In 1970, a chair shaped like a tomato became a playful affront to the solemnity of modernism. The chair was originally designed in 1970 by French designer Christian Adam, in collaboration with Italian manufacturer Poltronova, known for its role in the Italian Radical design movement.

More than half a century later, the iconic chair has returned, and not just as a nostalgia object for collectors. It's a reminder that contemporary interiors need emotion, theatricality, and perhaps most importantly, fun.

For Milan Design Week 2026, Chloé unveiled an exclusive re-edition of the cult Tomato chair, presented inside Chloé’s Via della Spiga boutique in Milan.

After decades of interiors being dominated by austere minimalism and algorithmic sameness, they are softening again. Curved silhouettes, tactile materials, and exaggerated furniture are no longer considered eccentric touches in interiors; they feel psychologically necessary. The Tomato chair, with its swollen upholstered segments and comic sensuality, has the sophistication of style at the moment, but also a glimmer in its eye.

Yet this is not fundamentally a story about a chair. It is a story about how in design, objects have the power to move across time and subvert a single meaning.

Neither fully furniture nor sculpture, neither ironic nor sincerely serious, I think that the Tomato has returned in 2026 because it resists categorization. Its appeal lies in its voluptuous ambiguity.

Adam himself belonged to a generation of postwar designers increasingly interested in dissolving the hard boundaries between utility and emotion. Born in 1945 and trained at the École Nationale des Arts Appliqués in Paris, he experimented early with polyurethane foam and modular seating systems, furniture with a sculptural approach. His designs moved fluidly between precise geometry and organic softness, often anticipating the emotional language that contemporary interiors now embrace so eagerly.

That spirit found its natural home at Italian design brand Poltronova. During the late 1960s and 1970s, the Italian company became synonymous with Radical design, producing some of the movement’s most iconic provocations, from Joe to Superonda and Safari. These objects challenged the rigid functionalism that had long defined modernist interiors. Furniture no longer needed to be purely practical; it could be irrational, humorous, and emotional.

The Tomato chair distilled that ethos into a single object. Inflated, playful and surreal, it rejected the disciplined seriousness associated with “good taste.” Instead, it proposed the home as a site of imagination and emotional experimentation, a place where softness itself could become radical.

Under the creative direction of Chemena Kamali, the chair is integrated seamlessly into Chloé’s visual world, increasingly defined by its fluidity and luxury. Rather than treating Radical design as a historical design artefact, the installation reanimates it as something current and alive.

The re-edition evolves the chair, rendered in naturally tanned leather in cream, cognac, sand and black, but preserves the integrity of Adam’s original design. Installed within Kamali’s soft vision of the house, the archival chair is an extension of the garments themselves, characterised by their softness and movement.

In 2026, fashion houses increasingly construct retail spaces as emotional universes; they no longer exist simply to display products. In Chloé’s Milan boutique, atmosphere has become as valuable as the object itself; in this context, the Tomato chair infuses the room with humour and somehow sensuality.

What makes the installation compelling is not just the connection between fashion and furniture, but the way it reframes domestic imagination. The boutique creates an interior organized not around efficiency or function, but around emotion and theatricality.

There is something unexpectedly expansive about such a niche object. A tomato-shaped chair should, theoretically, remain trivial, a design curiosity destined for the archive or collector obsession. Instead, it opens larger questions about taste, memory, and the emotional function of interiors. Why do playful forms suddenly feel important? Why does softness now carry such power in interiors now?

SHOP THE LOOK

Perhaps because softness no longer feels passive. Increasingly, it offers resistance to the cold efficiencies and severities that have shaped contemporary visual culture for the last two decades. The return of the Tomato chair suggests that comfort today is not just physical, but psychological. We want interiors capable of absorbing feeling rather than suppressing it.

Originally produced in limited numbers during the 1970s, the Tomato chair has since acquired status among collectors. This re-edition, developed with Adam’s heirs and produced by Poltronova, marks the first stage in its contemporary reintroduction.

Half a century after it first appeared, the Tomato chair continues to ripen.

For more inspiration that Milan Design Week had to offer, read our trend report.

Verner Panton was a Danish-born architect and designer best known for his revolutionary approach to furniture, lighting, and interior design. Bold, experimental, and radically futuristic, Verner Panton challenged almost every convention of Scandinavian modernism at the time, curating a legacy of zeitgeisty furniture designs.

Born in 1926, during an interwar period in Denmark, a time marred by economic uncertainty, political tension, and rapid technological advancement, Verner Panton came of age in an era in Scandinavia defined by calm and restrained modernist principles. He initially trained as an architect at the Royal Danish Academy of Fine Arts, but rebelled against traditional and tame aesthetics — instead, rising to fame with a radical portfolio that employed bright colors, new plastics, and futuristic forms.

Think sci-fi 1960s, Verner Panton’s designs quickly became emblematic of the era. His now-iconic furniture designs (including the "ADHD" sofa) are considered as core to youth culture as Mary Quant’s sartorial mini skirt or The Rolling Stones. Embodying key ideas and principles of emotional, ergonomic, and multidisciplinary design, the products Verner Panton penned at the peak of his career remain as relevant today as they were then. So, to mark the centenary anniversary of Verner Panton’s birth, we’re exploring 12 of Verner Panton’s most iconic designs you need to know.

1. Cone Chair (1958)

Verner Panton’s Cone Chair was designed for the Kom Igen restaurant in Denmark. It is widely regarded as his first major breakthrough. The semi-circular padded shell of the chair extrudes upwards, incorporating both the back and the armrests into the precise, sculptural cone shape. It’s striking now, but it must have been even more so when it was first unveiled in 1958, as it looks, quite simply, like no chair that came before it.

“Verner Panton was instrumental in redefining what an accent chair could be," explains interior designer Gemma Luteijn, from Project London. "When the Cone Chair was introduced in the 1950s, its futuristic, sculptural form challenged traditional ideas of furniture design, pushing beyond convention at a time.”

Originally designed for a restaurant setting, Gemma notes that it has remained popular in a hospitality setting. “My knowledge of Panton stems from his work with The Astoria Hotel in Norway in the 60s to create a captivating experience, exploring how furniture, space, and lighting interact. Since then, hotels and restaurant design have continued to adopt the Cone Chair and its avant-garde principles, blurring the line between art and function.”

“Personally, I find it particularly compelling in historic residential settings, where the sculptural form creates a striking contrast against ornate architectural details such as plasterwork or timber panelling," she adds. "That tension between heritage and modernity is something we’re increasingly exploring in our own projects.”

You might also be interested in the Heart Cone chair (also designed in 1959), a popular variant of the Cone Chair that resembles a heart, interpreted as a modern take on the traditional Wingback chair design.

2. Topan Light (1959)

Regarded as one of Verner Panton’s most significant lighting designs, the Topan Light showcased the designer’s flair for simple geometric shapes, bold color, and a space-age aesthetic. The Topan’s simplified shape — essentially an aluminum spherical form — directs light for both task and ambient effect.

Topan is considered the precursor that paved the way for Panton’s later-penned Flowerpot series (another instantly recognizable luminaire). Originally designed in 1959 as a pendant light, it didn’t take long for table and floor lamp options to arrive in 1962.

The Topan’s significance lies in its simplicity. A package of pure geometry and available in a smorgasbord of colors, it embodies 1960s futuristic style and consistently cuts a good curve in interiors.

3. Fun Series Lights (1964)

Distinctive for its decorative character, Verner Panton’s Fun Series Lights (1964) is all about the shimmering mother-of-pearl discs. Constructed from several individual mother-of-pearl round discs, flexibly connected by small metal rings, the Fun light appears to sway gently as the central bulb heats up and radiates, moving the individual discs ever so slightly, creating both movement and nuanced light shadows.

With Shell, Verner Panton challenged the seriousness of mid-century design principles and instead created something that represented the glamour of its time. It’s Fun by name and fun by nature.

“The fun series lamps are the iconic chandelier of the 60s — resplendent with a fragile, opalescent beauty,” says Ines Moyes Li-Wearing, co-founder of interior design studio Atelier Como. “They still feel fresh and contemporary today thanks to the sensory nature of the rippling light effect, and the contrast between the polished metal frame and natural, mother-of-pearl petals.”

4. Panton Chair (1967)

Potentially Verner Panton’s most widely recognized design of all, the Panton Chair (1967) is a technological and aesthetic milestone in design. It utilizes a single piece of molded plastic, cantilevered for ergonomic comfort and compatible with mass production — it's what you'd call a double win.

"The Panton Chair is one of those rare design pieces that feels as radical today as it did at its inception,” says Caroline Milns, head of interior design at Zulufish. “Its sculptural form, fluid lines, and fearless use of color capture everything I love about iconic design, innovation, optimism, and timeless appeal. It’s a reminder that great design does not merely serve a function; it sparks emotion, conversation, and joy.”

5. Visiona Environments (1968-1970)

In the late 1960s and early 1970s, Panton penned a series of interior 'environments', including concepts for homes, offices, exhibitions, and restaurants. It's widely agreed that Panton’s designs hit a peak with Visiona 0 and Visiona II, two exhibition installations he designed for the Bayer company to showcase at the Cologne Furniture Fair.

With a key aim of promoting the use of synthetic textiles and materials, these interior installations or ‘caves’ were constructed in below-deck rooms on a floating pleasure boat. “The iconic Visiona series, no doubt etched in every interior designer's memory from design school, is a widely celebrated concept from the early 70s,” says interior designer Elizabeth Keenan, founder of the eponymous Elizabeth Keenan Studio.

“With the Visiona I and II exhibition spaces — the latter of which featured the Living Tower’ design — Panton moved beyond designing objects to creating fully immersive interior worlds," Elizabeth adds. "These installations explored how color, form, and materials could influence mood, movement, and human interaction. Visiona ultimately presented a radical vision of the ‘total interior’ — one experienced with the whole body, not just the eye, and this, of course, feels so resonant in contemporary interior design.”

6. The Flowerpot Pendant Light (1968)

The Flowerpot Pendant Light (1968) — available as a series of both pendant light and table lamp variations — channeled Verner Panton’s visionary design, this time for the mass market. Mirroring the culture movement of ‘Flower Power’, the Flowerpot Pendant Light felt like a radical departure from the Scandinavian minimalism of the 1950s.

Designed with two semi-circular spheres facing each other, the design reduced glare and offered atmospheric indirect illumination, taking clear consideration of how people interact with the light source rather than just designing for functional direct lighting. The exterior is available in a spectrum of exciting, bright, and cheerful colors, mirroring the Flower Power shades of the 1960s.

“The Flowerpot lamp strikes a rare balance between simplicity and playfulness," says Alicia Meireles, creative director of OWN LONDON. "The clean, sculptural lines give it a timeless quality, while the confident use of color brings personality and optimism. That combination is what elevates it beyond a trend-led piece and firmly places it in the design canon."

Its versatility is why it remains relevant in contemporary design, Alicia explains. “The sheer range of sizes and finishes allows it to adapt to different scales and contexts, making it an easy way to introduce character and a sense of joy into a space without overwhelming it.” That said, it looks particularly cool amidst a modernist aesthetic, “paired with warm timbers and natural materials, where it acts as a subtle focal point,” she adds.

7. VP Globe (1969)

Often referred to as ‘the hovering bubble’, the VP Globe (1969) looks every bit like a UFO in the sky. Created from transparent acrylic and colored aluminium, it looked radically different from any of the popular designs by Hans Wegner or Arne Jacobsen, the popular tastemakers of mid-century Scandinavian design at the time.

Instead of natural materials like wood, Verner Panton’s VP Globe (available from Verpan) used newer material advancements and simplified, organic-inspired shapes for its distinctively futuristic, space-age look. It's highly significant in design history because it defied the traditional, functionalist Scandinavian design norms of its time, embracing plastic, bold color, and futuristic, sculptural form. It’s not just the look that makes the VP Globe significant; it’s also the lighting philosophy that it practices.

Unlike other lamps of the time, which were predominantly downward, VP Globe included reflectors with eye-catching red and blue accent details, positioned to diffuse light in an ambient fashion. VP Globe was originally designed in 1969 and launched at the Visiona 2 exhibition in 1970, and is widely considered a pioneer of the ‘Space Age’ style.

The iconic lamp is now recognized as a staple of 20th-century design and finds itself in major design museum collections globally. "Verner Panton was said to have been inspired by the street lights in Venice, and it is clear to see how his modern take on creating light reflections works with the VP Globe," says interior designer Emilie Fournet, founder of Emilie Fournet Interiors. "A perfect sphere of translucent glass, it is so versatile and can be used in a multitude of rooms without making them feel cluttered.”

8. Spiegel Lamp (1969)

One of Verner Panton’s key explorations into optical effects, the Spiegel Lamp (1969) was a complete departure from a light source that looks, well... anything like a light source.

For the Spiegel Lamp, Panton used an innovative approach and material technology to consider the atmosphere rather than just the brightness. It’s ambient rather than just practical. As a result, it looks like illuminated wall art or a form of sculpture, and it certainly bridges Verner Panton’s ideologies of rooms being designed as a total immersive space. The Spiegel lamp is typically constructed from chrome and a mirrored finish.

And why is Verner Panton's Spiegel Lamp still so relevant today? Because it focused on experience rather than just fashion, and the idea of a human-centred environment — and comfort — is at the forefront of interior design today.

9. Amoebe Chair (1970)

When people think of radical form and organic design, Verner Panton’s Amoebe Chair (1970) often comes to mind. It challenged conventional ideas of what a chair should look like and how it should function. Inspired by the shape of a single-celled organism, Verner Panton created an organic, flowing form with no straight lines. The iconic chair is deliberately removed from traditional furniture design and appears closer to sculptural artwork than a functional object. Yet despite its unconventional appearance, it’s every bit the practical chair, too.

Technically, Panton used a hidden metal frame rather than a traditional wooden structure. This innovative choice allowed moulded foam to be shaped into a fluid, sculptural form, and such complexity would not have been possible with conventional woodworking techniques. By combining industrial materials with organic aesthetics, the Amoebe Chair was a benchmark in demonstrating how new technologies could expand the possibilities of furniture design.

"Immediately recognizable, the Amoebe chair brings the exuberant spirit of the 1970s to whichever space it graces," says Emilie Fournet. "Its organic shape is so inviting, and it can work well on its own or as a group of chairs. The extensive choice of fabric colors allows one to either make a bold statement (an emerald green chair in a muted wall colored room would bring an unexpected pop) or a neutral color leaves the chair to take a step back and allow the simplicity of its rounded contours to speak."

10. Panthella Lamp (1971)

Another one of Verner Panton’s most widely recognized and iconic creations, the Panthella Lamp (1971) once again challenged traditional ideas of lighting, but thanks to its petite and practical size, it gained mass-market appeal.

Instead of exposing the bulb or using angular shades, Panton created a soft, organic silhouette with smooth curves. The hemispherical shade and trumpet-shaped base combine to reflect light downwards and outwards, creating a warm, atmospheric glow rather than a harsh direct light source.

“A design progression at its inception, the Panthella embraced moulded plastic and fluid curves in place of traditionally used materials," explains interior designer Lucy Van der Gucht. "Whether or not people can name Verner Panton as its designer, the majority would recognize the Panthella’s distinctive silhouette. It is a shape that has weathered decades of shifting tastes and styles — it is the definition of a design classic, and that’s why it remains so popular even to this day.”

11. The Wire Floor Lamp (1972)

The Wire Floor Lamp (1972) is a key example of minimalism and lightness, reflecting Verner Panton’s rejection of the heavy, ornate furnishings that had dominated Scandinavian design. Its curving wire structure creates a semi-transparent, airy form blending functionality with a sculptural, organic-looking form.

The Wire Floor Lamp remains influential today because it inspires designers to explore lightweight, modular, and flexible aesthetics. In a world where we are increasingly valuing adaptable spaces, its unobtrusive character and form resonate.

12. Systems 1-2-3 Seating (1973)

‘Modular’ feels like a word we are all accustomed to today, but imagine how radical it must have felt in 1973 when Verner Panton unveiled his modular 1-2-3 seating system. Embodying a vision of spaces needing to be flexible, Panton penned a series of modular seating options with his signature organic and sculptural flair.

