Louise Roe Has A Thing for Chairs

Anne-Sophie Rosseel, an interior and furniture designer, established House of RoRo after identifying a gap in the children's furniture market. Her motivation stemmed from a personal need for functional, ethically produced, and aesthetically pleasing children's furniture for her son that would integrate seamlessly into a home environment, rather than being confined to a playroom. Rosseel found existing options to be predominantly plastic, disposable, and overly cutesy, lacking the longevity and timeless design she sought. The initial prototypes of her furniture were developed for her own home and garnered significant positive attention from visitors, encouraging her to pursue the venture further. The process of creating her own collection offered a refreshing creative freedom, unburdened by client specific demands. The decision to officially launch House of RoRo was solidified when T Magazine expressed interest in featuring the upcoming line, providing an unexpected platform for her fledgling business. House of RoRo operates as a design studio specializing in children's furniture and objects, aiming to balance practicality with artistic expression. A core principle of the brand is the creation of high-quality, sustainable furniture that does not compromise on beauty. The brand's "Interlockables" collection exemplifies this philosophy, featuring flat-pack furniture designed like "puzzle pieces" that children can assemble themselves, with some parental assistance. This design choice addresses the common issue of children's furniture being short-lived and discarded, as House of RoRo's pieces are intended to grow with the child and endure over time. Rosseel emphasizes the importance of ergonomic design over mere cuteness, believing that children appreciate furniture that is comfortable and interactive. The Interlockables pieces are designed to be versatile and timeless, allowing them to fit into various home settings, including living rooms, without needing to be hidden away. Furthermore, recognizing that children's toys often accumulate, the furniture incorporates storage solutions to combine functionality with aesthetics. The brand prides itself on its ethical production practices, manufacturing locally with skilled artisans who receive fair wages. Production occurs in small batches to minimize waste, and even leftover material scraps are repurposed for samples or puzzles, demonstrating a comprehensive commitment to sustainability and conscious design. Her son, Iggy, is credited as a primary inspiration and motivator for the business, serving as the initial recipient and tester of the furniture. The endeavor, while demanding, was also seen as an opportunity to instill in her son the value of hard work in achieving one's aspirations. #InteriorDesign #FurnitureDesign #ChildrensFurniture #SustainableDesign #EthicalProduction #HouseOfRoRo #AnneSophieRosseel #Entrepreneurship #ProductInnovation

Benjamin Hubert, a London-based designer, collaborated with Italian brand Moroso to create the Talma lounge chair, a piece of furniture designed to be both compact and innovative. The chair's name, 'Talma,' references a type of cloak, which reflects its design aesthetic: it appears to be wrapped in a padded textile, much like a body would be enveloped by a cloak. This aesthetic choice is integral to the chair's construction and its environmental considerations. Beneath the distinctive padded exterior lies a lightweight metal frame. This construction method aligns with the design studio's objective of reducing the material usage, weight, and overall cost typically associated with the traditional manufacturing of upholstered chairs. The frame is crafted using CNC-shaped steel, and integrated upholstery straps provide essential support. This approach allows for a significant reduction in the amount of polyurethane foam required for cushioning, thereby contributing to a lower carbon footprint for the product. The custom-made textile used for the chair's padded cover was developed through a collaboration with Innofa. This textile is specifically designed to incorporate padding directly, eliminating the need for extensive additional foam. The cover is meticulously secured to the chair's frame using strategically placed zippers and two fastenings located at the front of the chair. This fastening system not only ensures the cover remains in place but also contributes to the chair's neat and tailored appearance. The Talma lounge chair represents a design that prioritizes both aesthetic appeal and environmental responsibility. By utilizing a minimal metal frame and an integrated padded textile cover, Benjamin Hubert and Moroso have developed a lounge chair that is not only visually striking but also mindful of its material impact. The design showcases an innovative approach to furniture construction, where the outer layer is not merely decorative but functionally essential in providing comfort and structural integrity while reducing the overall environmental footprint. #LoungeChair #BenjaminHubert #Moroso #FurnitureDesign #SustainableDesign #ProductDesign #InteriorDesign #ModernFurniture

