Fuse Chair by Devendran Draguian

The Fuse  brings together old and new materials to bridge a generational gap in design.

The wood front leg/arm combination represents a time when almost all furniture was woodcrafted while the rest is stainless steel and represents modern design trends.

Designer: Devendran Draguian

Via Yanko Design

Highmore Wingchair

Highmore Wingchair
Highmore Wingchair

I promised to pay more attention to comfy wingchairs and here is the Highmore Wingchair that UK based The Odd Chair Company makes to order.

Bridge Chair by Joseph-André Motte

Found this Bridge Chair by Joseph-André Motte at Demisch Danant.

About Demisch Danant

Demisch Danant was founded in 2005 by Suzanne Demisch and Stephane Danant. The gallery specializes in twentieth-century French design with an emphasis on the late 1950s through the 1970s and represents the work of Maria Pergay, Pierre Paulin, Jacques Dumond, Joseph-André Motte, Pierre Guariche, Michel Boyer, Antoine Philippon & Jacqueline Lecoq and René-Jean Caillette. Curated exhibitions on historical work are presented within environments that reference architecture and interiors of the era.

The gallery also features exhibitions concerning the intersection of architecture, design and art, including the work of Sheila Hicks and César.

Demisch Danant is dedicated to research and scholarship on French design and has published and authored monographs including Antoine Philippon and Jacqueline Lecoq, Maria Pergay: Complete Works 1957-2010, Maria Pergay by François Halard, and Maria Pergay: Sketch Book. Current projects include a comprehensive monograph on seminal designer Joseph-André Motte and a new book about works by Sheila Hicks commissioned for architectural projects.

13 Years of Chair Blog

April 30 Marks the birthday of Chairblog which was born on April 30, 2007. 13 Years ago now.

Maybe it is time to pay more attention to more comfy than flashy chairs. My main reason is that when in the evening I’m taking a seat after working hard, it is in a comfy wing chair which is made to measure already over 40 years ago. Currently it is in its third life with its third upholstery.

Another reason is I’m still surprised after my visit of the Vitra factory in Weil am Rhein, Germany, some time ago, there are hardly any comfy chairs that Vitra produces apart from the Eames Lounge chair….

A third reason is I just found a UK based chair company “The Odd Chair Company” via Twitter. They have an amazing number of photo’s of various classic chairs, including Wingchairs.

Handmade Furniture. Our Story.
The Odd Chair Company and Victoria James are fine furniture makers of classic, contemporary and bespoke furniture in the UK today.

Established over 50 years ago, the family run business prides themselves on making the finest furniture and offering clients an exceptional service. The furniture is made passionately by time served craftsmen at their own workshops in the north west of England.

They offer a design service for both Interior Designers and private clients, produced from your own drawings or maybe just an idea you have. However you wish to send an idea over they can create a unique design for you.

The company also specialises in replicating fine antique upholstery by hand making a chair or sofa from an original design to make an identical pair or a set
All furniture is manufactured at the workshops based at the head office, which also houses the timber workshop and fabric library

One advantage of the William and Mary Wingchair is its relative height. A disadvantage is the seat is not reclining and the back is a bit straight….so it iss a nice wingchair, but maybe not so comfy.

Stay tuned. I’ll be paying more attention to the Wingback.

Office Chair by Carlo Mollino

Office Chair by Carlo Mollino

In a New York auction of Phillips in 2014 this chair designed in 1959 for Carlo Mollino’s office at the Facoltà di Architettura, Politecnico di Torino and Produced by Apelli & Varesio, was sold for a whopping $758,500.

What makes this object so special?

It is necessary to clarify that Mollino was not an industrial designer; he was not interested in designing objects for industrial production, which would require compromising the object in order to keep down production costs, to allow for mass production, for packaging, and so forth. Mollino’s furniture is unique and was expensively handmade by extraordinarily talented cabinetmakers with a very specific method, described by one of his students:

“Mollino used to shape an idea and make a technical drawing, specifying the construction method and adding notes on various aspects. I used to pick up these drawings from his studio and with Apelli convert it on a 1:1 scale on spolvero paper. Mollino used to come (running like a fawn), to check, review, amend, and then approve or redesign with a graphite pencil. Production was next. Hard times for the craftsman…”1

As illustrated in the Polaroids which appear here, Mollino makes visible, with an immediate photographic representation, how he intends the chair to be a synthesis of the female body’s perfection of beauty and sensuality, represented by the chair’s physiognomy, which alludes to the female form. On the other hand this chair is formally perfect: it is well-planted to the ground; the back is segmented to account for the human backbone; and the seat, modeled to be as comfortable as possible, is functional and ergonomic.


This chair embodies and testifies to the history of human tradition. Mollino had a strong knowledge of ancient history and culture and was able to penetrate to the essence of objects. It is from the Alps tradition that Mollino deduced the structure of his chair: comparing this example with a traditional 19th-century Alpine chair, from which Mollino took his inspiration, it is clear that the two share the same height, the same inclination to back and legs, the same simple and perfect technique used to mount the back, the same seat and legs that give this chair an incredible structure. It is a refined and functional elegance, the work of an engineer.