As a result, the 1-2-3 Seating system, which originally comprised 20 different models with variations in seat height, armrests, and feet, offers a piece of functional, comfortable art. The Systems 1-2-3 Seating represents Panton’s true 1970s experimental spirit.

“Iconic for pioneering a radical alternative to formal dining, the 1-2-3 seating system offered a fluid, futuristic approach to sitting," says Lucy Van der Gucht. "It was a world away from the rigid wooden seating that had dominated interiors for much of the century. It represented a wider societal shift — a rejection of old-fashioned formality in favour of comfort, informality, and new ways of living.”

“These chairs were bold for their time yet rooted in simplicity," Lucy adds. "The absence of heavy pattern and the focus on shape and silhouette allowed the design to endure effortlessly."

Whether designin gthe petite Flowerpot Lamp or a complete interior experience, Verner Panton curated a portfolio of radical designs that truly pushed boundaries. Embracing an innovative use of advancing materials, alongside bold, futuristic forms, and by pairing human-centred design alongside functional experimentation (like the concept of modularity), Verner Panton has left us with a legacy of exceptional design icons that feel as fresh — and fun — as when first unveiled in the 60s and 70s.

Next up, it's time to learn all about legendary designer Eileen Gray.

The Wishbone Chair by Carl Hansen & Son has been featured in the pages of Livingetc too many times to count. For years, designers have been choosing it to give a dose of mid-century appeal to modern homes, to lend its subtle curve to minimalist spaces, and for its elegant form to tone down maximalist schemes. As far as dining chairs go, no single design has been this prevalent, this well-loved, and this often used in the sorts of homes we like to share.

Designed in 1949 by Hans J Wegner, the Wishbone (or CH24) chair (available at Heal's) has a bow-shaped back that cocoons whoever sits in it, its gentle shape the height of Scandi-wegian refinement and good taste. The iconic furniture design is likely to continue to be chosen by designers and decorators for years to come, bringing its poise and airiness to schemes long into the future.

But other, less well-known chairs do the job just as well, providing comfortable dining seating and having a similar eye-catching form. They echo the Wishbone’s balance of lightness and structure, but bring their own point of difference — whether that’s in material, proportion, or a slightly more unexpected silhouette. If you love the ease and elegance of Hans J Wegner's design but want something that feels a little less familiar, these are the chairs worth pulling up to the table.

1. The Butterfly Chair by Ercol

Arguably almost as well known as the Wishbone chair, Ercol's Butterfly is less ubiquitous but no less iconic. "It’s such an inviting shape," says Henry Tadros, Ercol's chair and the great-grandson of Lucien Ercolani (who designed the chair in the early 1950s). He was making furniture in answer to the post-war timber rationing mood of utility, inspired by other mid-century greats like his friend Jack Pritchard of Isokon, and creating in a time just before Fritz Hansen brought Scandi-style into the greater consciousness. "He was very forward thinking, bringing in colors like a black underframed version of the Butterfly, which was very revolutionary for the time," Henry says.

It may seem like the steam-bent plywood Butterfly chair is as much a part of our history as the BBC or the royal family — a constant which is always just part of the fabric of our consciousness — but, in fact, Ercol stopped producing it in the 1970s, "when we were focusing on pine and dark woods," Henry says.

It was only when the fashion designer Margaret Howell — herself, a great champion of the mid-century aesthetic — approached the brand and asked it to reproduce the Butterfly in 2002 that it returned to production. "She’d been selling vintage Butterflies in her store, and wanted my dad [who was heading the company at the time] to make them again," Henry said. "We did, but soon realized that people had grown since the 1950s. So around 2010, we reissued an updated version with longer legs, suddenly suitable again for the modern day."

Its timelessness has a lot to do with how comfortable it is. "It’s very graphic," Henry says, "and it exemplifies the serenity of solid wood, at once strong but also with a feeling of lightness. Then, when you sit in it, the chair has a slight bounce; it holds you and asks you to stay in it a long time."

Ercol recently introduced an upholstered version "because people want to stay around the table a long time now, chatting," says Henry, and this year has added three new colors: burnt umber, moss green, and midnight blue. It still feels ahead of its time, its shape alluding to nature. "Its curve is so organic," Henry says. "And its silhouette is just beautiful."

2. The Santino Dining Chair by John Lewis

Not every iconic dining chair has to come with a heritage or pedigree, and John Lewis' Santino dining chair is a perfect example of how the British high street can still master creativity and form.

Its caramel-soft leather is cushioning, its tilted back allows you to settle in for hours, and its a shape that feels at home in mid-century and modern spaces alike.

"The Santino dining chair is a personal favorite because it perfectly balances refined mid-century aesthetics with the practical demands of a modern home," says David Barrett, head of home design at John Lewis.

"The beautiful, solid oak frame and supple leather upholstery are designed not just for looks, but to ensure guests feel comfortable enough to linger around the table long after the meal has finished," he adds. "This chair truly embodies our 'Created for Real Life' philosophy, offering a timeless design that feels both sophisticated and incredibly inviting."

3. The FAT Chair by Tom Dixon

Of course, not every dining table has to have a mid-century date attached to its design, or be clearly inspired by the mood and materials of that moment. Tom Dixon's relatively recent FAT chair is fast becoming a modern icon, its cocooning shape not dissimilar to the Wingback, but its unmistakably contemporary vibe is totally different.

"The extreme simplicity of the components is a testament to form following function, whilst maintaining a humorous silhouette and a reductionist aesthetic," explains Tom. "The fatness of the curved backrests and the thickness of the upholstery make these a really comfortable series of furniture — they were first tested out in our restaurant at the Coal Office and then at the Manzoni in Milan before we launched the collection in 2019."

4. The Hiro Chair by Atkin and Thyme

The soft curves of the back support of the Hiro chair by Atkin and Thyme are clearly reminiscent of the Wishbone, but the angular edges feel more modern than mid-century. Made from Acacia wood, which has a natural warmth to its slightly red-tinged tones, the chair has an effortless, understated elegance.

"The Hiro chair is one of my favorite pieces from our collection," says Kris Manalo, senior category manager at Atkin and Thyme. "Its clean lines, warm wood tones — a beautiful hallmark of Acacia — and perfectly balanced proportions give it a timeless appeal. Combined with its accessible price point, it’s no surprise that Hiro has remained one of our most popular designs."

5. The Safari Chair by Carl Hansen & Son

The Wishbone is by far Carl Hansen & Son's most recognizable design, but the brand's catalogue is bursting with other chairs that are just as worthy of some time in the spotlight. The Safari is less of a dining chair and more of an accent chair, and can be used in much the same way the Wishbone is sometimes used to enliven an empty corner.

Upholstered in canvas, with armrests in saddle leather, it practically beckons you to come sit in it. And despite being nearly 100 years old, its appeal to today’s current yearning for convivial furniture makes it feel totally right for contemporary decor.

The famed Danish architect Kaare Klint designed it back in 1933, aiming to evoke the sense of casual bonhomie he’d seen during a trip to Africa. "He was a great admirer of simplicity, introducing the world to the Danish Modern look, cutting off those lions’ feet and carvings and maintaining only the bare minimum a piece of furniture needs," explains Knud Erik Hansen, CEO of Carl Hansen & Son. "It wasn’t particularly popular at the time, but then Klint never designed for popularity; he did so to show his students his ideas. The Safari chair was like something out of the blue for people used to more decorative pieces back then — but it was remarkable in how opposite it was to everything that had come before."

Carl Hansen and Son acquired the licence for it in 2002 and have been manufacturing it ever since. "It has changed very little — if at all — since it was first made," Knud says. "And people who have had them for years now come to us to get the occasional spare part replacement they need. It’s a chair that makes people smile. Once you sit in it, it gives way a little bit, folding around you. It’s a little bit flexible and very strong; there is nothing complicated about it."

The Wishbone chair is clearly not going anywhere any time soon; we expect to continue to see it (and be happy to do so) in countless design-led homes.

But it's always just that little bit more interesting when we see another dining room seating trend start to come through, something that isn't quite so expected, and that helps to make the overall room feel just that little more considered.

Before setting foot into Kartell's 'Museo', in Noviglio, just outside of Milan, I'd assumed that the brand's archive would be the par for the course for this sort of thing — one room with a timeline of the business printed onto a wall, a few of its most iconic furniture designs on plinths. A brief introduction.

Instead, I found myself in a lofty space across several floors — a warren of paths that guides you from its starting point (once solely a manufacturer of ski straps for cars) to some of its most noteworthy contemporary projects — a collaboration for the 2023 Barbie film was a particularly engaging display.

In Milan, where furniture design is as serious a business as its fashion industry, endless coachloads of school children and design students come to see the archive, looking to learn from the past. "Through drawings, sketches, and models that reveal the thought processes behind historically significant products, as well as contemporary photographs, catalogues, and texts documenting the designers’ intentions and motivations, we can explore a place of conservation that also functions as a creative workshop," Lorenza Luti, the director general of the Kartell Museum tells me. "Here, materials from the past inspire new narratives and perspectives, linking the present to the future."

But, is there a value to the brand that goes beyond education? I'd argue that, in 2025, the cultural cachet of the archive has become mainstream. Whether in fashion or design, archival pieces that might have once been just the domain of serious collectors are the new signifiers of wealth. The flaunting of luxury goods is on a more global platform than ever, and with the wealthy able to buy into any new product relatively easily, no matter how limited edition its production run, it's design with history and story that really begets the value of 'scarcity' as a commodity.

It's in a brand's best interest, then, to equate itself now more than ever with its own history, and the anecdotes that contextualize and humanize its designs.

On my visit to the Kartell Museo, I'm allowed access into the actual archive to look at original sketches from great Italian designers such as Joe Colombo — under supervision, of course. "In the archive, you'll find the prototypes, drawings, and design projects, some of which were never produced," Lorenza explains. "It’s a place where ideas, visions, and the technical and formal solutions behind Kartell’s most iconic objects are preserved."

For Kartell, which is known for its innovation with plastic as a material, it's a particularly technical history, littered with trial and error that, eventually, led to some of its best-known furniture and accessory designs, from the Componibili storage, designed at the end of the 1960s, to the Ghost chair, a relatively recent design classic from 2002. "It narrates the silent stories that the final, polished objects don’t always reveal," Lorenza adds.

The sketches, notes, and drawings are materials that Kartell has kept safe over the company's history, and are now being re-examined, including cataloguing the archives of Lorenza's grandmother, Anna Castelli Ferrieri, an architect and Design Director for Kartell.

It's not just Kartell who has turned the idea of the archive into a brand moment. MillerKnoll, for example, recently unveiled a new archive at its Michigan Design Yard headquarters, while for other brands it's not a new phenomenon — Vitra opened its Basel museum-archive back in 1989.

The design museum is a chance for a brand to take control over the narrative of its own story, as well as conserve its design history more sensitively. The archive, though looking to the past, is not a static state of being, and is staffed with archivists whose job it is to unearth the ideas and stories buried under the weight of time.

"The daily work involves a meticulous process of research and cataloguing, which is an ongoing effort, especially given the vast amount of material we manage, much of which is paper-based," Lorenza says.

On the museum side of things, it's a different story. Kartell didn't necessarily keep an archive of all its products over time, and the brand's archivists are still actively seeking models from the Italian design brand's catalogue. Over lunch, Lorenza tells stories of collectors turning up at the museum's doors with vintage discoveries, as well as archivists scouring eBay and online auction sites for objects missing from, or exemplary additions to, the collection.

And, just as there are still designs to be found, there are still stories to be discovered. "While cataloguing materials related to Joe Colombo, we recently rediscovered a design for a chessboard he had conceived. We chose to bring it to life for the very first time as part of an exhibition dedicated to him, inaugurated this April in the courtyard of our museum," Lorenza tells me.

"Every prototype, drawing, and photograph is a seed that may one day grow into a new idea. Every rediscovered photograph, every object waiting to tell its story, every outdated model or sketch of a rejected product contributes to an ongoing dialogue between designers and the world around them, between creative minds and society at large."

For Kartell, and for other brands, embracing the archive is an economical way to connect with their DNA, values, and legacy — and to create products with an instant history. After all, furniture companies don’t trade directly in the resale market; the incentive will always be to sell something new.

What surprised me, stepping into Kartell’s Museo, was how alive the past feels here — not static, but constantly reinterpreted. That may be the true role of the design archive today: not simply to preserve history, but to brand it, and in the process, to make yesterday’s ideas the currency of tomorrow’s luxury.

It always takes me a moment to recall exactly what the Marshmallow Sofa, a design by George Nelson for Herman Miller, looks like when I read its name — not because it isn't a design classic, but because it's one of those names that doesn't quite seem to fit the form. The name conjures images of oversized plumpness and saccharine pastels, but Nelson's Marshmallow Sofa is structured, dynamic, and punchy, by comparison.

I'd hazard a guess that a lot of people would recognize this iconic sofa — it's a unique prospect that, for good reason, hasn't widely been replicated — even if they didn't know its name. The Marshmallow Sofa became the first piece of furniture that really embraced Pop Art's sensibilities, and it serves as an example of a time when designers and manufacturers were embracing and exploring the new forms that plastic allowed them to create.

It's a design that still has cultural relevance and remains in production by MillerKnoll. I spoke to Amy Auscherman, director of archives and brand heritage at MillerKnoll, to learn a little more about its legacy.

With its almost floating discs, the Marshmallow Sofa is a feat of engineering, but how did its unique, and let's face it, out-there design come to pass? "In 1956, George Nelson and Irving Harper (the latter of which, was at the time a young designer working in Nelson’s design firm and later became the firm’s design director) were approached by an inventor who had created an injection plastic disc that he insisted could be produced inexpensively and would be durable," Amy explains. "The designers took a look and arranged 18 of them on a steel frame, creating the Marshmallow Sofa."

Easy right? Well, not necessarily, this iconic furniture's form wasn't without its problems. "The cushions turned out to be impractical, but Nelson and Harper were intrigued by the design they had created so casually," Amy says. The salesman's pitch, that the plastic discs would form a smooth vinyl surface when heated, turned out not to be the case, meaning what was meant to be an inexpensive design concept had to be reimagined, expensively. "Herman Miller agreed with the designers and decided to manufacture the sofa anyway. It is an early example of Herman Miller’s systems-based approach to making furniture."

"There is an almost 'it should have never happened' aspect of the design story," Amy explains. "The manufacturing process was cumbersome, but Herman Miller moved forward with reimagining what a sofa could be — less bulky, a work of art — and decided to produce it anyway with hand-upholstered, plywood-backed cushions, at great expense."

Sales of the Marshmallow Sofa were slow, relative to its higher price point. "Despite this, the product almost immediately became an icon of mid-century design, and we still make it today," Amy says.

In spite of these problems, its form has remained unchanged; however, just in a more limited format. "When first designed, there were two width options, and custom orders were also possible," Amy says. "The 52" version incorporates 18 cushions in a pattern of 4-5-5-4. The 103" length uses 38 cushions in a 9-10-10-9 pattern. Probably the largest produced was a custom version installed at the 1958 Brussels World’s Fair with over 100 cushions." Today, the brand only offers the 18" cushion option..

Beyond being a sofa design that has endured, it's fair to say that the Marshmallow Sofa has a deeper design legacy. "Upon its introduction, the Marshmallow sofa became an icon of mid-century modern design and the Pop Art aesthetic," Amy says, "but it also embodied an optimistic moment and triggered an aesthetic shift in the domestic landscape."

Born in County Wexford, Ireland, Eileen Gray (1878-1976) is considered one of the world’s visionary architects and interior designers. Producing a large portion of her work in the early half of the 20th century, her name and her designs, whilst initially not given sufficient recognition, are now synonymous with the cutting-edge International Style and Modernist design movement.

Some may recognise Eileen Gray’s E-1027 Villa — the sleek white rectangular house in Roquebrune-Cap-Martin which enjoys a perched position overlooking the Côte d’Azure — or her compact but cool little tubular chrome E-1027 Adjustable Side Table, the epitome of Modernist style and still one of the most iconic furniture designs today.

Futuristic and unmatched, her architecture is revered, and her furniture greatly cosseted.