The article highlights nine iconic pieces of furniture, traditionally attributed primarily to male designers, revealing the significant contributions of women to their creation. It challenges the historical perception of furniture design as a male-dominated field, emphasizing that women often pioneered functional and aesthetically pleasing designs, partly due to their intimate understanding of home environments. The piece begins with Charlotte Perriand, an idealist who enrolled in Paris’ Central Union of Decorative Arts school in the 1920s as one of the first women to study furniture design. Despite an initial rejection from Le Corbusier, her innovative tubular steel furniture quickly earned her a place in his studio, leading to her co-design of the LC4 Chaise Longue in 1928, alongside Le Corbusier and Pierre Jeanneret. This piece is recognized for its adjustable design and use of industrial materials, embodying modernist principles. The article then discusses Ray Eames's pivotal role in the Eames Lounge Chair (1956), a collaboration with her husband Charles Eames. This design, often solely credited to Charles, is presented as the culmination of years of work in molded plywood, advanced through a U.S. government contract during World War II. Florence Knoll's namesake Knoll Sofa (1956) is featured as a design born from necessity, addressing the need for versatile furniture that suited both residential and commercial spaces, and known for its clean lines and timeless appeal. Nanna Ditzel's Hanging Egg Chair (1959) is celebrated for its unique form and challenge to traditional notions of practicality and beauty, cementing her status as "The Grand Dame of Danish Design." Eileen Gray's Bibendum Chair (1926) is introduced as a politically charged design, serving as her feminist response to Le Corbusier's 'Grand Confort.' Inspired by the Michelin tire company's mascot, the chair features rounded, upholstered forms over a tubular steel base, blending Art Deco glamour with industrial modernism. Lilly Reich's often-overlooked collaboration on the Barcelona Chair (1929) with Mies van der Rohe is also brought to light. This elegant design, drawing inspiration from ancient Egyptian folding stools, signified luxury and status, with its graceful curves departing from earlier modernist efficiency. Margarete Schütte-Lihotzky's Frankfurt Kitchen (1926) is presented as a revolutionary contribution, transforming kitchen design with a focus on efficiency and hygiene. Designed for social housing, it featured built-in storage and thoughtful material choices, empowering women by streamlining household tasks. Lina Bo Bardi's Bowl Chair (1951) is recognized for its playful aesthetics and ergonomic design, with a semi-spherical seat that can be adjusted for varying comfort. Finally, Zaha Hadid's Z-Chair (2011) showcases a futuristic and fluid design crafted from bent aluminum, illustrating her bold architectural thinking translated into furniture. #FurnitureDesign #WomenInDesign #DesignClassics #MidCenturyModern #ModernistFurniture #InteriorDesignHistory #FemaleDesigners #IconicChairs #HomeDecor

The article discusses the process of selecting a lounge chair for a living area, highlighting the Rove Concepts Mia Lounge Chair as a primary recommendation. It addresses the common challenge of finding a chair that combines stylistic appeal with practical functionality. The article emphasizes the convenience of the ordering process from Rove Concepts, noting that the Mia Lounge Chair arrives quickly, contrasting with the often lengthy shipping times experienced with other furniture companies. A key feature highlighted is Rove Concepts' augmented reality (AR) shopping experience. This technology allows customers to visualize the Mia Lounge Chair within their own living space before making a purchase, thereby simplifying the decision-making process and reducing uncertainty. This virtual placement capability helps ensure the chair's compatibility with existing decor and room aesthetics. For frequent shoppers or those planning multiple furniture purchases, the article introduces the Rove Concepts membership program. This program, costing $200 annually, offers significant benefits, including a 25% discount on purchases, a 20% voucher for future use, premium concierge services, and professional design consultations. The article suggests that these benefits quickly offset the membership cost, especially for individuals furnishing their homes gradually. Upon delivery, the chair's modern and elegant design is emphasized, along with its comfort and practicality. The prior use of AR tools ensures that the chair seamlessly integrates with the existing sofa, table, and overall ambiance of the room, providing the desired additional seating. The article promotes the Mia Lounge Chair as an ideal solution for updating home decor without incurring excessive costs or facing the inconvenience of product returns. Further reinforcing its appeal, the article mentions that the Mia Lounge Chair has been featured in a celebrity setting, specifically Selena Gomez's office. Selena Gomez reportedly chose the chair in a popular pearl color with a boucle material, underscoring the chair's contemporary style and trendiness. Boucle material is highlighted as a current popular choice and a necessary element for modern living spaces. The article reiterates the importance of utilizing the AR shopping tool, encouraging prospective buyers to experiment with placing the Mia Lounge Chair in various locations within their home to confirm its perfect fit and aesthetic contribution before finalizing a purchase. The piece concludes by positioning the Mia Lounge Chair as a valuable addition to any home, facilitated by Rove Concepts' innovative shopping tools and membership benefits. #RoveConcepts #MiaLoungeChair #HomeDecor #FurnitureShopping #ARShopping #InteriorDesign #ModernLivingSpace #BoucleMaterial #DesignConsultation

Louise Roe, a television presenter, fashion journalist, and author, relocated from Los Angeles to Oxfordshire, England, with her husband, Mackenzie Hunkin, and their daughter, Honor. They settled into an 1819 Georgian farmhouse, which Roe felt an immediate connection to. Having envisioned her ideal home design for years, Roe embarked on a six-month renovation project after securing a highly-regarded contractor. The initial 12 weeks of renovation focused on essential tasks before the family moved in, including gutting the kitchen, relocating plumbing fixtures, and replacing floors. A significant discovery during this phase was the uncovering of original Victorian tiles beneath the flagstones in the entryway, which delighted Roe and required minimal restoration. Roe deliberately maintained the original layout of the farmhouse, with the exception of raising a doorway. She appreciated the distinct zones created by the existing structure, each serving a unique purpose and possessing its own character. For the kitchen, she prioritized specific finishes, opting for British Standard cabinets painted in a sage green to integrate with the natural surroundings. Other key elements included an extra-deep Irish farmhouse sink beneath a window and an AGA stove, which Roe had always desired and learned to cook on. Despite objections from family and tradesmen regarding the room's narrowness, Roe insisted on an island, commissioning a custom high table made from the same wood as the floors, providing valuable workspace. Counter stools from their Los Angeles home were upholstered in water-resistant Peter Dunham fabric. An adjacent breakfast nook was transformed into a playroom for Honor, featuring a vibrant curry yellow, a color Roe had long admired. Edward Bulmer, a paint expert, provided guidance on historical color choices for various rooms. The drawing room, the grandest space, was painted in a brick hue that shifts appearance with the light. Roe also undertook the project of commissioning a new ceiling rose to replicate the original, which had been removed. She intentionally designed this room without a television, focusing seating around the fireplace and adding floor lamps with ground-level electrical sockets. A bureau desk, her most significant indulgence, now serves as her workspace in this room. The television was placed in a compact snug, a British term for a media room, featuring built-in cabinets for electronics and book display. Roe, an avid reader, designed this room with floor-to-ceiling shelves. The joinery in the snug was painted in a high-gloss muddy brown, a color her painter initially disliked but later appreciated as it transformed into a rich dark green, complementing her collection of old Penguin Classics. This same custom cabinetry was extended to her dressing room, where a dusty rose paint matched a fringed ottoman. A small powder room showcases blue Nina Campbell wallpaper, artwork, and mirrors, creating a nostalgic feel reminiscent of their California life. Matching roman shades integrate with the traditional English farmhouse style, while an oversized Slim Aarons photograph adds a playful touch. A guest bathroom features floral Cole & Son wallpaper, with a bright cherry red from the pattern used for the window covering and sconce shades. Roe intentionally retained the hardwood floor to ground the vibrant colors. Another guest room in blush tones incorporates a green and white fabric from Soane for curtains and a scalloped headboard, coordinating with the adjacent teal bathroom, which was updated with a historically accurate claw-foot tub. Roe's favorite bedroom, destined for her daughter, is nestled in the eaves and adorned with Pierre Frey wallpaper and a matching headboard pattern, a design she had admired for years. She also shared her go-to vintage shop, local home stores, plant and gardening supplier, and online home store, emphasizing her love for books and her Oka sofas, and her desire to experience the house's first Christmas centuries ago. #HomeRenovation #InteriorDesign #GeorgianFarmhouse #ColorPalette #CustomCabinetry #VintageFinds #BritishInteriors #HomeDecor #FamilyHome

