Tag: armchair


A durable and singular approach
When he appears for the first time on the French design scene, it is as Creator of the year at Maison et Objet fair. We are in 1999. Christophe Delcourt is in his thirties and showcases his first creations (objects and lighting) with the particularity of being at the same time their designer, their manufacturer and their editor. The whole at a time when the bare notion « Maison d’édition » is, if not inexistent, still confidential.

This singular approach though is not moved by any kind of mundane quest for independence, but only by the will to give a precise and perfectly mastered frame to what will quickly become a true signature. As a result, a collection of lighting and contemporary furniture pieces, drawn as close as possible to the materials (wood, bronze, metal, ceramics, leather, etc.) and according to traditional craftsmanship..

The French designer’s projects combine raw materials and sober and elegant lines, abundantly inspired by the beauty of natural materials and their ability to be part of the shape of an object thanks to their capillary characteristics such as the richness of the material and the color. The designer has repeatedly admitted that nature is the first inspiring element and initial part of his design process. In fact, in the natural world there are several incredible shapes that can be applied to furniture design: shapes, colors and textures, which can be combined in infinite different ways.
Delcourt’s work is a true testimony of his love for materials and for his deep devotion to artisanal and manual manufacturing; his projects, lamps or furnishings, are never fashionable or the result of rapid trends, but are timeless, refined and unique eternal objects, with the pleasure of seeing them grow old and the certainty that they will accompany you throughout your life.
Its main masters to be constantly looked at as an example and as a major artistic influence are some French design legends such as Jean Prouvé, Pierre Chareau and Jean-Michel Frank.
Recently the designer has completed his work with a specific collection of fabrics, materials and neutral and natural colors, to be used for his furnishings, further perfecting the personal and refined vision of the concept of living and living in his own spaces.
Delcourt’s studio and atelier continues to be in the heart of the 7th arrondissement of Paris, inside a sober and elegant courtyard, next to what was once the historic home of the master of French couture Yves Saint Laurent.



In 2015 Artifort celebrated its 125th anniversary. Each year, our chairs, tables and sofas find their way to the homes of design lovers around the world. It all started in 1890 when Jules Wagemans started a business as an upholsterer in Maastricht.
Artifort stands for furniture that lasts a lifetime. In many cases it passes down through generations. The secret lies in the use of high quality materials and in our skilled employees. The craftsmanship of our upholsterers, welders, woodworkers and seamstresses is at a high level through years of experience and in-house training of our younger employees.
Artifort stands for timeless design. Design that endures. Design that is authoritative. From Pierre Paulin and Geoffrey Harcourt to René Holten and Patrick Norguet. Artifort means top-quality design by top designers.

Artifort includes in its permanent collection many projects by the French designer Pierre Paulin dating back to the 60s and 70s.
Paulin, awarded the highest French honor for the arts and defined by French President Sarkozy as “the man who made design an art”, started working as a freelance designer for Artifort at the beginning of his professional career; this marked the beginning of a long and fruitful collaboration, where comfort has always been the constant starting point.
The works of the Paulin-Artifort association can be admired in the most famous museums around the world and continue to be produced as an example of timeless design: the Tongue, Le Chat, Ribbon, Tulip, Mushroom armchairs … are now considered to be cornerstones of design of the ‘900 and sculptures with great comfort.




Giovanni Bonacina started his business in 1889 in Lurago D’Erba, located in a hilly, fertile part of the area north of Milan known as Brianza, combining two traditional crafts practiced in the area, basketry and furniture making, using the local materials reed and cane, while rattan from Southeast Asia.

His hard work and experience produced excellent results, and his efforts were rewarded with awards in international expositions and numerous important commissions. His son Vittorio carried on and built upon what his father had passed down, taking the company yet another step forward, with an eye on the revolution in design and art that was taking place in the 1950’s, and a new era in the company’s future design, made possible by the winning combination of production experience, the visionary collaboration with talented designers, and a shared willingness to push the materials and shapes into new expressive forms.

Vittorio Bonacina and Co. distinguished itself again and again. Meanwhile Mario Bonacina, Vittorio’s son, was maturing as a designer and as an inspired heir to the family company’s name. With an assurance based on two generations of success he was uniquely placed to take the company towards the future by re-proposing selected historic pieces in updated ways and by continuing to work with important designers in innovative ways.