Early Life and Lacquerware

In her early life, Eileen Gray studied painting at the Slade School of Fine Art in London. In 1900, whilst visiting the newly renovated Victoria & Albert Museum, she discovered examples of ancient Eastern lacquerware and considered how the technique might be reinterpreted for modern Western applications.

Intrigued, she proceeded to take lessons in lacquer from Charles Dean, a lacquer specialist and repairer based in Soho, London. During this period of her life, Eileen started spending more time in Paris, and, by 1906, was living permanently in the French capital, where she continued to develop her lacquer furniture designs.

Whilst these pieces are undoubtedly beautiful, they are notably more traditional in shape and style than her later works. Eileen Gray's first piece of recognition was in 1913 at the Decorator’s Salon, where her lacquer work was seen by the couturier Jacques Dousey, who later became her first patron.

A Parisian Apartment design for Madame Mathieu-Lévy

Eileen Gray's breakthrough commission came after World War 1 when she was asked to design the interiors of Madame Mathieu-Lévy’s Parisian apartment. Madame Mathieu-Lévy was the prominent owner of the Suzanne Talbot fashion store. Eileen worked on this commission between 1917-1921.

A key standout design from the project is the now-iconic lacquer Brick Screen, designed by Eileen in collaboration with Seizo Sugawara for the space. Originally intended as part of a wall treatment system for the apartment’s long corridors, these screens were movable, making them an ingenious room divider idea that broke up the apartment’s flow into usable rooms.

Alongside her curation of the now-infamous Serpent Chair and the Pirogue Daybed, Eileen Gray also designed bold and geometric carpets for this project, marking the beginning of a long lineage of carpet designs that Eileen would produce throughout her life — each one bolder and more abstract than the last.

The apartment was featured in publications like Harper's Bazaar, The New York Times, and the Chicago Tribune, bringing Eileen Gray's name and work into the public eye, and finally casting a light on some of the most classic furniture designed by a woman.

The Jean Désert Design Workshop

In May 1922, Eileen opened a design workshop in Paris, called Jean Désert. She sold furniture, lamps, screens, mirrors, and carpets. Indeed, carpets proved to be her most successful item; however, her limited run of designs, such as the freestanding Lota sofa, also sold well.

Gradually, Eileen began designing more modernist pieces, experimenting and utilizing tubular steel and chrome finishes, and creating the now-iconic designs for which she is most widely recognized.

As for the meaning behind the name Jean Désert, many believe the decision was due to the fact that, during this time, architecture and furniture design was a male-dominated profession, and therefore, by adopting a male name, Eileen Gray would have a better chance at making sales.

Whilst a pioneer and now recognized as one of the best female designers, for most of her career, Eileen Gray was overshadowed by male architects and designers, and didn't recieve proper acknowledgment for her work until later in the 20th Century.

Eileen Gray’s Most Iconic Designs

Serpent Chair (1917-1919)

A unique-looking piece (seen in the image further up the article), the Serpent Chair is one of Eileen Gray’s earlier examples of furniture designs. It speaks a different design language from her more minimalist furniture, which came later.

Crafted from leather and lacquered wood, and with design details flourished in accents of silver leaf, Eileen designed the Serpent Chair in the shape of a seahorse clutching a mermaid for Madame Mathieu-Lévy’s Paris apartment project.

Eileen Gray’s Serpent Chair sold for $28.3 million at Christie’s in 2009. It holds the world record for the highest-value 20th-century furniture design ever sold at auction.

Brick Screen (1922)

;Fascinated by the beauty of traditional lacquerware, Eileen applied her knowledge and skill of the craft technique to create these geometric screens as a wall treatment for the Parisian apartment of Madame Mathieu-Lévy.

These screens became far more than just a wall treatment, they are regarded more as a piece of functional sculpture.

The lacquer is applied by hand, layer by layer. This famous piece, coveted by collectors, is part of the permanent design collection of the Museum of Modern Art in New York, and is still available to buy at Aram, who holds the worldwide head licence for Eileen Gray Designs.

Lota Sofa (1924)

The Lota sofa (which is also currently still available to buy via Aram) is a development of the original piece which was designed for Mathieu-Lévy's Parisian apartment project.

A dual-usage piece, you can remove the cushions and one of the lacquered end ‘boxes’ and turn it into a bed.

The Lota sofa is considered a significant turning point in Eileen Gray's career, marking a shift from her earlier Art Deco influences towards a more functional and rigorous modernist style.

Villa E-1027 (1926-1929)

Eileen Gray's Villa E-1027 is considered by many to be the jewel of her portfolio and legacy. Not only did Eileen design the architecture and exterior of the villa (a feat of genius, especially considering she had no formal architectural training), but she also designed the interior and furniture. As a result, some of Eileen Gray's most iconic Modernist furniture designs were first seen here, within the walls of E-1027.

Designed and built between 1926 and 1929, the location of the villa was chosen by her lover, architect Jean Badovici. The home sits suspended overlooking the Cote d’Azure in Roquebrune-Cap-Martin. The name E-1027 is code. The ‘E’ stands for Eileen, and the digits 10-2-7 representing the letters J-B-G in the alphabet: the couple’s remaining initials.

E-1027’s clean-cut lines and stark box-like appearance pop amidst the natural backdrop of coastal greenery. Eileen's approach to the rocky and steep slanted plot was to create ‘blocks’ on pillars. The first houses two bedrooms and bathrooms with direct access to the garden, meanwhile the floor above — with large glass windows and partitions — provides the main living areas, a studio, and a main bedroom. A balcony creates further indoor-outdoor flow between the interior of the home and the ocean.

Inside, the villa is fairly modest in scale. Every room has a balcony with outdoor access, and furniture and fittings are largely moveable and, in some cases, multi-purpose. Here iconic Modernist furniture designed for E-1027 takes centre stage. The house and its contents are considered a masterpiece of 20th century design.

Although they reportedly designed it together, for years the property was soley attributed to Jean Badovici.

E-1027 Adjustable Side Table (1927)

Originally created for Eileen's coastal home, the E-1027 Adjustable Table is a versatile piece of furniture that can be used as a side table or a coffee table. It’s believed that she designed it for her sister to use whilst staying at the Villa E-1027. She used to enjoy having breakfast in bed.

The table features a glass top and a contemporary chrome-plated frame. The most notable feature of the table is its adjustable height, which allows it to be used in a variety of settings.

Proving her true tenet for pioneering and avant-garde design, Eileen penned and curated this chrome tubular table ahead of the pieces you see coming later from the Bauhaus movement. The E-1027 Adjustable Table is one of Eileen Gray's most iconic and recognizable furniture designs.

Bibendum Chair (1926)

It’s not entirely clear whether the Bibendum Chair design, now considered one of the most iconic chairs, was created for Villa E-1027 or whether Eileen had penned it slightly earlier for another potential project, however, what is widely known is that it is one of Eileen's most recognizable and that it looks striking inside the E-1027 living area.

The Bibendum Chair takes its name from the Michelin Man character, hence its bulbous profile and shape. It features a curved backrest and armrests, and it is constructed from tubular steel and upholstered in leather, and is available today at Aram.

Transat Chair (1927)

The Transat Chair (or Fauteuil Transatlantique) was also designed by Eileen for Villa E-1027. Inspired by deckchairs she had seen on transatlantic cruise liners, it embodies her drive for flexible and practical furniture to befit modest-scale homes.

It is essentially a slung seat with a minimalist frame and chrome detailing. Eileen wanted a seat that would be comfortable and act as a recliner to enjoy the view of the Côte d'Azur. Brief met.

Roquebrune Chair (1927)

The Roquebrune chair was designed for her second home, Tempe à Pailla, in Castellar, near Roquebrune, France. Originally, Eileen designed the Roquebrune Chair in a blue canvas upholstery fabric, as she intended it to be used outdoors.

Lately, however, it has become available in leather, intended for interior use. Lightweight, adaptable, and multipurpose, it is, like many of Eileen Gray's Modernist designs, as useful and good-looking today as it was back in 1927, when she first designed it.

The History Between Eileen Gray and Le Corbusier

There was well known tension between Eileen Gray and her fellow prominent Modernist architecture and design figure, Le Corbusier.

So, what happened? It is believed that when Eileen Gray parted ways with her lover Jean Badovici, he stayed in their Villa E-1027, while she moved out. Jean was friends with architect and furniture designer Le Corbusier, who is said to have been somewhat obsessed with the property (perhaps due to the fact the villa's design demonstrated many of the Modernist design ideals before he could), who moved in with Jean Badovici for varius periods between 1938 and 1939.

It was during this time that Le Corbusier painted provocative scenes with sexual undertones all over the walls of the villa. He documented himself creating the paintings with photographs, where he was often nude.

Eileen Gray was bisexual, and the act of these paintings were regarded by her, and by many since, as targeted towards the breakup of her relationship with ex-lover, Jean Badovici. It is understood that as a result of these paintings, she never stepped foot in the property again, and subsequently fell out with Le Corbusier.

Just prior to her death, Eileen Gray worked closely with Zeev Aram to bring her designs to a world market, and in 1973, the designer granted worldwide rights to manufacture and distribute her designs to Aram Designs. So, if you're looking to secure an authentic piece of Eileen Gray-design furniture today, this is where to go.

For most of her life, Eileen Gray was overshadowed due to gender bias and influential figures such as Le Corbusier, but thankfully, her revolutionary design theories have finally gained the international recognition they deserve.

Whether it’s for the elegant and futuristic Villa E-1027, the tubular chrome-framed E-1027 Adjustable Side Table, or the sculptural shape of the Bibendum Chair, Eileen Gray is truly one of the great architects and designers of the 20th Century.

Scandinavia is home to one of the most popular design aesthetics for interiors. During the 20th Century, Scandi countries — Denmark, Norway, and Sweden — launched hit after hit of beautifully simple and sculptural ‘form follows function’ furniture, lighting, and homeware designs. Many of these pieces are rooted in the Scandinavian passion for nature, and as a result, they are constructed from natural materials like wood, leather, cotton, and linen.

Ultimately, these Scandinavian design brands' enduring appeal is in their versatility. Scandi furniture and lighting seem to be able to sit with other interior looks and styles — it never fights for attention, it simply adds an element of chic modernity to a space.

So, which are the brands creating Scandinavian design that still resonate today?

1. Anderson Furniture

Part of the Design Concept Denmark family, Andersen Furniture has a long history of working with architects and designers — think Jacob Jensen, Ditlev Karsten, and Charlotte Honcke, to name a few — to curate Scandinavian furniture designs which balance comfort and practicality.

Founded in 1916 by master cabinet-maker I.C.A. Jensen and in 1978 taken over by brothers Knud and Vagn Andersen, the brand roots itself in the use of traditional crafting techniques to produce solid wood furniture which is tactile, quietly chic, and everything you’d want from a Scandi brand.

2. FDB Mobler

Intended as a rebellion against the status quo, since its launch in 1942 FDB Mobler has been producing functional furniture not just for the wealthy, but for everyone. This much-celebrated Scandinavian design brand rebelled against the heavier furniture of the forties and instead cut a design dash with practical and lighter designs for the everyday.

The J46 spoke-back chair (designed in 1956 by Poul Volther) is one of FDB Mobler’s best-selling products. Instantly recognizable, it epitomizes the brand’s flair for producing furniture which is both practical and elegant in equal measure.

3. Fritz Hansen

Fritz Hansen, founded in 1982, is the eponymous brand of cabinet maker Fritz Hansen and one of the foremost Scandinavian furniture design brands. At the turn of the century, Fritz’s forward-thinking son, Christian, experimented with steam-bending techniques and established the brand as a world leader in molded and laminated wood furniture.

Over the decades, the brand has worked with leading Scandinavian designers and curated some of the world’s most recognized — and iconic — contemporary furniture designs. In 1944, architect and designer Hans. J. Wegner created his first iconic chair for Fritz Hansen in the form of The China Chair; in 1955, Verner Panton created the Bachelor chair in bent steel; and in 1958 Arne Jacobsen penned the Egg Chair. Over the decades following, this list of designers and designs associated with Fritz Hansen has simply multiplied.

4. GUBI

Danish design brand Gubi is one of the true gems of Scandinavian design. Its roots are in the swinging 1960s (it was founded in 1967 by Gubi and Lisbeth Olsen) and it is widely recognized the world over for its simple-yet-striking furniture and lighting shapes.

Most people — interior designers included — cosset a sleek GUBI design piece for their home. Gubi’s most famous creation? Well, it might just be the Beetle Chair. Although a more recent design (2013), GamFraseti’s masterpiece for Gubi almost instantly became a design icon. Versatile, perfectly scaled, and available in an extensive range of upholstery options (all of which are alluring), this is a Scandi design brand you need to know about.

5. Grythyttan

Stepping outside for a second, Grythyttan Stålmöbler is a Swedish furniture company known for its classic, durable, and timeless garden furniture designs, particularly its steel-framed garden chairs and tables.

Founded in 1930, it is a family-owned business that specializes in the craftsmanship and the use of high-quality materials such as natural woods and steel. The A2 chair, designed by Arthur Lindqvist, is something of a benchmark of the brand’s enduring design philosophy.

6. HEM

This thoroughly modern and homegrown Stockholm brand first hit the design scene in 2014. HEM collaborates with vanguard designers to create furniture, accessories, and lighting for both homes and workplaces.

While some of HEM’s designs adhere to the more restrained Scandi style — natural woods and a distinct lack of ornamental design detail — others veer towards a punchier use of bold color and pattern (I just love the Molino salt and pepper grinders!) Needless to say, there’s something for everyone.

7. IKEA

Ask anyone to name a powerhouse Scandinavian design brand, and their answer is most likely to be IKEA. Instantly recognizable thanks to its bold blue and yellow colour scheme, IKEA has been producing all things furniture, lighting, and homeware since Ingvar Kamprad founded it in 1943 at the age of 17.

It’s earned itself a reputation as a high street favourite thanks to an offering of economical flatpack furniture and affordable lighting and homeware. However, it also delivers on an ability to curate pieces with oodles of style and design flair, too.

Its latest STOCKHOLM 2025 collection is peppered with some of the best IKEA products — ones that hone a distinctly chic feel, for example. Elsewhere, the KONSTFULL Collection contributed by designer Ilse Crawford — a limited series of beautifully sleek glass vases — proves IKEA can produce a high-end design look, for less.

8. Montana

Montana has been family-owned since its inception by founder Peter J. Lassen in 1982. Peter penned ‘The Montana System’ — a shelving system with 36 basis modules, four depths, and 43 carefully created finishes, which is what the brand has possibly become best known for.

However, there’s an extensive list of other products too: dining tables, chairs, benches, mirrors, and more. All offering a sense of Scandi design simplicity at its best.

9. Muuto

Functionality and craftsmanship underpin everything that Muuto curates. The name ‘Muuto’ comes from the Finnish word Muutos, which means ‘new perspective’.

As you might anticipate, the Muuto designs are all eye-catching and contemporary, and distinctly their own. The Top Pendant Light (available here at Heal's) exemplifies Muuto’s ability to reinterpret a classic. Taking a classic cone-shaped pendant, Muuto has made it out of spun metal using innovative technology. The Unfold Pendant Lamp is rather recognizable too, constructed in flexible silicone rubber and available in a spectrum of beautiful color shades.

10. New Works

Danish brand New Works collaborates with designers who share a similar tendency to focus on detail and materiality. The result is a selection of furniture and lighting that is alluringly diverse yet coherent.

For example, the marble Florence Coffee Table, designed by Knut Bendik Humlevik & Josefine Hedemann, sits beautifully alongside the soft glow of John Astbury’s Margin Pendant Light, and the subtly curvaceous Covent Residential Sofa, designed by ARDE Design Studio. It’s all very neat.

11. Skagerak

Skagerak, a Danish brand founded in 1976, takes its name from the strait in the North Sea which lies between Denmark and its Nordic neighbours Norway and Sweden. Having been family-owned for many years, Fritz Hansen acquired the Skagerak brand in 2021.