Ella Doran, an award-winning London-based designer, established her homewares business in the late 1990s, gaining recognition for her innovative use of photography-based images and patterns on household products. Her involvement in the RSA's Great Recovery project, which focused on restoring a sofa destined for landfill, reignited her commitment to the circular economy. This led to her latest endeavor, the Clean Up Plastic Camo Chair, a collaborative, one-off piece designed to raise awareness about plastic pollution and the issue of furniture waste. The project involved a collaboration with Urban Upholstery (Andrea and Patrizia) for the chair's re-making. Public workshops were held where Andrea rebuilt the chair from its stripped frame, demonstrating the intricate process of re-upholstery to the public and school children, who were particularly intrigued by the chair's origin as an abandoned piece found on the streets of Hackney. The upholstery textile itself was a result of another collaboration with designer Sophie Thomas, who collected waste plastic from beaches worldwide. Doran then photographed these 'jewel-like' plastic pieces, creating a textile design that subtly resembles a Terrazzo floor. The design's true nature, revealed upon closer inspection, communicates an optimistic message of reuse in contrast to the negative reality of plastic pollution. The inspiration for this project stems from a shared passion for the circular economy, emphasizing education and advocating for reuse and repair over recycling or landfill. Doran aims to promote transparency in the textile supply chain, eliminate harmful chemicals in manufacturing, and ensure fair labor practices. The re-design of an abandoned chair serves as a creative illustration of how furniture can be diverted from landfills. A key focus of the project is to highlight the detrimental effects of plastic waste, particularly single-use plastics, and their impact on oceans. The Clean Up Plastic Camo Chair incorporates various waste materials. The Chesterfield-style buttons are crafted from discarded plastic bags found in London. The chair's back is intentionally left open to showcase the craftsmanship involved in its restoration. The seat features hand-tied coil springs, FR coir fiber, horsehair, recycled wool felt, and calico. The legs are covered in acid-blue vinyl fabric off-cuts, precisely sewn. Bright red plastic netting, also salvaged from the street, finishes the underside of the chair. The printed velvet fabric used is made from recycled PET bottles, with the design applied using a water-based dye sublimation process that conserves water. Doran's interest in using waste as a raw material began over a decade ago, motivated by a desire to refocus her company's purpose and material usage. Her company has transitioned to a make-to-order model and offers a take-back service for roller blinds to facilitate material reuse and recycling. She believes in shifting global economies towards more inclusive and circular models that prioritize sustainability and reduce carbon emissions. The chair was exhibited at the Shoreditch Design Triangle during the London Design Festival, where it received positive feedback for its intricate work and powerful message. The chair is designed for longevity within the circular economy, with components like the recycled velvet being replaceable and recyclable. There is a growing awareness of waste as a raw material, driven in part by events like the COVID-19 pandemic, which has highlighted community strength and the climate emergency. Doran, as part of the URGE creative collective, actively works to connect conceptual thinking with actionable solutions for environmental challenges. The future of waste as a raw material is seen as bright, with ingenuity and creativity leading to regenerative systems, bio-based plastics, and mycelium products, aligning with principles like those outlined in Kate Raworth’s *Doughnut Economics*. #CircularEconomy #SustainableDesign #WastePlastic #UpcycledFurniture #EnvironmentalAwareness #TextileInnovation #EllaDoran #HomeFurnishings #InteriorDesign

