For all the out-sized buzz it attracts, contemporary furniture design is almost non-existent in America. Blame it on conservative tastes, or a lack of a strong, homegrown design culture--the fact is, almost all of the contemporary design you see in the U.S. is imported from places such as Italy, Japan, and England. "Almost no one in America manufactures anything with an eye towards what's happening now," says Jaime Gray, whose New York boutique, Matter --along with David Alhadeff's The Future Perfect--has been leading the way in nurturing and promoting domestic design talent. He explains: "Brands that have been around for decades just aren't interested in the challenge or the risk."

Gray is now gambling that he can pull off what few companies have tried, by producing Matter Made, a complete line of furniture that he commissioned from a slew of designers (most are American, but a couple are not). "I'm hoping to be one the people spearheading a movement, and driving a new market." Gray tasked the designers he selected with riffing on American themes, in a contemporary way. Here's a look at how they pulled it off, and how Americana weaves its way into the collection.

Here and on the previous slides, Paul Loebach's "Great Camp" line of furniture. The pieces were inspired by Adirondack stick furniture from the 19th century--but they're rendered using cutting edge tech. What looks like sticks is actually the result of solid ash wood that's been carved using computer milling.

The entire line relies on small-run, American manufacturing: The designers themselves have sourced the production, in places ranging from Queens to upstate New York and Chicago. Almost of it is made to order.

Here, an almost minimalist, Japanese take on the classic American farm table, designed by Christopher Specce.

Another of Specce's creations, a riff on the ubiquitous Windsor chair.

Gray notes that the secretary desk, once a staple of American interiors, is all but extinct these days. Jonathan Nesci updated the icon for a contemporary interior. The piece is made completely of 1/4" thick panels of aluminum. But thanks to sophisticated manufacturing, the welds are totally invisible. "Visually, it's extremely pared down, with beautiful details," says Gray.

New Yorkers Zoe Coombes and David Boira--who work together as Commonwealth --fabricated the arm of their Truncheon task light using CNC milling, which creates those delicate, scalloped details.

Christopher Kurtz's Pallet daybed, which pays homage to the original scout cot that was a fixture in the military for a hundred years. The fine skeleton of American wood contrasts with the hearty leather.

Lindsey Adelman's Nick and the Candlestick, which borrows from the brass weights and measures used on single-beam scales...

...and Piet Houtenbos's stunning Halo chandelier. The ceramic ring is actually an oil reservoir, which supplies six wicks. "With Lindsey's and Piet's work, the American-ness is more subtle," says Gray. "But I think candlelight resonates in American culture because of pioneer legends, and the image of them living by candlelight."

The supports in Stephen Burks's Circus Shelves echo the stools used on stage during big-top circus extravaganzas of the 19th century.

Burks's lanterns are blown by glass artisans working in Long Island City, a neighborhood in Queens.

Pictures don't do justice to Silva + Bradshaw's Quadro desk, which is made of ribbons of aluminum, bent into shape by metalworkers in Brooklyn.

The F/K/A table lamp by D.C.-based youngster Jonah Takagi, whom we've featured before. The form of the shade comes from a saucepan--which was actually used in a prototype--but the finished form is ultra-refined. (With what Gray calls an almost Shaker sensibility.)