Skagerak is known for producing a mix of indoor and outdoor furniture options as well as homeware (they are an excellent source for things like towel roll holders and wall hooks, to name a few!) and all with a key theme of sustainability running through each design. Because Skagerak works with such a strong commitment to sustainability, you’ll not be surprised by the fact that many of their products are made from, and finished in, natural woods, leather, cotton, and linen.

12. String

Sharing a particular synergy with period-appropriate 1960s and mid-century modern furniture, the iconic String shelving system first launched onto the design scene in the early 1950s, conjured by Swedish architect and designer Nisee Strinning for a competition held by the Bonnier Public Library — the brief being to design an affordable and easy to assemble shelving system.

The rest is history. From smaller one- and two-shelf options suitable for the most petite of spaces, to larger full-wall library and display-appropriate versions, the String shelving system was, and remains to this day, one of the most enlightened and intelligent Scandi designs on the market.

13. &Tradition

Launched in 2010, Danish brand &Tradition creates modern furniture, lighting, and object designs influenced by the legacy of Danish craftsmanship. Whether its starting point is new or re-issued, &Tradition says it is ‘passionate about designing the classics of tomorrow’.

The brand's offering includes a peppering of iconic classic designs such as the Mayor Sofa designed by Arne Jacobsen and Flemming Lassen in 1939, the Flowerpot Pendant Lamp designed by Verner Panton in 1968 (which may be one of the world's most iconic lamps), and the Little Petra Sofa and Petra Lounge Chair, both designed in the 1930s by Viggo Boesen.

14. Cane-Line

Since its inception in 1987 Cane-line has expanded from its initial focus on selling interior pieces in Scandinavia to being an international brand selling indoor-outdoor furniture options in over 100 countries. The core offering is ‘functional luxury’, often incorporating handwoven design touches and details into the durable and weather-resistant furniture.

So while you get an undeniably Scandinavian infusion of craftsmanship and style, you also get practical characteristics like UV-resistant materials and quick-drying cushions.

15. Louis Poulsen

Since 1874, Danish lighting brand Louis Poulsen has continuously paved the way for innovation and aesthetics in lighting. The brand produces indoor and outdoor lighting designs that not only look great, but which shift an interior’s atmosphere into more alluring territory.

The aesthetic rolls with the Scandinavian tradition of ‘form follows function’ and the brand likes to think of its designs as akin to works of art — luminaires which carry their own story and which function in every curve and detail. A prime example of Poulsen vision, the PH5 pendant light was designed in 1958 by writer, designer, and architect Poul Henningsen. Henningsen aimed to capture ‘golden hour’ and in response to the glare from incandescent bulbs created a multi-tier shade which has become an icon of 1960s lighting design.

16. Carl Hansen

Ever heard of the Wishbone Chair? This is the Danish powerhouse behind the design. Carl Hansen is also known for its CH25 Lounge Chair and CH07 Shell Chair, among a plethora of others. With over a century of experience, the brand has actually amassed quite a list of furniture, and its furniture can be seen in many households worldwide.

Carl Hansen is the largest manufacturer of Hans J. Wegner designs. They also produce pieces by Arne Jacobsen and Borge Mogensen. Unsurprisingly, it's a brand which is deeply rooted in Danish design history, and it sees itself as something of a guardian of the ‘classics’. It continues to expand its international reach with a thriving and accessible network of global retailers.

17. Fredericia Furniture

The family-owned design company Fredericia prides itself on crafting modern originals, and it's been in business since as far back as 1911. Its list of designs is impressive, to say the least, and it has the right to manufacture and sell some pretty sleek scandi pieces by the likes of Borge Mogensen, Nanna Ditzel, Edward Barber and Jay Osgerby, Kaare Klint, Space Copenhagen, Cecilie Manz, Jasper Morrison... the list goes on.

18. Hästens

Bed specialists Hästens has a strong brand identity — the striking blue and white check pattern of its bed frames and mattresses is rather recognizable. This long-standing Swedish bed brand has been building beautiful beds since 1852, and takes great pride in having nurtured six generations of master craftsmen, and using only the most sumptuous fabrics and premium materials in the product. The brand's commitment is to providing you with exceptional sleep quality. Suffice to say, you’re guaranteed to sleep well if you’re bedding in with a Hästens.

Because Scandi furniture is so versatile, you can rest easy that whichever Scandinavian brand you shop with, you're guaranteed a piece of design which will embody timeless style. An investment not just for your home, but for generations to come — a Scandi design piece is an investment piece and an heirloom for future family to inherit, use, enjoy, and thank you for.

Step foot on Finnish soil and it’s just a matter of time before you start to understand how significant the architect and designer Alvar Aalto is to Finnish design culture. Alvar Aalto (1898-1976) — along with his first wife, Aino Aalto (1894-1949), and second wife Elissa Aalto (1922-1994) both of whom are notable architects and designers in their own right — is widely considered the founding father of Finland’s ‘Golden Era’ of design.

The famous Finn enjoyed a successful career at home in Finland and abroad. During a long and prolific career, Aalto designed buildings for almost all key public institutions, standardised housing, and private homes, but he also has a lasting legacy in the design of iconic furniture pieces, too.

Having graduated as an architect from the Helsinki Institute of Technology in 1921, now part of the Aalto University, Aalto set up his first architectural practice in Finland. In the late 1920s and 1930s, he often travelled to Europe. It was during these trips that he became familiar with, and influenced by Functionalism and the new ‘International Style’. As a result, Aalto’s ‘pure’ Functionalist phase lasted for many years. He was also influenced by Japanese design and culture, weaving many of the country’s design cues into his own professional practice and works.

Design Cues and Key Examples of Alvar Aalto Architecture and Design

Working to curate user-friendly and functional designs, Aalto centred his principles significantly on human needs, nature, and craftsmanship. Some of the design cues of Alvar Aalto’s architecture and design include a strong indoor-outdoor connection to nature, a lack of architectural ornament or mouldings, significant use of natural and native wood, and a predominantly white or cream paint color palette. Symmetrical compositions, flat roofs, and the use of concrete often feature.

Aalto penned and curated buildings like the Paimio Sanatorium (1933), The Aalto House (1936), the Villa Mairea (1939), Studio Aalto (1955), House of Culture (1958), Aalto University (1965-1972), and Finlandia Hall (1971-1975), to name just a few. These examples are largely considered jewels of the architect’s portfolio, but he also worked on many more.

Paimio Sanatorium

Aalto designed Paimio as several ‘blades’, taking full advantage of the sun and allowing for balconies for the sick to recuperate in the fresh air and sunshine. Aalto also designed a special chair, constructed out of lightweight plywood sheets known as the Paimo Chair. It could be easily repositioned and moved around the patient’s balcony thanks to its lightweight design. It also aided recovery with in-built slits designed into the headrest so fresh air could circulate the patient’s face. The success of the Paimio project put Aalto’s name on the design map.

The Aalto House

Located on a hillside plot in Helsinki’s Munkkiniemi district, the Aalto house was a kind of precursor to the manifesto that Aalto finally brought into being in the Villa Mairea, the house designed for his friends Maire and Harry Gullichsen. Alvar Aalto lived in his home in Munkkiniemi for the rest of his life, until 1976.

Finlandia Hall

Helsinki authorities asked Aalto to design a concert and congress building, and Finlandia Hall remains today (although freshly refurbished) with mostly all of Aalto’s original design details still intact.

The building is clad in white marble, so it appears like the ice queen of the city resting neatly on the shore of Töölö Bay. Inside, Aalto’s spacious entrance foyers along with the wide and shallow staircases (such a gracious design detail) lead up to the main auditorium hall.

Aalto approached and treated each architectural project as a work of art, applying as much time and attention to detail to furniture and fittings too. His interior design for Villa Mairea is considered by many the starting point of Aalto’s involvement with the Artek furniture brand...

Artek & Iittala, Two Of Finland’s Most Recognized Design Brands

“Aino & Alvar Aalto as a creative design couple had more than 140 design products in production at the same time in the 1930s," explains Tommi Lindh, CEO of Alvar Aalto Foundation. "This is probably a world record in design. Most of them are still in production by Artek, which shows their long-lasting quality and success."

The Stool 60 is the original design icon. Sporting a simple, solid birch wood construction with a round seat and three curved L legs, Stool 60 is potentially Aalto’s most influential furniture design piece. An excellent example of functionalism, the International Style ideals, and Finnish flair for innovation, the Stool 60's legacy and applicability for contemporary homes today owes much to the vision of Aalto’s original objective — universal design made entirely from a natural material, native birch. It’s no surprise the Stool 60 has remained in constant production since Aalto first penned the design in 1933.

Aalto designed the Tank armchair for the 1936 Milan Triennale. The low and loungey seating position and wide armrests of the iconic chair give the Tank its distinctive and sturdy appearance. Begin to look and you’ll no doubt spot Tank’s included in iconic interiors around the world. Tank looks particularly striking upholstered in the classic Zebra fabric choice (as seen in the Aalto’s own home).

The development of the L Leg transformed furniture design, allowing for the legs to be attached to the tabletop directly. Table 90 was designed in 1935 and is one of the more compact and curvy of the dining table designs. It comes with a round top. Whilst the frames of these tables are normally birch, the tops can be specified in either matching wood finish, black or white laminate.

Lighting design makes up for a considerable chunk of Alvar Aalto’s work. If you can get a booking at Restaurant Savoy, grab the chance. It’s a great place to hang and I have a particular soft spot for the cool black and white broad stripe banquette seating, which make this place feel like a gem of a Helsinki design attraction. It’s been refurbished sensitively in recent years with the help of designer Ilse Crawford, and the menu is currently led by Helena Puolakka. It’s quite simply pure bliss.

Iittala

Iittala is one of Finland’s most famous design brands. Founded in 1881, it’s possibly best known for its glasswork designs, which are often crafted by hand. Regarded by many as being timeless and functional, over the years Iittala has worked in collaboration with several designers to curate many of their now iconic glassware designs.

Aino Aalto designed for them before Alvar did, but both have worked significantly with the Iittala brand. Aino’s contributions include the Bölgeblick glassware series, inspired by ripples in water, and her eponymous Aino Aalto Collection, which is a series of simple and durable glassware and pitchers, including the Aalto vase.

And there are other notable collections by Kaj Franck, Oiva Toikka, and Tapio Wirkkala. Tapio Wirkkala's Ultima Thule collection is inspired by melting ice in Lapland.

Aino Aalto created housewares for Iittala, including glassware and pitchers. Her designs were inspired by modernism and functionalism, and she emphasized the use of honest materials. Iittala has expanded over the years into ceramic and metal, and more recently, in 2024, the brand unveiled a new logo and collections, many of which hark back to the Aalto’s style and contribution in design.

The Alto’s significant contribution to 20th Century design in Finland — and indeed internationally — continues to reverberate through society. The chic, restrained modernist design lines which they penned remain as fresh and enviable today as they did when first unveiled.

This edit gives an overview of their designs and achievements, for anyone wishing to read and discover more about Aalto design we suggest the Alvar Aalto Foundation website as a great source of information.

One of the strange idiosyncrasies of a social platform such as TikTok is that you can be scrolling dog videos and Crockpot recipes one minute, and get a lesson in design history the next. Well, if you curate your algorithm that way.

When it comes to what in design does go viral online, you tend to find that the wackier the object, the more social traction. The first design classic that ever came across my feed was the Pratone Chair by Gufram, an undeniably out-there concept for a chair made from oversized foam "blades of grass" that wouldn't look out of place in an indoor jungle gym.

It's a similar story for what's been dubbed the "ADHD sofa" by TikTok, a design from the vaults of one of the most celebrated furniture design brands in the world. But how did this unique piece of design come to be known by this new — and very zeitgeist-y — moniker? And what's the history of this iconic chair?

What is the "ADHD Sofa"?

The "ADHD sofa" is otherwise known as Vitra's Panton Living Tower, designed by Verner Panton in 1969. Part couch, part furniture sculpture, this upholstered seating tower lends itself to a more interactive way of sitting. You can perch on its various levels, in different directions, with your feet positioned in different ways. The fun is, I would suspect, in discovering new ways to find a seat within.

It's a unique idea, but not, of course, the sort of thing you'll see in many living rooms. "The Vitra classics often broke new ground with their innovative forms," Stine Liv Buur, Design Manager Classics of Vitra tells me. "The Panton Living Tower is a good example. When first presented, the design broke the existing mold, taking the furniture in new, almost revolutionary directions."

It's undoubtedly a design that captured the imagination of the world when it was first released, but why has the Living Tower also started courting attention some 50 years later? The original viral TikTok, which garnered some 35 million views, suggested that the design was the perfect "ADHD sofa". It doesn't really have anything to do with the condition — rather, it's a reference to the idea that you can change up how you're seated, quickly, and that it's a good couch design for people who can't help but fidget in a standard chair.

Pair this with the fact that ADHD diagnoses are on the rise, and it's the perfect storm. According to the CDC, one million extra children between the ages of 3-17 received an ADHD diagnosis in 2022 compared to 2016. In adults, diagnoses have increased from 6.1% to 10.2% in the last two decades, claims another report by Forbes Health. With that, awareness and conversations about the condition are at an all-time high, too.

But, while ADHD might be the buzzword that has re-propelled it to the spotlight, it's the unusual nature of this design by today's standards that has really driven its virality. "Everything has its popular moments — including design furniture classics," Stine tells me. "The uniqueness of the Verner Panton Living Tower is the sculptural quality that opens for several uses. Is it a lounge? Is it a sofa? Is it a chair? Is it for play? For relaxing? For reading? Working? With the absence of one obvious function, it is, from my perspective, a symbol of the life we live today."

Can you buy the Panton Living Tower?

Vitra still retails the Panton Living Tower, but this isn't a purchase for those without the deep pockets to match their well of enthusiasm for the design — it's currently priced at $28,740.

It is, Stine from Vitra assures me, something that people do buy, though. But I want to know who. "I think they are looking for something that can bring joy and fun into their lives and at the same time enrich their home with a sculptural icon by a world-famous designer," Stine says. "I have observed the Living Tower in use at several places, both privately, in office interiors, and at exhibition spaces, and it always provides immense pleasure; it is like a magnet to people of every age."

Its virality just goes to prove that it still has this magnetism to this day, and there's a warmth in the reaction people have when seeing it, perhaps even more so than other examples of eccentric modern interior design. Something of a rarity in the cynical world of social media.

"Verner Panton’s daughter once shared with me that what her father disliked most was entering a living room and seeing the typical arrangement of a sofa and two armchairs around a coffee table," Stine continues. "He found it terribly boring and dreaded the prospect of being forced to sit there all evening."

And it's fair to say, if you fear the boring too, this design is anything but.

Shop Vitra

There's not much I can say about the iconic American architect Frank Lloyd Wright that hasn't already been said. As one of the most highly regarded architects of the 20th Century, his designs have had a far-reaching impact, particularly his Prairie homes, the first of which was Winslow House.

Built in Chicago in 1893, it was his first major independent commission and the prototype for many of the Frank Lloyd Wright houses that followed. The wooden interior is a true testament to the genius of the designer, and it features an intriguing architectural element that looks so cozy and inviting: an inglenook. If we're lucky, the design feature could make a return to modern homes sooner than you think. Or, you could cozy up inside the original since the home, which is bursting with history and prestige, is currently on the market. Take a look inside.

The famous architect built this 5,000-square-foot home at just 26 years old, and the final design is what would launch his groundbreaking career. Beneath its low-pitched roof with wide eaves, the house is symmetrical and horizontally divided into a stone section, a golden Roman brick section, and a terracotta frieze. It features rich woodwork throughout, an artistic wooden screen on the staircase in place of balusters, and art glass patterns in its windows, all hallmarks of Frank's lasting legacy.

The most intriguing detail of all, however, is the inglenook in the entryway. This cozy, semi-enclosed fireplace idea was designed so that owners could enjoy conversation with guests in front of the hearth. It's situated right in the center of the property facing the entry, with rooms on either side, making it the true heart of the home.

Matthew Coates, Bainbridge Island architect and owner of Coates Design, says that while inglenooks aren't frequently used in today's designers, there's a lot of functionality and history tied to them. "Wright borrowed a lot from the Arts and Crafts movement and the English Tudor styles, where these nooks were super popular," says Matthew. "Back when fireplaces were the main heat source and usually at the center of the home, people would huddle up in these semi-enclosed spaces to stay warm and hang out."