This article compiles a series of expert responses from Celia Rufey, addressing a variety of common furniture-related queries from readers. The questions span a range of topics including sourcing specific furniture styles, dealing with furniture issues, and seeking advice on decor and restoration. The initial query focuses on finding a two-seater Knole-style sofa with simpler lines within a budget of approximately £3,000. Celia suggests exploring companies like Sofa.com and Seriously Sofas, highlighting that some offer customization options like adjusting proportions or removable covers, which can help achieve the desired aesthetic and stay within budget. For example, Sofa.com's Descartes or Avalon models can be modified for around £2,000 even with increased arm and back height. Bespoke Sofa London and independent upholsterers are also recommended for custom pieces. The second question concerns sourcing vintage factory stools or chairs for a kitchen. The Old Cinema is recommended for restored vintage industrial furniture, particularly swivel chairs from the 1930s to 1950s, priced between £80 and £200. Ormston Saint, an online supplier, offers 1950s Bauhaus swivel chairs and 1940s machinists' chairs for £250 to £395. For new industrial-style stools, Cult Furniture and Cox & Cox are suggested. A reader seeking a large, contemporary white dining table for around £400, capable of seating 10 and suitable for both parties and children's activities, is advised that this is a challenging request within the budget. Suggestions include the Lia 10-seater table from John Lewis for £299, the Multi matt white lacquer dining table from Go Modern for £510, or the Bramante from Made for £499. Less contemporary but robust options like the Halland Extendable table from Fashion For Home and the Beaufort table from The Cotswold Company are also mentioned, with an emphasis on solid wood tops for refinishing. For a plain-framed four-poster bed without detailing, Raft offers a substantial option in reclaimed teak. Benchmark provides a slim-profile oak bed, while Lombok features a dramatic black lacquer style. The Natural Bed Company and The Four Poster Bed Company are also listed for various wood options. Another reader inquired about a glass-framed coffee table and side tables with a metal frame, excluding brass. Tom Faulkner's Madison range, available in various finishes and sizes, is suggested, with a large rectangular coffee table costing £1,199 and side tables from £499. Finding a purple velvet corner sofa for approximately £2,500 is addressed by suggesting Sofa.com for its competitive pricing and fabric options like Crushed Florentine and Pure Cotton Matt. Sofas & Stuff also offers competitive pricing and a range of velvet choices. For a stone coffee table, Conservatory Interiors by Vale's Rectangular Stone Coffee Table is recommended, or custom options from Mosaic & Stone. Console tables similar to a butler's table are available at Nordic House and John Lewis. Furniture restoration advice includes tackling unpleasant odors in cherry bedroom furniture, likely caused by mildew or mold. Solutions involve bicarbonate of soda, airing, dehumidifiers, and products like Moso Air Purifying Bag or Furniture Clinic's Mould Remover. For a blonde wood apothecary cabinet, Raft and Shimu are suggested for various drawer configurations and wood finishes, alongside The Cotswold Company. Courses for understanding antiques are offered by Regent Academy, Christie's Education, and Sotheby's Institute of Art, with West Dean College providing furniture restoration courses. Replacing unlacquered swan-neck brass handles for an antique chest of drawers is possible through Armac Martin, which can supply unlacquered handles that will naturally mellow over time. K Restorations is recommended for replacing desk leather, offering different qualities and colors with DIY instructions. For a chair similar to a vintage folding chair, I & JL Brown and Christopher Clarke Antiques are suggested, with options for new reproductions or sourcing antique pieces. Advice for furnishing a narrow living room includes zoning techniques with sofas and low tables, or creating a strong decorative focus with a console table or desk. Specific furniture requests include a three-seat, low-armed sofa with three cushions, where Ikea and Sofa Workshop are mentioned, along with high-end options from George Smith, Sean Cooper, and The Odd Chair Company. For a rectangular glass coffee table, Richard Taylor Designs and Glass Domain offer similar styles. Antique oak dining tables suitable for a panelled room can be found at I & JL Brown, Antique Tables & Country Furniture, and Alexander Paul Antiques. Metal chairs in bright colors are available at Alexander & Pearl. Suggestions for large, antique-style sideboards include JVB, Willis & Gambier, and India Jane. Dressing tables to fit a bay window are offered by Leporello (Swedish-style and bespoke), and Greenhill Design (contemporary). Extra-wide armchairs are available in John Lewis's Snuggler collection, Wesley-Barrell, and Content by Conran. Fitting a gas fire unit into a 1930s tiled fireplace is addressed by 20th Century Fires, which offers suitable inserts and installation advice. Bar stools with woven rattan tops are available from Lloyd Loom. Repairing canework furniture is covered by Joan Gilbert and the British Antique Furniture Restorers' Association. Sourcing exotic or dramatic furniture is possible through Osborne & Brown, House Couturier, and Aiveen Daly. Finally, for Victorian-style balloon-back chairs, Leather Chairs and The Odd Chair Company are recommended. Sliding glass room dividers are available from Go Glass, Preedy Glass, and Space Slide. Restoring Moroccan leather seats is handled by The Leather Conservation Centre. Repairing pre-woven cane chairs can be a DIY project using supplies from The Cane Store. Extendable oak tables are offered by Christian Harold, New Heights, and Oak Furniture Solutions. Contemporary writing desks are available at The Conran Shop, Heal's, and Mufti, with Just Desks also offering custom options. Gilding a rattan chest of drawers with metallic paints from Ardenbrite or Beckers is also discussed, emphasizing proper priming and protection. #FurnitureSourcing #HomeDecor #FurnitureRestoration #InteriorDesign #SofaSelection #DiningTables #BedroomFurniture #CoffeeTables #AntiqueFurniture

