thematic Sections: From Belief to Innovation

*‘The Shakers: A World in the Making’ © Vitra Design Museum, graphic design: Matt Kay, A Practice For Everyday Life based on photos by Alex Lesage.*

The exhibition unfolds in four chapters, each anchored by a quote from Shaker members:

“The Place Just Right”

This opening section sets the scene for Shaker life, exploring the community's values, social structure, and domestic architecture. It features key architectural pieces like a four-metre bench and a staircase from a Shaker dwelling. Multimedia installations, including a video piece by choreographer Reggie Wilson, explore Shaker worship through movement and sound.

“When We Find a Good Thing, We Stick To It”

Here, the focus shifts to Shaker material culture and its codification in texts such as the Millennial Laws. Functional yet elegant items—chests, sewing desks, and the iconic Shaker chair—illustrate the group’s pursuit of order and efficiency. Contemporary artist Kameelah Janan Rasheed expands on this legacy through abstract glyphs inspired by the writings of Mother Rebecca Cox Jackson, a Black Shaker Eldress.

“Every Force Evolves a Form”

This section explores how the Shakers, while committed to isolation, actively engaged with innovation and commerce. From oval boxes to power tools, their products exemplified quality and practicality. New commissions by Christien Meindertsma (a biodegradable coffin woven from Dutch willow) and Finnegan Shannon (inclusive design interventions) explore the Shakers' influence on sustainability and accessibility.

“I Don’t Want to be Remembered as a Chair”

The final section reflects on the Shakers’ lasting influence. It features “gift drawings” made by Shaker sisters during visionary experiences, as well as a large-scale embroidered artwork by Chris Halstrøm, who equates her stitches to prayers. As the centrepiece, Amie Cunat’s Meetinghouse 2 invites visitors into a reinterpretation of a Shaker place of worship—prompting reflection on spirituality, silence, and communal life.

Oval box, Mount Lebanon, NY, 1860 Shaker Museum, Chatham, New York

Glove form, Hancock, MA, 1880s Shaker Museum, Chatham, New York

A Dialogue Across Time

For Director Mateo Kries, the exhibition represents Vitra Design Museum’s commitment to exploring design through broad cultural and philosophical lenses. “Our furniture collection includes several Shaker pieces, which were part of the inspiration to realise this exhibition,” Kries says. “In light of current political shifts, this transatlantic collaboration feels more vital than ever.”

Co-curator Mea Hoffmann adds, “We wanted to explore the Shaker legacy not only through historical artefacts but through the eyes of contemporary artists and designers. The result is a dynamic dialogue that bridges centuries.”