In a more contemporary home, a warm, enclosed-like space like this one helps to blend those open, airy spaces with smaller, cozier ones to bring your cozy living room ideas to life. With more of us now craving cozy, closed floor plans despite having open-concept blueprints, inglenooks are an architectural detail that might receive a modern makeover sooner than you think.

The rest of the space

Of course, the rest of the home is an eye-catching display of style and grandeur as well. The recurring theme throughout the house is the use of beautiful, decorative wood accents. Wooden interior details can make a space feel more inviting and grounding, but can naturally bring a darker mood, too.

When giving your living room a refresh, pairing colors that go with dark wood flooring, like beiges and light blues, will create a visually appealing contrast. "When designing a contemporary interior inspired by the look of Winslow House, it's all about creating moments that feel like comfy places to relax in, that do not feel old-fashioned," says Matthew, adding other natural elements like sleek stone can bring harmony to the space.

One of my favorite details in the home (besides the intricate inglenook, obviously) is the addition of wooden trim that outlines the walls. Incorporating wood into the home is a cozy-chic way to bring nature into your design while still keeping a polished look, and works especially well for light walls with dark trim.

If you're a fan of Frank Lloyd Wright's architecture and you've fallen in love with this cozy inglenook, now's the chance to turn your dreams into a reality. The Winslow House is currently on the market for $1.985 million, listed with Christie's International Real Estate, but it won't stick around for long.

“The offering of Frank Lloyd Wright’s Winslow House is a rare chance to own an indelible part of American architectural history,” says Elizabeth August of Christie’s International Real Estate. “The current owners took incredible care to bring the home up to date while honoring Wright’s vision, and now this home is ready for the right buyer to usher it into its next era.”

Get The Winslow House Look

To understand maximalism in interior design, the word itself contains a salient clue: decorate to the max. Of late, maximalist interiors have burst onto our feeds with a vengeance, like a proclamation that less isn’t more, it’s lackluster.

What is it, exactly? You can’t miss a maximalist interior. They bloom with layers of texture, print, color, and meaningful objects. Modern interior design interprets this as a hyper-personal space raucous with pattern and personality, often appearing on the edge of chaos, which can make them borderline cheeky. Picture an eclectic country home stuffed with updated chintz, like patterned wallpaper and curtains (maximalists aren’t afraid of an animal print, particularly leopard spots, and explosions of florals from wall to wall) in harmony with a trove of art and objects. 

The shape of the conversation around maximalism is a bit of a statement — you can’t speak of maximalism without considering its preternaturally slick opposite, minimalism. In many ways, maximalism is a rejection of the latter.

And while maximalism doesn’t hold back, pulling it all together requires a heavy, deft hand. Here’s everything you need to know.

Maximalism in interior design explained

WHAT IS MAXIMALISM?

Although maximalism doesn’t have a tidy definition, its core elements are abundant: pattern, color, and texture. 

“The key to maximalism is that there really are no rules – it celebrates a freedom of self-expression and the joy of an interior filled with colour, pattern, and life,” explains Frieda Gormley of House of Hackney, a British design house with a showroom in New York. Her modern bedrooms ideas above include running wild with pattern and print across the walls, floor and bed itself, and her studio’s Palmeral wallpaper, created in 2012, was a precursor to the modern maximalism we see today.

A maximalist space doesn’t hold back. It’s filled to the brim with precious bits and bobs. Textbook examples criss-cross different eras and are full of bold color and updated chintz (chiefly British, this decor often has an English accent). Juxtaposing anything from French-patterned wallpaper and animal prints to vintage furniture and art. Expect layers of decor and deeply personal objects that feel collected over time — interiors that tell a story. 

“A lot of people see it as clutter,” says the illustrious Swedish designer Martin Brudnizki, who works out of London and New York. “Personally I see it as a collection of emotions and memories.” 

In 2018, Brudnizki led the lavish revamp of Annabel’s in Mayfair, below, something of a cultural reset that burst at the seams with maximalist material (trims, fringes, tassels!), a cacophony of floral pattern, and a joyful pink loo with swoon-worthy gilded swan taps. “I find it comforting sitting in an interior made up of pattern as you are essentially camouflaged, hiding in a deep comfortable armchair as opposed to poised on a spindly chair in a bright white room with nowhere to go,” adds Brudnizki.

WHAT DOES IT MEAN TO BE A MAXIMALIST?

“It’s very romantic, a bit nostalgic and very optimistic,” said Luke Edward Hall, among today’s maximalist stars, when he described his style to us back in 2018. “I think you should be able to live with beautiful things every day – I like an element of the handcrafted in everything I do.” 

In Hall’s latest project, the new Hôtel Les Deux Gares in Paris’ 10th arrondissement, you’ll find a masterful blend of maximalist styles featuring vintage French posters and toile de Jouy wallpaper to bright green wainscotting and leopard print sofas — bursting with British charm, these modern bedroom ideas and quirky interiors make you smile.  

In this way, maximalists can be somewhat sentimental; the layers found in their interiors are full of personality and story.

“I like to think less about maximalism and more about romanticism,” says Martin Brudnizki. “For me, it is more about conjuring a feeling of glamour mixed with comfort. The various different layers we can use in our interiors should reflect our personality. It doesn’t have to be a million different aspects clashing at once but it does have to transport you into your own world and importantly you need to commit to what you love most.” 

You know that quote, “before you leave the house, look in the mirror and take one thing off,” Coco Chanel’s famous mantra? The maximalist would tell you to keep it on, or better yet, add another layer — the more accessories, the better.

WHERE DID MAXIMALISM COME FROM?

Although it’s making a splash on our feeds today, maximalism as a reference dates back to the 19th century.

“Maximalism has been around for decades, starting with the Victorians, who famously loved collecting exquisite objects, and the grande dames of 20th century decorating — most notably Madeleine Castaing, whose penchant for eclectic furnishings and unexpected palettes helped to pave the way for modern maximalism,” explains Frieda Gormley of House of Hackney, who is one of the reasons maximalism is a key part of wallpaper trends today.

The Victorians were eclectic at heart, known for their busy interiors (heavy upholstery, rich colors, and decor galore) while Castaing, the iconic French decorator who enamored the 1940s design world, embraced eclecticism with a touch of tailoring, working with signature colors and plenty of patterns (in her own country house, a leopard print carpet stretched from wall-to-wall). 

“But the current incarnation really started as a reaction against the minimalist interiors trend of the 2000’s — a time when it was all magnolia walls and clean-lined furniture.” This makes the nascent rise in maximalism something of a clapback to the minimalism of the past decade or so; it’s a playful, ‘all in’ type of decor that puts every chip on the table. 

WHAT IS NEW MAXIMALISM?

The latest maximalist designs are varied if not one-of-a-kind. And yet, like industrial interior design, they do follow a certain rubric, it's just that their rubric is that they break all the rules.

“If we’re looking at an interior without rules and essentially a curation of furniture, colours, art that you love, then there are more opportunities now than historically, and more references to inspire you and include within your house,” Martin Brudnizki. “Our interiors now have the potential to be busier, which is a reflection of our access to culture.”

In this way, new maximalism has a little more room to maneuver, more agency to layer references and styles. 

“The ‘new maximalism’ we champion at House of Hackney revolves around maximum colour, painterly prints and rich textures—but it’s not about lots of ‘stuff,’ which it had often been in the past,” explains Frieda Gormley. “We want only to be surrounded by things that have a purpose, that have been created for both their beauty and their meaning. So we say never hold back with the personal objects, mementos, pictures and paintings that evoke a memory or a story, as those are the things that transform a house into a home.”

WHAT DO PEOPLE GET WRONG ABOUT MAXIMALISM?

Sure, maximalism means abundant decor. But that doesn’t mean today’s maximalists advocate overconsumption; the decor is meant to hold value, to show signs of life and personality.

“The biggest misconception is that maximalism is about acquiring a lot of possessions or disposable things, when really the ‘new maximalism’ advocates investing in timeless furniture and accessories that you can treasure forever,” says Frieda Gormley of House of Hackney. It's no surprise that the bedroom wallpaper ideas she's turned to for the picture below includes a lot of pattern, but it's still an edited selection. “In our house, we strive to live in a mindful way, decorating with just a few well-made and carefully chosen pieces – with the maximalist touch coming through in bold prints and the layering of textures.”

IS MINIMALISM GOING OUT OF STYLE?

Certainly, minimalism is going out of style today, or at least facing a reckoning. “I think people have begun to realise that there is no joy to be found in grey wall!” says Frieda Gormley of House of Hackney, clearly not a fan of beige living room ideas. “So whilst we do champion the minimalist idea of buying less and instead investing in good-quality designs, over the last few years we have seen more and more people move away from minimalism and instead embrace the magic of colour and pattern.”

Evocative and lively interiors are in, surely, but that’s just the point — there’s room for a healthy mix of periods and styles. 

“I think we need to be really careful when we talk about what has been and will be that we don’t reduce time into a history of neat categorizations and understand that at any one point there has always and will always be different styles and aesthetics at play,” says  Martin Brudnizki. “You hear a lot about trends in maximalism as a reaction to minimalism. However in my opinion, if there has been one objective that has remained constant over the last century it is a desire for glamour.”

HOW TO MAKE A MAXIMALIST ROOM FEEL CURATED

The expertly layered decor in maximalist interiors belies just how tricky pulling off one of these rooms can be. Although they reject the disciplined approach of minimalism, curating a maximalist room still requires a steady hand. 

“The secret is to work in a cohesive palette,” says Frieda Gormley. “By coordinating colours you’ll bring a sense of harmony to a room, which is so important.” At one of House Of Hackney’s latest projects, the Castle of Trematon in Cornwall, the interiors harmonize with the surroundings: wildly beautiful gardens and woodland. Coordinating with the outdoors, they folded botanical beauty into every square inch, coating rooms in the studio’s nature-inspired prints. 

“We always encourage wallpapering all four walls – and, if you’re feeling really bold, [take] the print onto the ceiling too, which is what we did with a few of the guest bedrooms,” says Gormley. Pushing their guest bedroom ideas to the max, the studio hung artwork right overtop of wallpaper, adding another daring layer to create an overall enchanting mood.

Another way to make a maximalist room feel curated is by introducing a statement piece, like a tightly curated cabinet. 

"The best way to make a maximalist room feel curated is to display a collection of decor in a glass-fronted cabinet,” recommends Jeffrey Wilkes, the founding principle of Kuala Lumpur-based interior design firm DESIGNWILKES. “My advice is to upholster the back of the cabinet in a color or textured silk and then arrange the decor in a skyline fashion. Make sure the cabinet is well-lit, yet soft. The best part is that you can always add different items to the cabinet. Think of it as the New York skyline and each object is another building, layer upon layer. The cabinet becomes a focus of the room and lends an air of importance."

Farrow & Ball paints have long been loved by both interior designers and home decor enthusiasts the world over. And while we may sarcastically question their... whimsical choice in paint names (Brocolli Brown, Dead Salmon, Elephant's Breath, need we go on?) there is no denying the quality, richness and complexity of the colors are hard to beat. 

And that, perhaps, is why certain shades earn almost a cult following. Appearing in every room on Instagram, gaining its own impressive hashtag and having writers dedicate whole articles to using this one popular hue. Down Pipe is one such shade.

As Kate Watson-Smyth, a.k.a writer and creator of Mad About The House, perfectly puts it, 'Downpipe has achieved cult status - like Madonna and Kylie you need only say its name for everyone to know instantly that you are talking about a particular shade of dark grey paint made by Farrow & Ball. No other description is necessary.'

• Feeling inspired already? Find more grey living room ideas in our gallery.

1. Use Down Pipe as backdrop for brighter colors

Dark greys like Down Pipe were made to mix with bright shades and they are the ideal backdrop for bold artwork, brightly colored furniture, or as can be seen here a way to make the walls in adjoining rooms pop. Even the more muted colors of the vintage artwork hung in this hallway seem more vivid against the deep lead grey of the walls. 

'Downpipe loves every other color on the spectrum and works beautifully in both natural and electric light, something you must always consider when choosing any color by the way.' advises Kate Watson-Smyth.

'It has a warm green undertone and loves to be paired with all the pinks, soft silvery greens and even neon. Slather it over your walls and watch your artwork pop out in a way it will never do against white.'

2. Soften it with beige hues

And if you prefer a softer, more subtle look you can easily tone down the drama of Down Pipe by pairing it with a warm beige tone. When sat next to straight-up white, it can look very dark and stark, but with a softer, creamier neutral shade like Stony Ground, it transforms into this warm, rich, rustic shade that feels much more liveable and works perfectly on kitchen cabinetry as can be seen here. 

3. Warm up Down Pipe with brown tones

If you plan on painting a room that doesn't get a ton of natural light with Down Pipe, then go for it, stronger greys work really well in darker space creating a more intimate, cozy feel. 

'The old adage is that you use a dark color in a light room 'because it can take it'. But why make a light room darker? We think dark colors actually work really well in darker spaces, like a north-facing room or a W/C. Instead of hiding a potentially negative feature you actually turn it into a positive and can add a real sense of coziness.' says Adele Lonergan Co-Founder & Creative Director of Covet & Noir.

However, you will want to consider how you will warm up the room as the blue undertones of Down Pipe do risk making a room, especially one that lacks natural light, feel cold. 

The solution is simple, add in some rich warms tones like terracotta or even browns. Furniture is an obvious way to do this, brown leather pieces or light orange-toned woods really tone down the cool tones of the paint, as you can see in this dining room. Those rich hues in the rug add extra warmth too, and Down Pipe just gives this quite traditional space a modern edge. 

4. Go all over for a dramatic look 

How gorgeous is this dark living room? Sometimes the best way to go with a dark grey, especially in smaller spaces is all over the, ceiling too if you want a really cocooning look. We know it's a truth universally acknowledge that lighter colors expand rooms but darker colors can do much the same as they blur the boundaries of the room and trick the eye into thinking the room goes on and on. 

'If you want to make it look really modern though you shouldn't pair Down Pipe with white which will be too high contrast.' recommends Kate Watson-Smyth. 'Paint the woodwork to match - this will make your walls look taller and your ceilings higher and use a soft barely-there pink on the ceiling. In the same way you don't wear a white top with everything in your wardrobe, don't default to white woodwork when you have spent so much time and money searching for the right color for your walls.'

5. Paint the floor with Down Pipe

And if all four walls and the ceiling is going to be too much, bring Down Pipe onto the floor. It is of course a practical choice for flooring and will hide any wear and tear but it also adds depth to a room without totally overwhelming the space or becoming the sole focal point. 

In this light-filled home office, it has been paired with Dimpse, the palest of greys on the walls, and All White on the skirting. The overall feel is fresh and bright, proving Down Pipe doesn't always have to bring the drama it's known for. 

6. Bring it onto one wall in the bedroom

Dark bedrooms always look so sophisticated and moody, and we love the enveloping feeling they can have, but if you're not ready to commit to going all over with a daringly deep hue, try a feature wall. We know they aren't the trend du jour they used to be, but there's still a place for feature walls, and for us, that's with bold deep shades. 

Down Pipe is used on the main wall in this bedroom, and yet the room feels in no way dark. It's light and open thanks to all those crisp whites and creams that seem to take the darkness of the shade.

As Charlotte Cosby, Farrow & Ball Head of Creative, explains, 'a deeper grey such as this is perfect for a room only used at night, it creates a space that feels both chic and tranquil and sits harmoniously with much lighter tones such as Blackened or Strong White.'

7. Embrace a dark space

Down Pipe is the perfect color for hallways, in fact, we see it in hallways more than any other room, because it works so well in small, light-starved rooms. In this space painting all the woodwork, as well as the walls, creates that optical allusion of the room being much larger and longer than it actually is. 

'When using a dark color like Downpipe it's important to commit! If you're using the color on your walls we always think it looks more premium to continue it onto the woodwork as well. Not only does this achieve a really impactful look, but it actually gives the illusion of a higher ceiling height, as you're not cutting the height of the all off with a white skirting board.' explains Adele Lonergan.