The ARBA chair, a collaboration between French designer Erwan Bouroullec and raawii, emphasizes the tactile and material qualities of objects, offering a blend of strong lines and balanced composition. The chair was unveiled at 3daysofdesign in Copenhagen, an exhibition that explored the interplay between market, gallery, and studio spaces, encouraging visitor interaction with all displayed items, which were also available for purchase. This initiative highlights accessibility as a core principle for the new partnership. The project seeks to address how designers can increase their involvement in the distribution and production of their work, aiming to grant them more influence within the industry and to re-evaluate product consumption. The ARBA chair is designed for end-user assembly, arriving flat-packed. Its construction incorporates two molded plywood forms that provide a balance of flexibility and stability, with careful attention paid to proportion and shape. The physical weight of the chair underwent continuous refinement to optimize its visual and environmental impact. The design strikes a delicate balance between a prototypical aesthetic and expertly proportioned elements. The ideation process for the ARBA chair took place in Bouroullec's countryside studio in France, where he concentrated on exploring the limits of engineering and testing within that specific environment. Erwan Bouroullec articulated that the design process began with a simple concept, followed by several days of welding, drilling, sewing, and painting in his studio. The aim was to achieve a “positive minimum” by being swift and lightweight in both conceptualization and physical execution, utilizing existing resources without extensive prior planning. This approach fostered discovery through the making process and intuition-driven finalization. The result is a lounge chair that is easy to comprehend and exhibits an intentional "roughness," which Bouroullec clarifies is not a stylistic choice but rather a foundational element for more efficient manufacturing in the future. Starting in September 2024, the ARBA Lounge Chair will be available in three base colors: Dark Green, Light Grey, and Burned Orange. It will also offer various painted and veneered finishes. Upholstery options from Kvadrat Textile and Spoor Leather are provided, contributing to an elegant and inviting profile that allows for additional comfort and personalization. The chair's design and production reflect a commitment to thoughtful methodology, affordability, and elegant materiality, aiming to create a lasting product. #FurnitureDesign #ProductDesign #ErwanBouroullec #Raawii #LoungeChair #HomeFurnishings #DesignProcess #InteriorDesign #FlatPackFurniture

The Eames Lounge Chair, an iconic wood-and-leather seat often paired with a coordinating ottoman, stands as a prominent symbol of midcentury furniture. Despite the Eameses' reputation for experimenting with materials like plastic and plywood, they produced this luxurious item, making it a ubiquitous statement in various home aesthetics, from modern to traditional. The article delves into the history, design, and manufacturing process of this renowned piece. The genesis of the Eames Lounge Chair dates back to the 1940s at the Cranbrook Academy of Art, where Charles and Ray Eames first met. After graduating, they established the Eames Office in Los Angeles, initially focusing on mass-producible furniture made from inexpensive materials. However, the Lounge Chair marked a departure, representing their foray into luxury design. Amy Auscherman, Head of Archive and Brand Heritage at Herman Miller, emphasizes the Eameses' human-centered approach to design, noting that the Lounge Chair was their first attempt at creating a luxury heirloom item, born from their continuous experiments in molded plywood. The design, first produced in 1956, incorporates a bent-wood frame, a technique refined by the Eameses using their "Kazam! machine" to press thin layers of wood veneer. This innovative construction ensures optimal ergonomics and comfort. The chair is upholstered in high-quality, supple leather, chosen to evoke "the warm receptive look of a well-used first baseman’s mitt," creating a "special refuge from the strains of modern living." Auscherman further highlights that the chair draws inspiration from the classic English Club Chair, making it both familiar and a technological innovation that redefined beauty, allowing it to seamlessly integrate into any environment. Authentic Eames Chairs are still manufactured by Herman Miller in the U.S. and by Vitra in Europe and the Middle East. The manufacturing process remains largely consistent with the original, emphasizing meticulous attention to detail from plywood molding to leather cutting and individual cushion sewing. Herman Miller employs advanced scanning technology to identify defects in leather hides, ensuring only the best cuts are used for upholstery. Consumers looking for authentic pieces should purchase directly from these manufacturers or authorized retailers like Design Within Reach and the MoMA Design Store. While the original chair featured black leather, current offerings include a variety of upholstery and wood options. For vintage pieces, resale sites like 1stDibs and Chairish are options, but buyers must verify authenticity through Eames studio, Vitra, or Herman Miller labels. The Eames Lounge Chair, with its 65 years of continuous production, represents a significant and enduring investment in design. #EamesLoungeChair #MidcenturyModern #FurnitureDesign #HermanMiller #RayAndCharlesEames #LuxuryFurniture #DesignHistory #InteriorDesign #IconicFurniture

