The rotund Bibendum armchair was inspired by the tubular steel experiments of Marcel Breuer at the Bauhaus and the name of the chair originates from the character created by Michelin to sell the tires.
It was created in the late 1910s for an apartment of Madame Mathieu Lévy, a highly successful milliner, in Rue de Lota in Paris. Eileen Gray, Irish designer and pioneer of the Modern movement in architecture, was commissioned to redesign the apartment, and in that process, she also created most of the furniture.
It is one of the 20th century’s most recognizable furniture designs.
Le Corbusier LC2 was part of the Le Corbusier collection, created in 1928 as a result of collaboration of the famous Swiss architect and designer Le Corbusier with his cousin Pierre Jeanneret and French architect and designer Charlotte Perriand.
It is an armchair with a polished chrome tubular frame and 5-inlaid leather covered cushions. As a spirited advocate of Modernism, Le Corbusier believed that the binomial shape/function value must be expressed in the three dimensional manifestation of any daily used and useful object, making this piece as relevant today as it was 80 years ago. In 1964, while he was still alive, Le Corbusier gave exclusive rights to manufacture his furniture designs to Milan-based company Cassina.
Charles and Ray Eames, husband and wife, made the Eames Lounge Chair and ottoman, correctly titled Eames Lounge (670) and Ottoman (671), as a gift for their friend Billy Wilder, the director of “Some Like It Hot” and “Sunset Blvd.” It was released in the mass market only in 1956 after the collaboration with Herman Miller and his furniture company that was responsible for its manufacturing.
The “original” (vintage) chairs used Brazilian rosewood veneers and were constructed of five layers of plywood. There were also rubber spacers between the aluminium spines and the wood panels, later replaced by hard plastic washers. In the earlier sets, the zipper around the cushions may have been brown or black, while in newer sets the zippers are black. The shells and the seat cushions are composed of two curved forms interlocking to form a solid mass.
The Eames Lounge Chair remains an icon of mid-century design, and can even be found in the permanent collection of New York’s Museum of Modern Art.
Barcelona chair was created by the acclaimed German architect and Bauhaus director Ludwig Mies van der Rohe for the German Pavilion at the International Exposition in 1929, taking place in Barcelona.
The chair features the pure compositional structure that epitomizes modern architecture. In mass production since 1953, when the designer accorded the exclusive manufacturing and sales right to Knoll, Barcelona chair comes either with stainless or chrome frame and body made out of individual leather squares carefully welted together.
As van der Rohe, one of the pioneers of modern architecture, use to say: “Architecture is a language; when you are very good you can be a poet.” His Barcelona chair surely represents one of the most wonderful poems ever written.
In 1951, Arne Jacobsen, one of Denmark’s most influential 20th century architects and designers, completed work on the Ant Chair – Model 3100, an intricately molded plywood seat on three steel legs. This chair was followed by the simpler hourglass form of Model 3107 – Series 7 Chair, in 1955. Both, the Series 7 and the Ant chair, were inspired by a chair made by Charles and Ray Eames, according to Jacobsen himself.
Like the Ant, the Series 7 was perfect for modern living being light, compact and easily stackable. Commercial success followed – over 5 million units have been produced exclusively by Fritz Hansen ever since its invention. It is probably the most copied chair in the world.
Both buildings and products of Jacobsen, like his Swan and Egg Chairs, rely on the modernist ideals with addition of Nordic love of naturalism, also evident in Model 3107.
Philippe Starck, probably the best-known contemporary designer hailing from France, reinvented the classic Louis XV armchair for Kartell in 2002.
Simple and pure design of Louis Ghost Armchair is a postmodern triumph of technical innovation and historical style. Translating the varied lines and formal geometry of its predecessor into a single form of translucent or opaque black or white injection-molded polycarbonate, it is a long-lasting quality product.
Louis Ghost is a stable and robust chair, resistant to all blows, scratches, and weather conditions. It is a chair with a strong, charismatic personality of guaranteed aesthetic appeal.