Anna Burles, Creative Director of Run For The Hills agrees; 'It’s a misnomer that dark colors make a room feel gloomy and smaller. They can do the complete opposite, making a room feel ultra-cozy, soft and expansive, by creating light and shade with the natural light coming into the space and the textures and tones of the furniture you pair with the wall, floor or ceiling color.  Moody paint shades shouldn’t just be for the bold and the brave, give them a try!'

8. Go for a clean contemporary feel

If you want a very clean and obvious contrast, pairing Down Pipe with a true white gives a very crisp look that works well with all styles in all sizes of room. Plus this simple scheme provides the ideal backdrop for adding more colors in the form of artwork and decor.

In this open-plan dining space, the reams of natural light turns Down Pipe almost into a blue Mid-grey rather than the inky charcoal seen in the other rooms, perfect for adding a touch of drama to a  room that sees a lot of use.

9. Layer up similar tones

For a really moody look layer up lots of smokey grey tones, using Down Pipe as a base and bring in lighter greys that have similar undertones. Here to adjoining rooms, one painted in Down Pipe and the other in a smokey green-grey, create a very atmospheric space.

10. Test out Down Pipe in your own space

Now before you go and start painting every wall in your home with Down Pipe, word of warning; what makes Farrow & Ball paints so beautiful and unique is that they shift. Because the paints are blended with rich pigments and light-reflecting titanium dioxide they change in different light and can also change depending on what colors you fill the room with too. 

So swatches are a must. Test out Down Pipe in your space and see how it changes throughout the day. How does it look in natural light? And in the evening when the artificial lights go on how does it change? Make sure you are happy with both before committing to painting any walls. 

'Before decorating a space, I always start by considering the natural light. In this case, it is really important to figure out whether the room is south-facing or north-facing. South-facing rooms tend to get a warmer light, which means some colors can show up a bit on the yellow side.' advises Kelly Wearstler  'To counteract this, I recommend using a dark colour with a cool base. Meanwhile, north-facing rooms are a lot darker. But, this doesn’t mean you can’t use a dark color for decorating! Dark colors are a great way to create a cozy space, just use a dark colour with a red base to add some warmth to the room.'

What colors go with Farrow & Ball Down Pipe?

Down Pipe is a really versatile deep grey and can pretty much handle any shade you throw at it. The white shade that's recommended by Farrow & Ball color specialist is Dimpse, which is very very very light grey, when paired with Down Pipe those grey tones do come out though. This can create a very cool space, which is totally fine if you are decorating a south-facing room, but for a room that lacks natural light, you may want to go with something warmer with a creamier undertone. 

'There are plenty of colors that work beautifully with deep greys; but it all comes down to the base behind the grey. For example, a deep grey with a red base pairs really well against warm shades such as the pink-hued Faded Terracotta paint in my California Collection with Farrow & Ball.' says Kelly Wearstler. 'Meanwhile, Down Pipe has a blue base, and so is nicely complimented by cooler shades, such as greens and blues. And of course, grey and yellow. This duo is a timeless reliable combination, with the brightness of the yellow bringing life to muted greys, whilst the grey quietens the potentially garishness in the yellow.'

Co-designed by leading 20th Century architect and former Director of The Bauhaus Ludwig Mies van der Rohe and designer Lilly Reich, the Barcelona Chair has transversed interiors fashion and trend becoming one of the most sought after pieces of furniture, ever. Take a seat and let’s find out more. 

THE BARCELONA CHAIR 

The Barcelona Chair first debuted on-show as part of the Barcelona International Exhibition. Renowned architect and designer Mies van der Rohe unveiled the now infamous Barcelona Pavilion (also known as the German Pavilion) where the chair played a key role as part of the exhibition display. It was stylish, dazzling and oh-so moderne. 

With its thoroughly chic aesthetic, Mies van der Rohe designed the Barcelona Chair to be supported on each of its sides by two chrome-plated, flat steel bars. The chair sat perfectly amidst the striking Barcelona Pavilion, which itself was constructed from materials like glass, steel, Roman travertine and golden onyx from the Atlas Mountains. The chairs’ elegant side profile is almost strikingly classic and bears a resemblance to much earlier Egyption-style stools and chairs. Yet, in white leather welt and button upholstery guise - yes, the two original Barcelona Chairs were made from a metallic looking white leather! - it looks altogether contemporary and was remarked to be, at the time of its launch, avantgarde. Needless to say during its debut appearance it wowed the top-hat and tails crowd and amazed with such aplomb that it very quickly became an instant interior design hit. 

Epitomising Mies van der Rohe’s Modern Movement ‘less is more’ maxim, the Barcelona Chair was literally designed to be fit for a King. While the Spanish king, King Alfonso XIII, never actually sat on one, it was designed with his pleasure in mind. Mies van der Rohe stated ‘"The government was to receive a king so the chair had to be . . . monumental. In those circumstances, you just couldn't use a kitchen chair." 

The Barcelona Chair proved so likeable that it was pressed into general production soon after it was unveiled. There were only two chairs made for the Pavilion and whilst the Barcelona Pavilion itself was dismantled (a replica was then resurrected in 1986) soon after the exhibition, the Barcelona Chair is still in production. There are countless

makers, but it is the ‘Knoll Studio’ name that we would recommend you look for if you want peace of mind that you’re buying the most reputable example. Knoll have owned the rights to manufacture the Barcelona Chair since 1953. A genuine Barcelona Chair by Knoll will have the signature of Ludwig Mies van der Rohe stamped onto the leg of the chair. 

It’s not just available in white anymore. It can be specified in a variety of different leather upholstery colours including: Black, Grey, Tan, Acqua Blue and Garnet Red, to name a few, and is part of Mies van der Rohe legacy, alongside buildings such as Farnsworth House.

WHEN WAS THE BARCELONA CHAIR DESIGNED? 

The Barcelona Chair was designed specifically to be showcased at the Barcelona International Exhibition in 1929. Designed by Mies van der Rohe and Lilly Reich, the chair is a significant symbol of the Modernist Design Movement. It proved to be a success from the get-go and the design is still produced today by Knoll Studio. 

WHAT THE EXPERTS SAY ABOUT THE BARCELONA CHAIR 

‘The Barcelona chair by Mies Van der Rohe epitomises one of Van der Rohe’s most famous quotes: ‘Less is More’. One of his design intentions was to harmonize the old and the new within the design of the chair and his success in achieving this is proven over 90 years later with its successful combination of classical elements in the lines of the legs, the tufting of the upholstery and the modern sensibility of the armless form and industrial materiality of the frame,' says Louise Lythe, Associate Director, David Collins Studio. 'This instantly recognisable design classic can create an impression on its own within a space such as a library room or styled as a pair for greater impact. For an elevated modern feel, style the chair with other understated pieces with clean lines and simple forms, as well as modern artworks; or for an unexpected and eclectic look, set the chair in a contrasting classical panelled room with antique artworks.’ 

‘The Barcelona chair was conceived as a ceremonial chair, so we find that it works best in an interior where it has space around it to breathe,' says Nina Hertig, Furniture Specialist and Interior Designer, Sigmar London. 'It’s a timeless classic and shines - in particular - when given its own spotlight. And the leather wears with such personality, which seems to give it that added likeability factor to discerning buyers’ 

‘Offering a clean, elegant and timeless aesthetic that appeals to many of our clients and a staple of our interior design proposals over the years, the Barcelona Chair epitomises an iconic design classic,' says Jack Pannell, Director and Head Designer, Common Ground Workshop. 'It seems to evoke a reverence in the observer and naturally serves as a showpiece in any space: we often have to remind our clients that it is very ergonomic and fun to sit on too.’ 

HOW TO STYLE THE BARCELONA CHAIR 

• Style a Barcelona Chair up as the ultimate reading spot. With a simple floor or reading lamp the chair quickly becomes a stylish sanctuary space. 
• Two together create a show-stopping style-statement. But don’t over-crowd either of them. The Barcelona Chair looks best, and can be fully appreciated, when you can see it from every angle. Remember that striking side profile! 
• Like it, but feel you need something a little less elegant and a bit more fun? Veer from the classic choice of white, black or tan leather (although, they are lovely..) and opt for one of the dazzling blue or red leather upholstery options instead - and wah-lah! hello colour pop! 
• Decorating your home office area? If you have room, the Barcelona Chair makes an excellent addition to an office zone. Whilst you need an upright chair for working, having a Barcelona Chair nearby creates an option to relax your body (and mind) into something altogether more loungey. Ah, bliss.

THE BARCELONA CHAIR CUSHION REPLACEMENT 

Picking up a replacement cushion cover for the Barcelona Chair is pretty straightforward. Whilst the leather cushion covers are built to be durable and last, some chairs are approaching 60 or 70 years old and understandably require a little refreshing of the upholstery. You can source a replacement cushion from approved Knoll furniture stockists. 

WHERE TO BUY THE BARCELONA CHAIR 

WHERE TO BUY THE EGG CHAIR 

• Buy the Barcelona Chair from The Conran Shop from £6,720.00 here 
• 
  

PICTURES OF THE EGG CHAIR

Commissioned with a multi-disciplined project - the SAS Royal Hotel in Denmark - Arne Jacobsen came up trumps when he penned the Egg Chair as part of the interior fit-out. Entirely juxtaposed to the angular high-rise building it was designed for the curvy and Barbarella-esq Egg Chair set the style-tone on the very cusp of the 1960s mid-century modern furniture era. Now world-famous, we roll the iconic egg out to find out more. 

THE EGG CHAIR 

Danish-born architect and designer Arne Jacobsen was handed a metaphorical golden egg when he was asked to design a brand new high-rise hotel for the Scandinavian Airlines System travel company in Denmark. An architect’s dream, surely? Jacobsen was tasked with designing everything from the ground up; outside and in. 

The SAS Royal Hotel was unveiled in 1960 and it marked the beginning of a new unprecedented era for design and style. It was the time of the Beatles, fashion models and, importantly, international travel. The Egg Chair set new style standards and is considered one of the original Scandinavian design classics. Everyone who was anyone had to have one, and the fact that it was part of the new SAS Royal Hotel design immediately catapulted the Egg Chair into the interiors fashion limelight. Its association with airplanes and travel made it the must have piece. Its popularity hasn’t waned either, cementing it into modern interior design history as of the key design classic interiors pieces. 

Considered a triumph of furniture design, among the greats like the Eames Lounge Chair, the Egg Chair was the first piece of furniture to be made from a strong foam inner shell, hiding underneath the taught upholstery. Jacobsen apparently crafted the prototype chair using clay, in a bid to achieve the perfect shape! Available in a variety of fabric upholstery options, the chair can also be purchased in leather too. And there’s a matching footstool, to partner up.A design double act if ever there was one. 

There are quite a few variants on the market, but our tip is to look for an Egg Chair that has the Fritz Hansen brand makers mark, and then you know you’ll be buying the original standard of design and craftsmanship.

WHEN WAS THE EGG CHAIR DESIGNED? 

Designed during the late 1950s and launched in 1960 as a key design piece in the fit-out of the new SAS Royal Hotel in Denmark, the Egg Chair was and still is the archetypal 1960s style and shape that society associates with the vibrant and fun-loving decade of the 1960s. The hours of research and development that Jacobsen put into the clay sculpting and design of the Egg Chair paid off, as it quickly gained popularity and has, over the past fifty years, cemented itself as a design classic staple and interior favourite. 

WHAT THE EXPERTS SAY ABOUT THE EGG CHAIR 

“We recently partnered with Fritz Hansen to create fully exclusive velvet editions of the Egg and Swan chair," says Campbell Thompson, Head of Buying Furniture & Lighting, The Conran Shop. "The Egg chair has never been upholstered in velvet before but the innovative new Kvadrat Gentle fabric has the stretch properties required to cover the unique Egg chair form; and our customers have been buying it for an accent lounge chair to work in both living room and bedroom spaces. It goes beautifully with the AJ floor lamp which was designed at the same time for the SAS Royal Copenhagen hotel in 1958 and both can still be seen there today, which is pretty special.” 

“I have been asked specifically to include the Egg Chair on more than one occasion when designing interior schemes for clients," says Elizabeth Keenan, Founder and Interior Designer, Elizabeth Keenan Studio. The leather variant is handmade with 1,000 stitches - quality and craftsmanship always speaks volumes, and that’s why it’s a design classic.”

“The Egg chair by Arne Jacobsen is a beloved design classic, providing space to hide away from the world," says Berengere Favraud, Brands Buyer, Heal’s. Designed by Arne Jacobsen, a pioneer working at the pinnacle of modern Danish design, the chair lends itself beautifully to any home setting, from modern contemporary apartment to a traditional townhouse. At Heal’s we have seen an 91% increase in sales since March 2020 lockdown, as customers continue to invest, particularly in design pieces like the Egg Chair, that will last a lifetime” - 

HOW TO STYLE THE EGG CHAIR 

• Be an out-and-out modernist and style up the Egg Chair in a mid-century surrounding with other Scandinavian-style mid-century design pieces, or icons like the Frank Gehry Wiggle Side chair. 
• Create an homage to the 1960s and zone an Egg Chair in one of the brighter fabric upholstery options with a side table and lava lamp - get your groove on, baby! 
• Opt for both the Egg Chair chair and the matching stool to create the ultimate curvaceous seating statement in a corner spot.
• Redesigning a home or commercial office space? The Egg Chair is a welcome style statement for an office environment - it’s immediately disarming in a professional environment and oozes that 1960s fun factor! 
• Use with other mid-century modern classics like the Vitra Eames House Bird.

WHERE TO BUY THE EGG CHAIR 

• Buy the Egg Chair in Divina fabric from Heal’s from £6,165.60 here. 
• Buy the Egg Chair in Divina Fabric from The Conran Shop from £6,166 here
• Buy the Egg Chair in Divina Fabric from Go Furniture from £6,165.60 here

PICTURES OF THE EGG CHAIR

The House of Hackney Palmeral print is an iconic piece of modern interior design. Created in 2012 when  Frieda and Javvy Gormley's business was just a year old, it came at a time when maximalism was only beginning to take hold. It was an era of flamingo motifs, poodle-shaped coffee tables (yes, really) and, fuelled by the can-do attitude that was borne of necessity after the recession, fledgling brand House of Hackney helped give the movement some class.  

Now, the pair have fans all over the world and are continuing to design fantastic patterns and pieces. Here, in Frieda's own words, is how the Palmeral print came to be.

My husband Javvy and I launched House of Hackney in 2011 on a bit of a whim – doing up our home (in Hackney) was the catalyst as we couldn’t find the type of wallpapers that we wanted to decorate with. We felt that after ten years of minimalism and austerity that we didn’t want to be in a white box anymore, we very much wanted to surround ourselves with colour and a sense of nostalgia. 

Bringing the outdoors into the home was really important to us as we had very little outdoor space. The late 2000s was the time when people were into the trend of indoor plants – we wanted to do it through print. It was the era when Ikea was having a big moment with its disposable identikits, and on the other end of the spectrum were the luxury fabrics and wallpapers at Design Centre Chelsea Harbour – as much as we valued the artistry, quality and heritage of those designs, they were too close to our parents’ living rooms.

So we left our jobs – I was working in fashion buying and Javvy in product design – and started this crazy ride! As a couple, I knew Javvy and I would make a good professional team, although we needed to put a few boundaries in place – stop checking emails in bed and don’t mention work after six o’clock!

Our first collection had quite a Victoriana mood – dark and decorative – and then came Pameral in 2012. We had just had our first child, so I call those years the baby stage, because it was the baby stage of the children, and baby stage of the business. It was a tough and humbling phase because it was so hand to mouth. The brand was completely integrated with our lives, the team was just myself, Javvy and one other and between us we wore every hat in the business, dealing with the orders, the purchasing, the customers, the shipping… 

The brand was built on word of mouth, and slowly, slowly it took. We were using our home as a showroom as we couldn’t afford a shop – it was the House of Hackney – and we decorated three rooms downstairs in different patterns so people could visit by appointment. We had this magical front of house and an incredibly shabby back of house – it was very much smoke and mirrors! 

