Criticized in his own time for having no identifiable style, Saarinen developed a remarkable range of work, which depended on colour, form and materials. Saarinen showed a marked dependence on innovative structures and sculptural forms, but not at the cost of pragmatic considerations. He moved back and forth freely between the International Style and Expressionism, utilizing a vocabulary of curves and cantilevered forms, some of which have remained in production and became twentieth-century furniture icons.