In 1925, her projects from schoolwork were selected to be a part of the Exposition Internationale des Arts Décoratifs et Industriels Modernes.

Her design featured an abundance of light-reflecting aluminium and nickel-plated surfaces, as well as leather cushions and glass shelves.

[4] 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."

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.

[1] 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.

[8] Many of her designs from this period were inspired from the vernacular furniture of Savoie, where her paternal grandparents lived — a place she visited often as a child.

While in Japan she advised the government on raising the standards of design in Japanese industry to develop products for the West.

Manufacturers of materials such as formica, plywood, aluminum, and steel sponsored the salons of the Société des artistes décorateurs.

Designers who exhibited their experimental work at the salons in this period included Perriand, Pierre Guariche, René-Jean Caillette, Jean Prouvé, Joseph-André Motte, Antoine Philippon and Jacqueline Lecoq.

Some of her work at that particular period of time includes: The ski resorts at Les Arcs in Savoie combined Perriand's interests in prefabrication, standardization, industrialization and mountain architecture, and has been called the climax of her career.

Importantly standardization of the wet units (bathrooms and kitchens) increased efficiency and allowed them to build 500 inhabitable studios very quickly.

Their chaise longue, for this reason, bears some similarity to Thonet's bentwood rocker although it doesn't appear to rock when sitting on the 4-legged base.

Perriand wrote in a memoir: "While our chair designs were directly related to the position of the human body...they were also determined by the requirements of architecture, setting, and prestige".

In 1926 Perriand married her first husband, Percy Kilner Scholefield, and they converted their attic apartment into a 'machine age' interior.