Spanish designer Patricia Urquiola has developed a new modular sofa system named (love me) Tender for Italian brand Moroso, which was presented at the Salone Internazionale del Mobile in Milan. This innovative furniture piece features an aluminium frame and is distinguished by its unique upholstery in a wool jersey material. The design aims to offer versatility and a distinct aesthetic, focusing on both comfort and adaptable functionality for various interior spaces. The sofa system incorporates thin wooden legs that are designed to appear as if they are simply leaning against the sides of the seats. However, these legs serve as crucial structural pillars that anchor to the main aluminium frame, enabling multiple compositional arrangements. This design choice allows for significant flexibility in how the sofa can be configured, catering to diverse spatial requirements and user preferences. The integration of the legs into the frame, despite their seemingly detached appearance, highlights an ingenious approach to modular furniture construction. Further enhancing its modularity, the (love me) Tender system includes longer structural elements that support the backrests and provide for optional integrated side tables. These side tables are available in a variety of heights and sizes, adding practical surfaces for users without compromising the sofa's sleek design. This thoughtful inclusion addresses the need for functional accessories within a seating arrangement, making the sofa system more comprehensive and user-friendly. The sofa’s modular nature allows for the combination of standard two-seater and three-seater units into larger or more complex arrangements. This adaptability means the system can be easily reconfigured to suit changing layouts or evolving design needs within a space. Flat and corner back cushions are also part of the system, designed to be added or removed effortlessly. This flexibility enables users to define or separate sections of the sofa, creating different zones or levels of enclosure within a single seating arrangement. A key design detail is the single exaggerated seam that runs along the edges of the upright cushions. This distinctive seam, coupled with the wool jersey upholstery used for both the cushions and the seats, contributes to the sofa's unique textural and visual appeal. The jersey fabric choice provides a soft, comfortable feel while also offering a contemporary aesthetic. The sofas are offered in a diverse palette of colors, each complemented by matching throw cushions, allowing for customization to fit various interior design schemes. The presentation of this sofa system at a prestigious event like the Salone Internazionale del Mobile underscores its significance within the contemporary furniture design landscape. #PatriciaUrquiola #Moroso #ModularSofa #JerseyFabric #FurnitureDesign #MilanDesignWeek #InteriorDesign #Seating #ProductDesign

The article introduces 'Hug,' a new high-backed sofa designed by Pearson Lloyd for furniture brand Cozmo, which launched at London Design Festival 2025. The designers, Luke Pearson and Tom Lloyd, are RDI-certified and bring 28 years of experience in creating ergonomically sound and comfortable products, from office chairs to airline seats. Cozmo founder Jacob Peres specifically sought out Pearson Lloyd for their expertise in comfort, aiming to address the oversight of high-back designs in contemporary, design-led furniture. Peres noted that while low, slim profiles are often easier to achieve with appealing proportions, they wanted to tackle the challenge of a high-back sofa that offers a sense of being 'held.' The design process for 'Hug' began unconventionally, not with drawings, but on the workshop floor in July 2024. Pearson and Lloyd presented a 'Frankenstein-like' wooden structure with moving parts, emphasizing a tactile and physical approach to comfort. Tom Lloyd explained that traditional sketching often focuses on aesthetics, materials, or construction, but for 'Hug,' the primary focus was the physical experience of comfort. This involved extensive exploration of foams, fabrics, posture, and ergonomics, which are challenging to convey through two-dimensional drawings. The designers aimed for the sofa's appearance to directly reflect its comfort, likening the process to tailoring a beautiful coat, where comfort is an intrinsic part of the design from the outset, not an afterthought. As the design evolved, full-scale mock-ups provided immediate feedback on ergonomics. The key to 'Hug’s' embrace-like feel lies in its significantly higher back compared to other contemporary upholstery, designed to cradle the back, neck, and head. An exaggerated lumbar support is integrated into the back, a feature that profoundly influenced the entire design direction. Peres highlighted that comfort was intended to be visibly communicated through the sofa's proportions, posture, and even the way the textile drapes over feathers, suggesting comfort before one even sits down. The sofa’s structure combines a webbed steel frame with varying densities of foam, memory foam, and a feather quilt to achieve a perfect balance of support and softness. The fabric treatment for 'Hug' departs from traditional tight upholstery; it is handled in a looser, freer manner, giving it the appearance of clothing draped over a body. This design choice also offers practical benefits, making it easier for customers to remove covers for cleaning or replacement. During the London Design Festival, 'Hug' is being showcased at an exhibition titled 'Comfort Lab' in Shoreditch’s Wax Building. This exhibition meticulously documents Pearson Lloyd’s research, design, and development journey, featuring early scale models and full-size prototypes. Cozmo has also produced a film illustrating the process. The 'Comfort Lab' offers visitors a comprehensive, behind-the-scenes look at the extensive work and research involved in creating the sofa, and allows them to personally experience its comfort. Peres concluded that the project demonstrated how a focused brief and genuine creative exploration can lead to remarkable achievements, emphasizing that comfort and design are mutually informative and exciting when integrated effectively. #SofaDesign #FurnitureDesign #LondonDesignFestival #ProductDesign #Ergonomics #InteriorDesign #ComfortLab #PearsonLloyd #Cozmo #HighBackedSofa