In step with the times, he emphasized the ecological sustainability of the materials used while carrying on the highly creative and refined work for which the company is known. Vittorio’s and Mario’s wives brought their skills, style and grace to the mix and established their invaluable place in the thriving company.




Founded in 1947 by Luigi Caccia Dominioni, Ignazio Gardella and Corrado Corradi Dell’Acqua. The Italian brand Azucena has always stood out for its collections that combine formal elegance, luxury, pure and crisp aesthetics and a very high workmanship.
The brand that the architects decide to call Azucena from the gypsy name of the play ‘Il Trovatore’, is created both to collect some of their furniture projects to be used for the furnishing of the buildings they design themselves and to be able to individually produce some furniture that is part of a series of furnishings designed by them. The three designers then start a rich production designed by them to take advantage of a repertoire of furnishings available for the houses they design. They are furnishings, lamps and experimental objects, which boldly use new materials, combined with traditional ones in a surprising and contemporary way, combining and often overlapping industry and high craftsmanship. Lacquer, polished chromed brass, crystal are the preferred materials in a constant search for brightness, brilliance, and transparency, which sometimes alternate with the softness of the velvet or the richness of the leather.

With Azucena a unique, very refined collection comes to life, with a series of pieces that have become iconic in a short time, characterized by the union of different materials, but always sought after, and by the recovery of traditional stylistic forms; above all the Catilina armchair, almost a Roman throne, where you have to sit down in a composed way, a concept much loved by the architect Luigi Caccia Dominioni, but also the Cavalletto table, with sinuous and rigorous shapes, reminiscent of the drawing benches at the polytechnic of Milan, or the Chinotto armchair, a small off-scale not without irony.

The lamps have a privileged position within the Azucena collection: Luigi Caccia Dominioni pays particular attention to light and lighting fixtures, taking advantage of unusual materials and techniques in a new and modern way. The result is some models of extraordinary beauty such as the famous Imbuto floor lamp, with a clear reference reinterpreted in a sober and cultured way, or as the cast iron table lamp, where the name itself reveals the author’s technical choice, or even as the Monachella reading lamp, light, transportable thanks to a ring at the end of the rod, conceived by the architect Caccia Dominioni not casually, but inspired by the headdress of the nuns of a Milanese convent, which he was building.

In 2018, the Azucena brand was acquired by B&B Italia, which wanted to preserve and relaunch it, in an active vision of the Italian heritage, the historic brand returns to the market with a series of “modern classics” designed by the architect Luigi Caccia Dominioni since the end of the 1940s. Chairs, sofas, tables and lamps that have written the history of Made in Italy design and which return today as a testimony to class and quality.


Fratelli campana

Fratelli Campana

Humberto (1953) and Fernando (1961) Campana were born in Brotas, a city 250 kilometers from São Paulo, with an economy based on agriculture, being in a region with abundant natural resources. Until they moved to São Paulo to start their university studies, both brothers lived in the family, the father was an agronomist engineer and the mother an elementary school teacher, in a house without a floor and with a large courtyard surrounded by trees from fruit and streams that flowed to the waterfalls in the Brotas region.

Humberto graduated in law, but as soon as he graduated he officially started pursuing what had been his main interest since he was a child: the infinite possibilities of artisan art. In the eighties he opened a small studio of handicraft products.

Graduated in architecture, Fernando was interested in the search for alternative methods in the production of design, becoming passionate about Le Corbusier and the communicative power and linear synthesis of Oscar Niemeyer as well as for the creation of small-scale objects. After graduating, he collaborated in the 17th edition of the Biennale of Art in São Paulo., Until at the end of 1983, Humberto asked him to help him with the delivery of a large order. Since then, they have become among the most celebrated figures in contemporary design.

They are recognized for their contributions to the unconventional reading of new objects together with an effective contribution for a change in daily life. The first Campana exhibition was staged in 1989 at the Nucleon Galery in São Paulo; the iron chairs collection has been called ‘Desconfortáveis’, a rich selection of unique pieces that speak of an artistic aspect, the error and the poetry present in the unease.