Palmeral was inspired by a patio print textile from 1950s America, a painterly palm design which I saw framed on the wall of an office. It had been there for donkeys’ years going completely unnoticed but it just really resonated with me, I thought it was so beautiful in its simplicity, it felt nostalgic but exotic. I find that inspiration usually comes from flashes of the everyday. Javvy drew it up and I designed the colours, those really verdant greens.

It became the print that lured in the minimalists. It was quite a step away from our original Victoriana look. House of Hackney was, and is, a backlash to the white wall, and the relative simplicity of Palmeral bridged the gap between minimalist and maximalist. Our designs were such brave propositions that people needed a bit of handholding to go from a white wall to something more interesting. Our movement was not about the feature wall, it was about all four walls, very much the full shebang – the feature wall thing had been done in the early 2000s, although of course lots of people did Palmeral feature walls as their entry point into the world of wallpaper ideas. People were getting bolder, almost getting the bug, decorating spaces like the bathroom or the downstairs loo, and as a next step going for the full room. 

We initially launched Palmeral as wallpaper, which we always did back then as we needed to get positive feedback before extending the collection, because it was all so cash intensive and we couldn’t afford to make a wrong move with a print. Then fabric came once we got such a glorious reaction – people absolutely loved it – then cushions and lampshades. By that time, Liberty had taken a chance on us and given us a space where we displayed it, and globally it went into Lane Crawford and Bergdorf Goodman. 

Palmeral spoke to a phenomenally wide audience and brought in customers from all around the world. I always remember the late publisher and philanthropist Felix Dennis did a whole feature on his home in Mustique with it. It was being used in beach huts, Scandi cabins, and everything in between. It went everywhere and suited so many different backdrops. It was really exciting to see. 

We were pretty much the first brand to launch the big palm movement, which became a massive print trend and ultimately got copied mercilessly (and ended up on a lot of high street clothing). We had to run a campaign which said ‘there is only one Palmeral’, because it was being copied so often! We had a bit of fun with it.

It came in a light Ecru colourway, as well as the darker Midnight & Green. It was during that moment when all of London was painting their homes in the Stiffkey Blue, the Farrow & Ball inky, navy colour, so the deeper shades fitted really well into that as an urban scheme.

Before we started the brand, we spent a year travelling around the UK knocking on doors to find manufacturers, it was like a wild goose chase because we didn’t know any of the supply base. We just followed the map of where textiles had traditional been made and were very happy to find those artisan factories still in operation! Our fabric is printed in Lancashire, our furniture made in Loughborough, lampshades are handmade in Wales and we only use British velvet. The wallpaper is made in Sweden because its imbued with so much colour, and the only digital printer at the time that had the capability to produce it was a printer in Sweden, the Swedes do it so well. 

Palmeral widened our audience quite quickly, and its success signaled that it was time to get a showroom, so we moved into our Shoreditch shop at the end of 2013. Our first window was decorated in Palmeral, and we had the team dressed head to toe in it and we even created a Palmeral taxi for the launch.

The first customer through the shop door was actually Biba founder Barbara Hulanicki, I remember her loving Palmeral. The story of Biba was such a huge inspiration to us, bringing that magic and otherworldliness into retail, so it was amazing that she was literally the first person at our front door.

Palmeral really put the brand on the map and opened up the market for us, I’m very grateful to it. The design gets called ‘iconic’ a lot, and I always laugh because it feels too young to be iconic, but I’ll take it! People call themselves House of Hackney addicts – I think the addiction started with Palmeral.  

See the full House of Hackney range here

Conceived by legendary design power-couple Charles and Ray Eames, the Eames Lounge chair design is one of the most iconic chairs in modern design. It oozes 1960s James Bond chicness and raises the aesthetic of whichever room or space it graces.

THE EAMES LOUNGE CHAIR

Penned to be a modern take on the classic armchair concept, the Eames Lounge Chair was created to be, first and foremost, comfortable - and comfortable it certainly is. 

With padded leather cushions and a curved plywood ‘shell’ it shot to stardom in the 1950s and 1960s as the item of furniture to recline in at home or, if you had one, in the office. A symbol of the era it was produced during, it is often associated with the James Bond style that was so awe-inspiring for people at the time. 

Chic, suave and sophisticated; the Eames Lounge Chair is all of these things and more. The Eames Lounge Chair, a classic piece of mid-century modern furniture and also known by its product code 670, set new aesthetic and technical standards in the furniture industry. It was not only totally different looking to anything that had come before it, but it bounced into the spotlight as lighter and more modern than any other club chair design on offer at the time. Crucially it was also more relaxing to sit in and use. Thanks to these qualities it was warmly welcomed by design aficionados and those seeking a sleek new take on the traditional armchair. 

Its popularity hasn’t waned either, remaining a key bit of interiors kit for design fanatics and those that want to display inherently good taste with a design classic chair. Vitra, who now owns the rights to the design of the Eames Lounge Chair, has developed options on the plywood and leather colors available. With permission from the Eames Office you can now specify the leather seat cushions in a selection of colors, including: Black, Tan, White and Grey. 

The bases and the outer plywood shell can be optioned differently too, if you want to deviate from the original Walnut shell and Black leather combination that the Eames Lounge Chair and Ottoman were first launched in. Additionally, there’s a new larger version of the Eames Lounge Chair. Apparently we’ve been getting taller - humans that is - and the average human height has increased worldwide by nearly 10cm since Charles and Ray Eames first unveiled the Lounge Chair design. Same classic looks, just a bit larger. Both the classic and the slightly larger size are available to buy.

THE EAMES LOUNGE CHAIR AND OTTOMAN

Always sold separately, but recommended together, the Eames Lounge Chair 670 was partnered-up from day one of design with the Eames Ottoman, who’s product code is somewhat unsurprisingly, code 671. The Eames Ottoman compliments the Eames Lounge Chair perfectly - ergonomically and stylistically.

WHEN WAS THE EAMES LOUNGE CHAIR AND OTTOMAN DESIGNED?

The Eames lounge chair and ottoman were designed in 1956 by Charles and Ray Eames, the duo behind such other iconic pieces as the Vitra Eames House Bird. The chair is said to be the first item of furniture they designed for the mid-to-higher end of the furniture market, having previously participated in the 1948 Low-Cost Furniture competition at MoMA.

WHAT THE EXPERTS SAY ABOUT THE EAMES LOUNGE CHAIR AND OTTOMAN

“Perhaps one of the most iconic mid-century pieces and certainly the most recognisable, we love pairing the Eames lounge chair with items spanning different centuries and styles for our interiors clients," says Juliet Owen, head of design at Pure White Lines. "Not only is it a design icon but it is extremely comfortable and perfect for a home office or a den. We have sold and provided many Vintage Eames chairs over the years and it is certainly a go-to piece for us and we always try to have vintage stock available for when we are working on client interior design projects.” 

“It is as much at home in a 5th Avenue apartment as it is in a retro-styled loft in Brooklyn," says Ludovic Aublanc, Creative Directive, Chaplins. "Its design language is one of comfort and classic materials — we think there's something so undeniably democratic in that! Better still, Vitra are always looking for ways to improve upon it. You can now shop the Eames Lounge Chair with olive-tanned leather — a process that saves tonnes of water and carbon compared to traditional modes of dying. If we had to sum it up in two quick sentences it's an icon that evolves and moves with the times. A classic you can feel confident that you’ll love forever.” 

“The Eames Lounge chair is a stand-out classic design of the modern era, and using this design confers the values of modernity, credibility and quality on any interior. Often seen in modern interior design and warehouse conversions, the chair and matching footstool also suit more traditional architectural styles due to the rich materials used in its construction," says Daniel Aram, Managing Director, Aram. "Functionally, the angle of the sitting position offers excellent comfort making it ideal for hospitality settings such as club members’ rooms, as well as corporate libraries for relaxed reading.” - 

HOW TO STYLE AN EAMES LOUNGE CHAIR

• Style up your Eames Lounge Chair by creating a relaxing reading corner and placing a floor-standing reading lamp next to the chair. Contemporary reading lamps work particularly well and create an almost sanctuary-like scenario. The only issue will be staying awake.
• Surround your Eames Chair with Scandi-style. The design looks great in a Scandinavian style interior with minimal fuss and clean lines.
• Alternatively, draw upon the Eames Lounge Chair’s mid-century roots and style with an uber-cool mid-century record player and stacks of records.
• Is one even enough? Opt for double the dose of this design classic with two matching Eames Lounge Chairs side-by-side. Two Eames Lounge Chairs make a great alternative to a conventional two seater sofa. Think Joey and Chandler...but way more cool.

WHERE TO BUY AN EAMES LOUNGE CHAIR

Buy the Eames Lounge Chair from Chaplins from £5,165.00 here. 

Buy the Eames Lounge Chair from Papillon from £4,770.00 here. 

Buy the Eames Lounge Chair from Aram from £4,770.00 here.

The Anglepoise 1227 Desk lamp  is probably what would be described if you asked anyone to sketch a lamp. It's shape is so iconic has it become part of our design language. 

Penned in the 1930s by suspension engineer George Crawardine, the simple yet highly functional spring, crank and lever mechanism design of the Original 1227 Desk Lamp proved an immediate hit and became the task lamp of choice for homes and workplaces alike. It looks at home almost anywhere, from high-end modernist interiors to the functional workbench scenario. 

Herbert Terry and Sons, the company who own Anglepoise, rather wisely thought to run a nationwide newspaper advert as Britain entered World War II describing the light as “the ideal blackout lamp”. It seems this marked it’s rise to success; by the middle of the 20th Century the 1227 Lamp design, and the Anglepoise name, had established itself as an adaptable interiors icon. 

More recently, the Anglepoise range has been extended with new models by designer Kenneth Grange (the chap behind the new LEVC TX London Taxi design) and Anglepoise have teamed for collaborations with fashion designers Paul Smith and Margaret Howell, who both have their own chic Anglepoise design with their name attached. These unique designs fit right in with the already fashion-industry acclaimed Anglepoise range. 

It’s true, this mid-century modern furniture-associated favourite is a bit hip! There’s even an ever-growing market of enthusiasts who hunt-out the ultimate second-hand 1227 Desk Lamp from the earlier 1930s, 40s and 50s examples, as well as later ones too, from the 1960’s - 80s, via the vintage marketplace. It seems an Anglepoise with patina is just as cosseted and sought after as a newly-built one. Some mid-century examples are now commanding prices that reflect their desirability. 

The little lamp’s iconic design status was well and truly cemented when The Royal Mail decided, in 2009, to put it on a stamp. The 1227 found itself amidst highly-esteemed company, sharing a platform with design icons such as: the Spitfire, the original Austin

Morris Mini, the Routemaster and Concorde - all symbols of successful 20th Century design. The outcome? An Anglepoise is now never going to slip out of the popularity spotlight. 

WHEN WAS THE ANGLEPOISE 1227 DESK LAMP DESIGNED? 

The first ever Anglepoise lamp was the 1227 Desk Lamp design. The design was conceived and penned in 1932 by suspension engineer George Carwardine. The Anglepoise range has, in recent years, been significantly extended by designer Kenneth Grange, particularly with the hugely popular Type 75, and Anglepoise now boasts collaborative designs with Paul Smith and Margaret Howell too. 

WHAT THE EXPERTS SAY ABOUT THE ANGLEPOISE 1227 DESK LAMP 

“What our customers love about the best-selling Anglepoise range is the versatility that comes with the colour and size variants, the 1227 alone has three sizes available for different lifestyle usage. The Giant 1227 Floor Lamp is available in a variety of bright colours and can reach up to 2.7 metres and makes a dramatic statement in any room, and you can style it up for outdoor use too! The 1227 Original Desk Lamps are great for home office use, then there is the ‘Mini’ version which is perfect for compact home working spaces or bedside tables. The 1227, and indeed the Type 75, appeals to every generation. Everyone, no matter what age or sense of design taste, loves an Anglepoise lamp! The true sign of a design classic, surely?” 

- Campbell Thompson, Head of Furniture and Lighting, The Conran Shop. 

HOW TO STYLE AN ANGLEPOISE 1227 DESK LAMP 

• Anglepoise’s mid-century design icon is a very adaptable bit of kit and comes in different sizes, even a ‘Giant’ version for indoor and outdoor use.
• Style it up on a side table, a work desk or next to a bookshelf housing your favourite magazine titles and design books.
• Anglepoise lamps that come coated in distinct colours offer a great way of adding fun factor, particularly if you are re-designing a teenager’s bedroom; grown-up, but bringing a dash of charisma and youthful fun with a red or white 1227 Lamp.
• It’s worth noting you can buy some of the models, including the 1227 Lamp, in wall-fitting form. An excellent addition if you need a wall fitting instead, or as well as, a lamp.
• Use with other mid-century modern classics like the Vitra Eames House Bird.

WHERE TO BUY AN ANGLEPOISE 1227 DESK LAMP 

• Buy the Anglepoise 1227 Desk Lamp from John Lewis from £199.00 here. 
• Buy the Anglepoise 1227 Desk Lamp from The Conran Shop for £195.00 here. 
• Buy the Anglepoise 1227 Desk Lamp from Holloways of Ludlow for from £199.00 here.

PICTURES OF THE ANGLEPOISE DESK 1227 LAMP

Frank Lloyd Wright houses are some of the most revered buildings in modern interior design. They have come to embody the mid-century movement, all interesting shapes, wide angles, clever use of timber and glass. 

As an architect, Frank Lloyd Wright designed more than 1000 structures, bringing together a sense of peace, space and harmony with his homes' surrounding. Interestingly, reading through the list of Frank Lloyd Wright houses, it's clear many were not received well at the time they were made, and owners were often disgruntled at the finished results. Yet they've stood the test of time, with properties like Fallingwater reaching icon status for design lovers the world over. This list of the most notable of his buildings will provide insight into the thinking behind this prolific and hugely influential career. 

Frank Lloyd Wright Home and Studio, completed 1889

At 22 years old, Frank Lloyd Wright designed a small two storey home for his family in Chicago’s leafy Oak Park, which was completed in 1899. It was the first house over which he had total creative control, having apprenticed at local architectural firm Adler & Sullivan before setting up his own practice in 1893. 

The exterior of the house is in the Shingle style popular at the time, exhibiting the aesthetics’ wood cladding, an asymmetric façade, gambrel roof, and expansive veranda.

The interior hints at the liberated open space that would come to define Wright’s work; connected rooms flowing freely into each other. The architect sought to create an inspiring home for his family, dressing it with interesting, exotic and unique objects such as Oriental rugs, potted palms, sculptures, paintings and Japanese prints.

Wright’s home studio was to become the birth place of over 150 of his architectural projects, and where he would cement his reputation as one of the 20th century’s most formidable design minds. The architect continually revised and evolve the house, refining ideas that would reverberate into his work decades into the future. 

The property was listed on the National Register of Historic Places in 1972, declared a National Historic Landmark in 1976, and has been restored its 1909 appearance (the last year the Wrights lived there) by the Frank Lloyd Wright Preservation Trust. 

Darwin D. Martin House, completed 1905

Designed and built by Frank Lloyd Wright from 1903 to 1905, the Darwin D. Martin House Complex in Buffalo, New York was built for local businessman Darwin D. Martin and his family. 

The property is a series of connected buildings spanning the main residence, pergola, stable, the smaller Barton House for Martin’s sister and her husband, and a gardener's cottage. Wright also designed the interiors including lighting, rugs, furniture and textiles. 

The complex demonstrates the Prairie School approach, which took influence from the landscape and wildlife of the United States’ Midwest prairie – juxtaposing the ornate Victorian architecture that dominated the late 19th century – focusing on purity of design, revelry of natural materials and seamless transitions between indoor and out. It was the first architectural style considered uniquely American. Typically, buildings were long and flat, with strong horizontal lines, overhanging eaves and covered porches, and open and flowing floorplans. Wright was the most notable of several architects from the era upholding the style, including his previous employer Louis Sullivan. 

Referring to the Martin House as his ‘opus’, Wright is said to have kept its plans displayed near his drawing board for 50 years after its construction. The property was named a National Historic Landmark in 1986, however fell into disrepair and was partially demolished before being extensively reconstructed and restored in 2017. 