Nicole Crowder, a renowned upholstery professional, has recently returned to her hometown of Minneapolis, bringing her distinct and vibrant design aesthetic to the Twin Cities. Her work is characterized by bold colors, intricate patterns, and unexpected details, distinguishing her from a local design scene that she describes as generally more subdued. Crowder's creative approach is evident in her custom-designed chairs, loveseats, stools, and other furniture pieces, which are highly sought after by designers and homeowners nationwide. Crowder's journey into upholstery began in 2013 as a side pursuit while working as a photo editor. By 2017, her passion for the craft led her to dedicate herself fully to upholstery. Her self-taught expertise largely stems from extensive research on YouTube, where she meticulously studied various techniques like topstitching and different blind stitches. She honed her skills through practical, hands-on experience, often acquiring inexpensive practice chairs from Craigslist, thrift stores, antique markets, and even roadside finds. This period of trial and error in her living room formed the foundation of her current mastery. Fashion serves as a significant source of inspiration for Crowder, influencing her preference for incorporating unique details, buttons, zippers, and unconventional fabrics into her furniture designs. She enjoys projects that allow for experimentation, enabling her to infuse pieces with narrative elements, such as feathers, paper flowers, or fringe, to enhance texture and layering. Despite her vibrant professional and home aesthetics, Crowder admits her personal wardrobe leans towards neutrals, considering her furniture as an "alter ego" where her love for color and patterns truly shines. Since her return to Minneapolis in February, Crowder has embraced a phase of rediscovery, actively exploring the city's design, culinary, music, and arts scenes. She expresses excitement about connecting with other local creatives, who, in turn, introduce her to hidden gems across the city, including shops, parks, and architectural styles. This exploration is crucial for her to understand how people utilize and maximize their home spaces and daily activities, which informs her contribution to the local design landscape. Crowder's ambition is to infuse more energy and boldness into the Twin Cities' design scene. While appreciating the existing "chill energy" of Minnesota, she aims to elevate it with her signature style, characterized by bright colors, dynamic patterns, and an overall sense of vibrancy. She envisions her pieces, such as a Moroccan blue chair with an orange stripe, becoming iconic representations of her unique "stamp" on the community. Her personal favorite shopping spots for furniture and fabric include MidModMen+friends, Loft Antiques, Marva’s Place, and SR Harris Fabric, valuing their diverse and curated selections. She also enjoys the city's culinary offerings, frequently visiting establishments like Rosalia, Martina, and Barbette, and finds inspiration in the outdoor spaces and cultural institutions like the lakes and the Minneapolis Institute of Art. #Upholstery #FurnitureDesign #InteriorDesign #NicoleCrowder #MinneapolisDesign #HomeDecor #CreativeEntrepreneur #Artisan

Roc H Biel, a designer and Royal College of Art alumnus, has created a sculptural furniture collection named "Dust Order," which redefines sustainability by utilizing wood dust, typically considered a waste product. The collection transforms this fine offcut material into monumental forms, drawing inspiration from classical columns and challenging traditional perceptions of weight and material. The design aims to evoke a sense of ancient history while maintaining a modern and otherworldly aesthetic. The "Dust Order" series comprises two primary objects: a sculptural chair and a modular desk system. Both pieces showcase the unique, granular texture of compacted wood dust, reminiscent of raw stone or sand casting, yet they possess a surprising lightness. Biel's approach reinterprets classical motifs through a contemporary lens, creating pieces that feel both familiar and futuristic, aiming to generate a moment of wonder where material, memory, and perception converge. The sculptural chair in the collection is constructed entirely from compacted beech wood dust. Its design features negative space that creates a visual rhythm, and its geometric profiles transition from octagon to circle to square, giving a modern edge to the classical column silhouette. The chair's surface texture belies its unexpected lightness, making it a conversation piece that challenges expectations of its composition. The modular desk system offers versatility and functionality. It consists of three 3D-printed components made from a bonded mixture of magnesium and beech wood dust. These components are designed to represent the classic elements of columns—shaft, capital, and entablature—but are reimagined for contemporary use. The modular nature allows for various configurations, transforming the desk into a stool, a bench, a bench with a side table, or a dining table. This adaptability is paired with a grainy texture that evokes compacted earth or pressed sediment, connecting its modern function with ancient materials. Biel's work in "Dust Order" highlights intentional contrasts: between weight and weightlessness, waste and refinement, and earth and atmosphere. The project serves as an example of how unconventional materials can be elevated into sophisticated design, proving that surrealism can manifest in powerful physical forms beyond digital realms. The designer's innovative use of wood dust not only promotes sustainability but also challenges the aesthetic and tactile expectations of furniture, transforming discarded material into objects of artistic and functional value. #FurnitureDesign #SustainableDesign #WoodDust #SculpturalFurniture #ModularFurniture #ClassicalModernFusion #MaterialInnovation #RocHBiel

Designer Pao Hui Kao has developed the 'Paper Pleats' furniture collection, which includes stools, coffee tables, a dining table set, shelving, a space divider, and a ceiling lamp, all crafted from tracing paper bound with a unique rice glue. This innovative approach stems from the designer's personal sensitivity to chemicals found in many man-made materials and a commitment to creating recyclable products with minimal environmental impact. The core of the Paper Pleats collection lies in its distinctive manufacturing process. Each piece is constructed from tracing paper that is first soaked in rice water. This rice water functions as a natural adhesive, binding the individual sheets of paper together. As the paper absorbs the water and subsequently dries, it undergoes a natural shrinking and wrinkling process. This controlled contraction is crucial, as it contributes to the material's transformation into a surprisingly strong and rigid structure, despite the inherent fragility of paper. To achieve specific forms and maintain the desired aesthetic, Kao has engineered a series of bespoke tools, including various moulds. These tools are utilized to shape the wet paper, ensuring that the natural wrinkles are preserved while also allowing for the creation of regular patterns and pleats across the furniture pieces. The designer describes this process as a collaboration with the material itself, learning to control key elements like humidity and drying temperature to encourage the paper to adopt particular shapes and textures. A significant aspect of Kao's design philosophy is the ability to create objects that can support substantial weight, challenging conventional perceptions of paper's strength. This is achieved by forming numerous irregular paper tubes that are then bound together by the rice water, resulting in objects that possess a deceptive fragility in appearance but demonstrate considerable structural integrity. This method was initially developed during Kao's studies at Design Academy Eindhoven and has been continuously refined since 2016. The latest iterations of the Paper Pleats collection, including a series of three stools, were showcased at the Collectible design fair in Brussels. The presentation was hosted by the Belgian gallery Spazio Nobile, highlighting the collection's artistic and functional merits. Kao's choice of paper as a primary material is deeply rooted in both personal necessity due to allergic reactions to chemical components like pigments and coatings, and a broader interest in sustainable design practices. The designer emphasizes the importance of understanding recycling systems to investigate new methods of object creation that consider the entire lifecycle of a product. Paper, being a widely used and neutral material with a relatively simple and clean manufacturing process, proved to be an ideal choice for this sustainable endeavor. #PaperPleats #FurnitureDesign #SustainableDesign #RecyclableMaterials #RiceGlue #TracingPaper #DesignAcademyEindhoven #CollectibleDesign #EcoFriendly