From the 90s onwards they brought their eclectic and unique, very recognizable trait around the world, always starting from their roots, the traditions of their country and local crafts. They went to the favelas to discover the seemingly casual techniques of architectural layering and ventured into the Amazon jungle to create objects with kaleidiscopic colors with the most diverse materials: resins, recycled leathers, branches and natural fibers. Among their multiple successes, created by Studio Campana or, in a limited edition, by the Italian Edra, we can mention: the Favela armchair, the Corallo sofa, the Anemome and Sushi armchairs, the Brasilia table …

In 2009, ten years after the exhibition that launched them, the Campana Brothers were chosen by the Vitra Design Museum, in Germany, to celebrate the ten years since its foundation. Humberto and Fernando Campana were awarded the Special Prize at the Museu da Casa Brasileira in 2001, and appointed Designer of the Year by Design Miami in 2008.



La Cassina was founded in 1927 in Meda, in the heart of Brianza, by the brothers Cesare and Umberto Cassina, initially for the construction of supplies for large cruise ships, including the famous Andrea Doria, the interiors of which were designed by architect Gio Ponti. Then begins a historic partnership between Cassina and Gio Ponti, consolidated in the 50s, which will lead to the creation of many masterpieces of Italian design, among them the chair called “Superleggera”, weighing 1.66 kg, an intelligent and cultured rereading of the famous Chiavarina chair, built on the Ligurian hills.
After and at the same time as Gio Ponti, promising young Italian designers, such as Mario Bellini, Achille Castiglioni, Vico Magistretti, will begin to collaborate with Cassina, belonging to what is now universally recognized as the Milanese school; thanks to the courage and flair of Cesare Cassina the company begins to identify itself as a laboratory of the best Italian design, with a careful search for ever new technologies, made available to designers, and with a constant analysis of lifestyle changes and ways of living.
At the same time as this research and collaboration with contemporary designers, thanks to the foresight and perseverance of Filippo Allison, Cassina continues a philological discourse of re-examination, rediscovery and reproduction of historical masters of Italian and international design. Thus an independent catalog was born, called “The Masters” to be added to the contemporary one, where the proposals of Le Corbusier, Charlotte Perriand, Gerrit Rietveld, Frank Lloyd Wright find space, up to the recent acquisitions of the archives and rights of the works of Franco Albini and Marco Zanuso. To carry out this project correctly and philologically, the company relies on the collaboration of the foundations in charge, where they were created as in the case of the Le Corbusier Foundation, or direct heirs.
In more recent years Cassina has experimented with the collaboration with contemporary designers of various origins, such as the French Philippe Starck, the Italian Piero Lissoni or the Spanish Patricia Urquiola, always maintaining that common thread of research, experimentation and innovation in the world of living. The most recent projects, after the Cassina family leaves the scene, are entrusted to artistic directors, such as the current Patricia Urquiola, who try to give an interpretation of the Cassina world, also re-reading some classics with the inclusion of colors and finishes. new.
The catalog dedicated to the Masters, each year enriched with new projects with the approval of the Foundations and heirs, remains the most brilliant and commercially successful example of how historical design can survive many experiments that are sometimes unnecessary. An example of this enrichment is the dialogue carried out by the company with Pernette Perriand, children of Charlotte Perriand, which allowed the rediscovery of the figure of this great designer, mistakenly overshadowed by the master Le Corbusier, and many of his little-known projects from the general public.




Cappellini is a historic family of Italian design company, founded in Carugo in 1946 by Enrico Cappellini. a synonym of originality, modernity and experimentation, the brand Cappellini produces quality furniture, never banal and able to furnish any residential space and contract. Born as a small firm, the collections are characterized by refined simplicity and personality, dictated by the big names of international design, findings from its talent scout and corporate designer Giulio Cappellini. There is talk of Jasper Morrison, Marc Newson, Tom Dixon, Marcel Wanders, the Bouroullec brothers and Nendo, designers works as Cloud, Knotted Chair, Embryo Chair, Pylon Chair and many more, now become icons of the brand internationally recognized and exhibited in the most museums in the world such as the Victoria & Albert Museum in London, MoMA in New York and the Centre Pompidou in Paris. The collection consists of three divisions, Collection Systems and Project Subject to translate flexibly all requirements of contemporary furniture, and bridge the gap between design and traditional furniture.

