It seems that fashion is an eternal restart. However, some objects pass through time without ever taking a wrinkle! This is the case with these six iconic chairs that continue to fascinate design enthusiasts year after year. Signed Charlotte Perriand, Gae Aulenti or Philippe Starck, a look back at the unique character of the seats.
The Bold chair by Big Game for Mustache, 2009
Famous for its sensual curves and its playful design, the Bold chair, designed by the Big Game collective for the publisher Mustache, reinterprets the chair in steel tube typical of the Bauhaus. But where it stands out from its cooler and more rigorous cousin, it is thanks to the unique treatment provided by Grégoire Jeanmonod, Elrich Petit and Augustin Scott from Martinville. Here, no backrest but a continuous line in foam which draws the seat and the legs. A light graphics highlighted by its multiple colored variations.
The Panton chair by Verner Panton for Vitra, 1967
Born from the meeting between designer Verner Panton and Willi Fehlbaum - then working for the publisher Vitra - in the 1960s, the Panton chair materializes the designer's wish to create a stackable chair. The result of their research is a very graphic S-shaped seat. The duo then designed a polypropylene plastic model, available in a variety of colors. Recognizable among a thousand, the Panton chair is undoubtedly the icon of the pop design of the 1960s / 1970s!
The Masters chair by Philippe Starck and Eugeni Quitllet, 2009
In 10 years, the Masters chair, imagined by the jack-of-all-trades Philippe Starck and the Catalan designer Eugeni Quitllet - elected Designer of the year 2016 at Maison & Objet -, has become a real icon of design. And for good reason, this piece has something to be inspired by. Taking the lines of the Tulip chair (Eero Saarinen), of the Series 7 by Arne Jacobsen and the contours of the Plastic Chair of the Eames couple, the Masters is characterized by a marked graphic shape and an intertwining assembly. Its tinted polypropylene structure ensures its robustness when its multitude of colors allow it to reinvent itself, year after year.
The DSW chair by Charles and Ray Eames for Vitra, 1950
In 1948, American designers Charles and Ray Eames presented a chair with a molded metal seat shell at the "International Competition for Low Cost Furniture Design" organized by the Museum of Modern Art in New York. They get the second prize. Following this success, Charles and Ray Eames wish to mass produce the chair. They then test a quantity of materials and identify the polyester resin. Solid, this material allows them to develop new molded seats and to manufacture them industrially. The couple also imagines a wide variety of legs, which can be associated with these different shells. In 1950, the Eames Fiberglass Chairs entered the market and their great creative flexibility immediately appealed to consumers. In the DSW chair, the plastic seat shell goes perfectly with the wooden base.
B306 tilting lounge chair by Charlotte Perriand in collaboration with Le Corbusier and Pierre Jeanneret, 1928-1929
Although she stayed in the shadow of her colleagues, Le Corbusier and Pierre Jeanneret, Charlotte Perriand is one of the major figures of modern architecture. Humanist architect and free woman, she designed furniture that has become iconic. In 1929, she presented the very famous tilting lounge chair, imagined in close collaboration with Le Corbusier and Pierre Jeanneret, in an ideal apartment designed for the Salon d'Automne, and reconstituted in 2019 for the retrospective "Le monde nouveau" by Charlotte Perriand, 1903-1999 ”at the Louis Vuitton Foundation.
The April chair by Gae Aulenti for Zanotta, 1964
Renowned architect, gifted designer and talented scenographer, the Italian Gae Aulenti was able to impose her avant-garde vision of architecture, decoration, design and town planning at a time when the creative sectors were managed by men. Designed in 1964, its April folding chair, with its fabric seat and back and its delicate metal joints, is representative of its bold style.