This article details a reviewer's experience with Habitat's Morris & Co. collection, specifically focusing on the Merton Sunflower armchair. The collection, which launched in September, expertly combines classic Morris & Co. patterns with furniture pieces inspired by the Arts & Crafts movement. The Merton Sunflower armchair, featuring one of William Morris' nature-inspired designs in a cream and grey colorway, quickly sold out within a month, alongside the Canterbury armchair. After a patient wait, the reviewer successfully acquired the Merton Sunflower armchair, integrating it into their living room seating arrangement. The armchair, priced at £500, is described as a significant investment but is also highlighted as the most affordable patterned armchair of its kind on the market, with the reviewer noting the difficulty in finding comparable alternatives during its unavailability. The Merton Sunflower armchair is characterized as impressively sized with a solid oak frame and a pocket-sprung seat, providing a firm yet comfortable surface ideal for reading. Its design is considered accessible, effortlessly blending into various living room color schemes. The article suggests that the armchair is a perfect complementary piece to a sofa, effectively increasing seating capacity in a living room. For those on a tighter budget, the Canterbury Oak Armchair, priced at £290, is presented as an appealing alternative. This chair boasts a solid oak construction with distinctive details such as flattened spindles and an upholstered seat featuring a pattern. The reviewer expresses pleasant surprise at the authentic Arts & Crafts feel of the Canterbury armchair when viewed in person, predicting its status as a future classic. Beyond the armchairs, the article explores other items from the Morris & Co. collection that have caught the reviewer's attention. These include the Habitat Morris & Co. Pimpernel Quilted Throw, which features a beloved Morris & Co. pattern with print block edging that pays homage to the original hand-printed techniques. Another highlighted item is the Habitat X Morris & Co. Blackthorn Green Ceramic Lamp, praised for its sophisticated appearance that belies its £60 price tag for a ceramic base and shade. Lastly, the Habitat X Morris & Co. Sunflower Woodblock Cushion is recommended for those who appreciate the Merton Sunflower armchair's aesthetic but lack the space for a full armchair, offering a way to incorporate the same iconic pattern into their home. The reviewer concludes by commending Habitat's Morris & Co. collection as one of the best on the market and expresses an eagerness to acquire more pieces from the range. #MorrisAndCo #Habitat #Armchair #HomeDecor #LivingRoom #Furniture #InteriorDesign #ArtsAndCrafts #Homeware

Charlotte Perriand, a prominent figure in design, photography, and architecture for seven decades, championed the belief that life and design are fundamentally about cultivating happiness. Despite working in a male-dominated field, her spirited approach and nonconformist attitude allowed her to define a 'monde nouveau' and her own 'art d’habiter,' characterized by independence and a lack of preconceptions. Her career showcased a rich, multifaceted artistic creativity combined with an innovative approach to social habits. Perriand's work often goes unrecognized or is solely associated with her collaborations with Le Corbusier and Pierre Jeanneret. Initially, Le Corbusier was skeptical about hiring a young female designer, but Perriand's breakthrough piece, 'Le bar sous le toit,' convinced him to collaborate. This partnership led to some of her most iconic works for his studio, notably the LC4 chaise lounge, a piece resulting from their joint efforts. Her design methodology was consistent, deeply human, and marked by a collaborative spirit, setting her apart from the individualistic, patriarchal French design establishment of her era. While Le Corbusier often delegated furniture design, Perriand was instrumental in creating 20th-century classics, such as the cube-shaped Grand Comfort chair, which offered a modernist take on the traditional club chair. In 1940, political events and wartime travels led Perriand to the Far East, where she developed a profound connection with nature. This experience significantly influenced her subsequent work. The Petalo Table, designed in 1951, exemplifies this influence; its design is reminiscent of a flower and a rainbow, featuring multiple combinations of five superimposable colored tables. This piece was conceived to be highly functional and adaptable for collective spaces, such as universities. Perriand's designs often reflect the cultural and social contexts of her life, from the modernism of her early career to post-war reconstruction efforts and new environmental concerns. The Indochine Armchair, created in Vietnam in 1943 during World War II, is a notable example. It is a wooden adaptation of a collaborative design with Le Corbusier and Jeanneret, crafted using local techniques and materials available during wartime, and has since become part of the Cassina collection. Her professional practice evolved considerably over the years, allowing her to transcend traditional design roles often assigned to women. In 1960, Perriand designed and built her own small chalet in Meribel les Allues, France. This personal project was located near the ski resorts she later designed in the region, establishing her as an early pioneer in recognizing and developing the potential of the Savoy region. Her life and work demonstrate a continuous pursuit of innovation and a commitment to integrating design with daily living. #CharlottePerriand #FurnitureDesign #ModernistDesign #ArchitecturalInnovation #DesignIcons #LC4ChaiseLounge #PetaloTable #IndochineArmchair