The talent of the architect Giulio Cappellini in sniffing out new trends, understanding in advance the evolution of living and discovering first of all new designers on the international scene, has made the Cappellini collection unique, varied and cosmopolitan. In the Cappellini catalog you can find all the most significant design developments of the past 50 years: from Alessandro Mendini’s apparently irreverent projects of denunciation and reflection, such as the iconic Proust armchair, to the poetry and lightness of the works of the Japanese designer Shiro Kuramata, of which Cappellini holds exclusive rights for the whole world.
The long, constant and important partnership with the British designer Jasper Morrison, which every year creates new projects for the brand with the usual minimal and elegant trait that distinguishes it: the professional and friendship relationship between Jasper Morrison and Giulio Cappellini dates back to many decades ago, when the latter decided to put Jasper Morrison’s thesis project into production and in the catalog: the outdoor and indoor metal armchair with sinuous shapes and poetic name: Thinking man’s Chair.
According to Cappellini, the house can be colorful, whimsical, contemporary, but also minimal, bourgeois and reassuring, translating flexibly every need for contemporary furniture, not being able to have any boundaries or limits.




ClassiCon is a German company, based in Munich, that challenges time, presenting a design that has spanned the centuries without losing appeal and modernity; its name itself is a “classic” and “contemporary” case, highlighting its duplicity from the beginning, aspiring to offer pieces of established characters who have made the world of design history since the early 1900s such as Eileen Gray and Eckart Muthesius, but also to promote contemporary design and present examples of new design with advanced quality and shape, giving it the “classic” designation. The brand is synonymous with high quality, strong individuality and timeless aesthetics, out of passing fashions. Classicon objects are timeless pieces, combinable in any domestic or business context, with a strong personality, but outside the most fleeting trends in the world of design.

Many collaborations with young international designers, with whom the company establishes a lasting partnership that continues over the years, creating a design history linked to each individual designer. The most intense and productive partnership is certainly that with the Munich designer Konstantin Grcic, who, since the first projects with the company, has included refined references to the iconic design work of Eileen Gray: the projects of Konstantin Grcic, who later became a star world of contemporary design, I am the result of careful reasoning on ergonomics and the contemporary way of life, with cultured quotes to the masters of design in a never banal or dusty reinterpretation.

Eileen Gray’s projects are all produced and present in the Classicon catalog, which is the worldwide licensee of Aram Design Ltd: in the early 70s Eileen Gray began to collaborate with the manufacturer Zeev Aram to develop her furniture and its lamps for series production. Finally, in 1973 the designer signed a worldwide contract with Aram Design in London to bring all her projects into production for the first time. Classicon is therefore the exclusive licensee of the entire Aram collection by Eileen Gray.

Quality is a fundamental element for the company, so much so that each piece is indelibly and consecutively marked and numbered, as a concrete and visible testimony to the attention paid to the production of each individual specimen. The Classicon signature therefore guarantees the use in the production of high quality materials and methods, with compliance with all ecological requirements; the quality control of the production is very high. The logo and the progressive numbering offer the guarantee that each limited edition is an authentic replica of the original, made with the consent of the rights holders and with absolute respect for the original itself.

High quality and timeless furnishings are therefore the key points of the ClassiCon philosophy, which can boast the presence of its furnishing elements in numerous European and international design museums.


de padova

De Padova

The history of De Padova spans all decades from the 1950s onwards, with unchanged elegance and sophistication.

In the 1950s, Fernando and Maddalena De Padova started their entrepreneurial business by importing Scandinavian furniture and objects sold in the showroom in via Montenapoleone in Milan. For the first time, northern European design arrives in Italy: its simplicity and rigor become a new possible proposal in the field of design.
In the 1960s, during a trip to Basel, Maddalena De Padova accidentally discovered Charles Eames’ Wire Chair; in a few months, Maddalena meets the American company Herman Miller from which she obtains the production license for Italy of the products designed by Charles Eames and George Nelson. ICF De Padova is founded, based in Vimodrone, which will produce Herman Miller office furniture in Italy. From this meeting Maddalena De Padova absorbs the secrets that will constitute the heart of her philosophy: the importance of the environmental context by George Nelson, the “connections” by Charles Eames, the role of objects by Alexander Girard. The large showroom in Corso Venezia in Milan is inaugurated, an extraordinary exhibition space on three levels, where design becomes the protagonist.

After Fernando’s death, Maddalena De Padova personally takes care of the company, follows its production activity and distribution; ICF is sold and a new company is founded which focuses on the edition of new furnishings, its name: Edizioni De Padova, then simply E ’De Padova. Vico Magistretti began his long collaboration with the company in these years by designing a collection of office furniture with its usual elegance; it will be the beginning of a happy partnership that will enrich the De Padova catalog with many masterpieces that have entered the history of Italian design: from the Silver chair, to the Vidun table, from the Pillow sofa to the Shigeto container.

Achille Castiglioni designs a series of displays for the windows that confirm the uniqueness of the company’s style, the true theatrical staging of design, where the windows overlooking Corso Venezia become a unique stage on the Milanese and then world design scene; settings played on irony, creativity and awareness of wanting to tell a story. Castiglioni also designs some pieces of great beauty for the collection, such as the 95 table and the Scrittarello desk. He joins the Dieter Rams group: Maddalena De Padova falls in love with her 606 bookcase and decides to produce aluminum for the Italian market: the 606 bookcase still remains the best example in the world of a container for storing books.

At the end of the 90s the collaboration with Renzo Piano began for the furnishing of the café of the Center Georges Pompidou in Paris, followed by, among others, the furnishing of the Morgan Library restaurant in New York and the Sole 24 Ore headquarters in Milan: all the most elegant domestic or business interiors perfectly fit the furnishings of the De Padova catalog. In the 2000s Maddalena De Padova received the Compasso d’Oro for Lifetime Achievement and reopened the space of the former I.C.F. factory, completely renovated and enlarged, which became the company’s headquarters. Patricia Urquiola and Nendo join the team designers alongside the historical collection. Maddalena De Padova completes the transfer of the company’s leadership to the children Valeria and Luca who further develop it by giving it a managerial structure. In April 2015, the company was acquired by Boffi, which allows the company an international distribution program, with the passion and all-Italian heritage that unites them.
De Padova remains firmly an example of Italian timeless elegance, where a correct balance, excellent design and great respect for the Italian design tradition continue to furnish the houses and the most refined spaces of Italians and now also all over the world, in furrow of the choices, still very current, of Maddalena De Padova.


e15, design innovativo e artigianale


e15 stands for consistency, rigorous design, combined with high quality materials and innovative artisan production methods. As a modern quality brand that caters to a global home and contract market, the brand maintains a global approach to the interiors, with a marked architectural vision pursued by its founder, the architect Philipp Mainzer, together with the designer and art director Farah Ebrahimi.

In close collaboration with designers, architects and artists, e15 develops original products and cultured artistic references, which reflect the brand’s philosophy and its approach open to different cultures and disciplines.

The company takes its name from the postal code of its first laboratory in London and was founded in 1995 with a first small collection; a radical new simplicity marked this debut, leaving an indelible mark in the history of modern design with essential shapes made even more evident by the solid and raw material, the untreated solid oak. The BIGFOOT ™ table and BACKENZAHN ™ stool are the most iconic furnishings in this collection, which has established a new aesthetic through the pioneering use of solid wood in its purest form.

From the Historical collection of 1995, new projects alternated annually, always on the same track, enriching the catalog with beds, bookcases, desks, chairs, armchairs, sideboards, bookcases, sofas … and an equally rigorous line of accessories. The use of solid oak remains at the center of production, recently flanked by the darker walnut option. A special mention deserves the selection and textile production, created for upholstered items such as beds and sofas, created by art director Farah Ebrahimi, which takes modern ancient textile traditions from different countries in a modern key, rereading them with contemporary colors and geometries. The re-editions of some historical pieces designed in the 1920s by Ferdinand Kramer, a German master with a rigorous and essential trait, which perfectly aligns with the contemporary proposals of e15, have recently been included in the catalog.


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