Frederick C. Robie House, completed 1910

Created for Frederick C. Robie and his young family in the South Side of Chicago and built between 1909-1911, the house came towards the end of Wright’s Prairie style exploration, its low walls, wrap around windows, and wide balconies and terrace encapsulating the aesthetic.

An open plan living and dining room is split into two segments, the interior space divided by a central fireplace and chimney with twelve glass doors providing a smooth transition between indoor and out.

The Robies lived in the property for only 14 months, and eventually it passed into the possession of the Chicago Theological Seminary as part of the University of Chicago campus. It served as a classroom, refectory, office, and a dormitory, when it suffered major internal damage; at one point a rocking chair handcrafted by Wright was salvaged from a rubbish heap by a janitor (who contacted the university years later to donate it for display). 

A national outcry ensued after its demolition was announced in 1957, and Wright himself, aged 90, joined protests on site, commenting ‘It all goes to show the danger of entrusting anything spiritual to the clergy.’ The following year Robie House was bought by Wright’s friend New York real estate developer William Zeckendorf and donated to the University, which used it as a working building. 

It was named a US National Historic Landmark in 1963, one of the 10 most significant structures of the 20th century by the American Institute of Architects in 1991, and its restoration to its 1910 appearance by the Frank Lloyd Wright Trust was completed in 2019. 

Hollyhock House, completed 1921

Hollyhock House in Los Angeles’ East Hollywood was completed in 1921 for oil heiress Louise Aline Barnsdall as part of an art and theatre complex which was never finished.

In a dramatic departure from his earlier work, Wright drew on the visual influences of ancient Mexico, the residence one of the earliest examples of the Mayan Revival style which blossomed the 1920s and 1930s, of which Wright instrumental in leading. 

The design drew on seventh-century Mayan temples, with inclined walls and colonnades mirroring buildings in the ancient city of Palenque. In response to Barnsdall’s brief for a ‘half house, half garden’, it is centred around a courtyard which opens onto a circular pool.  

Inside, ground floor rooms lead outwards to external spaces, with a large decorative fireplace taking centre stage in the the living room, while the upper level accesses a roof terrace with views of the Hollywood Hills.

The name Hollyhock references Barnsdall’s favourite flower, and stylised representations of the plant decorate the project, cast in concrete on the exterior and across stained-glass windows, furniture, textiles and art.

In 1927 Barnsdall donated the house to the city of Los Angeles, and it was used as a creative space and venue before falling into disrepair, thanks in part to damage inflicted on it by the region’s predilection for heavy rainfall and earthquakes, which were not taken into consideration by Wright.

Now at the heart of the LA’s Barnsdall Art Park, it was fully restored in the early 2000s, designated a National Historic Landmark in 2007, opened to the public in 2015 (drawing crowds and queues through the night) and became Los Angeles’ first UNESCO World Heritage Site in in 2019.

Westhope, completed 1929

Constructed in Tulsa, Okalahoma in 1929, Westhope was designed as a home for Wright’s cousin (hence its alternative name Richard Lloyd Jones House).

It was said Lloyd Jones hated the building, expecting his cousin to create a structure that would fit the landscape, rather than the bold angular columns and walls of glass he was presented with.

The house was designed the ‘textile blocks’ Wright had created and was experimenting with at the time – against the wishes of his client – a unique concept involving stacking moulded patterned concrete cubes (Westhope’s patterns are Mayan-inspired). The result, was dampness, which the building suffered from all year round.

The interior focuses on open plan living, with public spaces on the sprawling ground floor, and private areas upstairs. The exterior holds a generous garage, garden room, workshop, pool, fountain, pond, gardens, four courtyards and a covered entrance.

The flat roof complied with the house’s theme of letting in water, immediately developing leaks. During a storm, Jones called Wright in a fit of frustration to say ‘Damn it, Frank! It’s leaking on my desk’ to which Wright replied ‘Richard, why don’t you move your desk?’ Jones’ wife Georgia commented; ‘This is what we get for leaving a work of art out in the rain.’

Fallingwater, completed 1935

Fallingwater is perhaps the most famous of the Frank Lloyd Wright houses, and lauded as the “best all-time work of American architecture” by the American Institute of Architects. 

Built on the very top of a waterfall - hence its name -  Fallingwater is in Pennsylvania’s Bear Run Nature Reserve.  Water seems to flow out of it, the house both blending with and contrasting with its leafy environment. It has been hailed as redefining the relationship between humanity, architecture and the environment. 

See our report on Fallingwater for more pictures and an indepth look.

Taliesin West, completed 1937

In 1935 Wright was advised by his doctor to escape the bitter winters of his home Taliesin in Wisconsin, and so began the search for a plot of land in the sun. The result was Taliesin West in the Arizonan desert foothills, which was to become the architect’s winter residence and business headquarters as well as a live-in learning space for over 50 of his students.

After the purchase of several hundred acres of land (reportedly for $3.50 an acre) in 1937, up sprung a typically low-slung building constructed in the ‘desert masonry’ of cement-bound local rock, blending smoothly with the rich red landscape. By physically embedding the surrounds within the structure, Wright hoped to preserve and reflect the aesthetic of his new locale. Redwood beams added to the rich red palette, with the roof was made from translucent canvas to draw in natural light. 

The complex continually evolved over the years. Wright spent every winter there until his death in 1959, and it is said upon his annual return he would stride around with a hammer making changes and relaying work orders to his apprentices, who followed behind with tools and wheelbarrows. 

Taliesin West eventually included Wright's living and working space, residences for apprentices and staff, a workshop, drafting studio, dining facilities and three theatres for in-house entertainment. Each building is joined via a series of walkways, terraces, pools and gardens, and as usual Wright designed all of the furniture and decorations, the majority of which were made on site his students.

To this day the complex serves as the home of both the Frank Lloyd Wright Foundation and Frank Lloyd Wright School of Architecture, with a small number of Fellows who lived and worked with Wright still to be found there.

Designated a National Historic Landmark in 1982, Taliesin West joined seven other Wright properties on the UNESCO World Heritage List in 2019.

Herbert and Katherine Jacobs First House, completed 1937

A challenge by his friend Herbert Jacobs to create a home for $5,000 lead to Herbert and Katherine Jacobs First House – nicknamed Jacobs I – constructed in 1937 in Madison, Wisconsin. 

The house is hailed as Wright’s first and finest Usonian design, the architect using the term ‘Usonia’ – derived from ‘United States of North America’ – to describe his vision for affordable architecture that responded to the American landscape and eschewed entrenched European conventions, a style in which he would go on to build over 140 houses (including the Jacob’s Second House in 1948). Usonian buildings were of the earth, crafted in natural materials such as wood, stone and glass, without features such as porches, protruding chimneys or excessive shrubbery and open to the elements which were deemed ‘distracting’. 

Entered by a hidden doorway leading from the cantilevered roof, Jacobs I features a wall of glass doors, the L-shaped open plan, living, dining and kitchen spaces fused and focused around a central fireplace. 

The House is considered the purest and most renowned version of Usonian concepts – subsequent designs would become increasingly elaborate, losing the simple charm of the first iteration – and was to pave the way for the ranch style homes that colonised the post-war American suburbs.

Herbert and Katherine Jacobs Second House, completed 1948

A few years later, the Jacobs moved to a more rural part of Wisconsin and commissioned another Frank Lloyd Wright house. 

Shaped around a soft curve, Wright termed the design as a 'Solar Hemicycle', meaning a segment of a circle. 

Bachman-Wilson House, completed 1956

Designed for Gloria Bachman and her husband Abraham Wilson in 1954 and completed two years later, Bachman-Wilson House originally sat along the Millstone River in New Jersey. Bachman’s brother was an apprentice of Wright’s, and when the couple persuaded him to take on the commission, the architect replied ‘I suppose I am still here to try to do houses for such as you.’

The building exemplifies Wright's Usonian philosophy, the front façade made up of imposing concrete blocks trimmed with mahogany, with tall windows flooding the space with light, continuing Wright’s ongoing love affair with transparency and welcoming nature indoors. Unusually for a Usonian structure, the house has a second storey, although it is almost shrouded by the low, flat roof.

The open plan living room faces a dramatic wall of 10-foot-high glass, while cut wooden panels are decorated with Native American geometric motifs and stylised natural forms. A signature statement Wright fireplace seems squarely cut into the room’s core, surrounded by mid-century modern mahogany furniture to match the building’s frame. 

The house was acquired by architects Sharon and Lawrence Tarantino in 1988, with the couple’s firm Tarantino Architects meticulously restoring it, receiving several awards for their work. Repeatedly in danger of flood damage, the building was sold to Arkansas’s Crystal Bridges Museum of American Art in 2013 and relocated 1,235 miles to within its grounds. 

Gordon House, completed 1963

Designed in 1957 for Evelyn and Conrad Gordon, great admirers of Wright’s, who ‘courted’ him until plans were drawn up, Gordon House is one of the last Usonian homes Wright created. Construction finished four years after the architect’s death in 1963, the project overseen by his former apprentice Burton Goodrich. 

Built on the Gordon’s farm in Wilsonville, Oregon, the painted concrete block house’s floor-to-ceiling windows were positioned to take in views of the adjacent Willamette River and Mount Hood, the building exhibiting Wright’s classic design proportions and features, decorated with custom red cedar fretwork and blurring indoor with out once more. Typically, downstairs is an open plan zone with a generous terrace, while more private spaces with balconies are in the slim second storey.  

After the Gordons' deaths in the late 1990s, new owners David and Carey Smith planned its demolition in favour of a more contemporary structure. This duly prompted outcry, with the 1989-founded The Frank Lloyd Wright Building Conservancy stepping in and eventually given three months to dismantle and move the house 21 miles to its current home in the botanic Oregon Garden, where it’s now open to the public.

Frank Lloyd Wright furniture 

The furniture in Frank Lloyd Wright’s work was a key focus for the architect throughout his career, who stated in 1910 ‘it is quite impossible to consider the building one thing and its furnishings another...they are all mere structural details of its character and completeness’. His furniture pieces are defined by verticality, sharp lines, and simplicity and generally realised in rich woods, iconic examples of which are the Peacock chair, 1921, above, the rounded Barrell Chair of 1937, and the angular 1949 Taliesin Armchair, reissued by Cassina in 2018. 

What is Frank Lloyd Wright architecture like?

Come across any Frank Lloyd Wright building, and you’ll know, be in it built in his early Prairie style, his later homages to Mayan design, the following Organic Architecture drawing from natural resources, or his final American-centric Usonian principles. Typified by their low bearing, slab-like flat roofs, great expanses of glass and exaltation of nature, the exteriors are decorated simply with subtle details – perhaps a concrete motif, geometric wood fretwork, or stylised stained-glass flower – while inside, rooms are minimal, flowing into one another, and blur the lines between indoor and out.

Frank Lloyd Wright facts 

• Frank Lloyd Wright was born June 1867 in rural Wisconsin
• Frank Lloyd Wright studied civil engineering at the University of Wisconsin, going on to apprentice for the architecture firm Adler & Sullivan before opening his own practice in 1893. 
• Wright was known for his brash personality, quoted as saying he demonstrated ‘honest arrogance and have seen no occasion to change’, and he had a similarly tumultuous personal life, marrying three times and fathering four sons and three daughters as well as adopting the daughter of his third wife.
• His boundary pushing work defined the global architectural landscape, and as such he has receive bounteous awards and world-wide recognition, including The Royal Institute of British Architects Gold Medal in 1941 and the AIA Gold Medal in 1949 from The American Institute of Architects, which also named him as ‘the greatest American architect of all time’ in 1991.
• In July 2019, eight of his creations were inscribed on the list of UNESCO World Heritage Sites under the title ‘The 20th-century Architecture of Frank Lloyd Wright’. His work has been immortalised on postage stamps, with Lego sets, in song, and in numerous films, and work is on-going to protect his legacy.

How many buildings did Frank Lloyd Wright design

Frank Lloyd Wright designed more than 1,100 buildings, including these famous homes and a mix of other residential and commercial properties.

When did Frank Lloyd Wright die?

Frank Lloyd Wright died in April 1959 in Phoenix, Arizona, having lived life as a visionary architect, designer, writer, and teacher.

Designed by Ludwig Mies van der Rohe, who would go on to become one of the most influential architects of the 20th century, and built 1949-1951, to this day Farnsworth House remains a pilgrimage site for lovers of Modernist buildings and mid-century modern furniture design.

Farnsworth House by Mies van der Rohe

The 140-meter-square structure sits in a secluded 60-acre woodland south of the city of Plano in Illinois, along the bank of the Fox River. For his modern homes, Mies van der Rohe believed the relationship between architecture and nature was powerful, quoting ‘Nature, too, shall live its own life. We must beware not to disrupt it with the colour of our houses and interior fittings. Yet we should attempt to bring nature, houses, and human beings together into a higher unity.’ The transparent pavilion makes the most of its verdant locale, the wrap around glass allowing light and nature to fully saturate the space, exposing the building to its surroundings on an extreme level.

Like Frank Lloyd Wright houses, Farnsworth House both welcomes in nature and simultaneously  strikes a contrast to its habitat, the still, angular shape juxtaposing the movements and growth of the vegetation, wildlife and water. The bold form at once blends with and dominates the greenery just as Fallingwater does.

Created as a weekend retreat for the successful Chicago doctor Edith Farnsworth, the space was intended as somewhere for her to enjoy her hobbies of violin playing, translating poetry, and taking in nature. The isolated site of Farnsworth House allowed Mies van der Rohe to realise his spatial and structural principles in a way his larger, more public, projects did not, and it was the first project in which he fully embraced the opportunity for total transparency and his ideal of a single room with a flexible function, a concept which was to define his career and vision of modern architecture.

Farnsworth House is the epitome of the International Style of architecture which was championed by Modernist architects such as Mies van der Rohe as well as Le Corbusier, Richard Neutra and Philip Johnson in the 1920s and 30s. The approach centres around rectilinear structures with minimal frameworks, open interiors spaces stripped of ornamentation, and an exposed architectural parts, constructed to seem weightless.

Farnsworth House interior

The building embodies the architect’s purist vision of contemporary living, and is celebrated as one of his most significant works. Farnsworth House is distilled to the very fundamentals, with basic elements of traditional living such as walls, doors, art and personal objects banished in favour of a single open plan space framed by beams and glass.

Farnsworth House Dimensions

The one-story structure consists of three horizontal planes, the roof, the terrace, and the floor, supported by steel columns which hold the house 1.6 metres from the ground, making it appear to float.

The floor plan is a lesson in absolute minimalism, completely open save for a walled ply and Primavera wood core in the centre enclosing the kitchen, toilet, and a wardrobe, and hosting a wood panelled fireplace. Living, dining and sleeping spaces merge into one, with integrated furniture elements hinting at the function of certain areas without dictating what they should be.

Farnsworth House controversy

Dr Farnsworth was bitterly disappointed with the design, finding Mies van der Rohe’s vision oppressively minimal and frustrating, explaining in 1953; ‘In this house with its four walls of glass I feel like a prowling animal, always on the alert,’ and ‘I can’t even put a clothes hanger in my house without considering how it affects everything from the outside’. 

When the building was nearing completion, a very public dispute arose between architect and client culminating in a messy court case, with the pair suing and countersuing each other, while rumours of a failed romance between them swirled.

When, in 1955, Dr Farnsworth eventually moved in, she made a point of removing all of the Mies van der Rohe-designed furniture, replacing it with her own pieces by names such as Florence Knoll, Jens Risom, Bruno Mathsson and Franco Albini, as well as Asian antiques. She used the retreat for 21 years, often playing host to notable architectural figures keen to experience the renowned building, before selling it to property developer Peter Palumbo in 1972.

What's Farnsworth House like now?

As well as filling the garden with a litany of sculptures by the likes of Alexander Calder, Richard Serra, Henry Moore and Claes Oldenburg, Palumbo also oversaw the property’s most comprehensive restoration, hiring the architecture firm of Dirk Lohan, Mies van der Rohe’s grandson, to return the house its 1951 appearance, and reinstating furniture by Mies van der Rohe such as his Barcelona daybed and chairs.

In 2003 Farnsworth House was bought by the Friends of the Farnsworth House and entrusted to the National Trust for Historic Preservation. It opened for public tours in 2004 and is visited by 10,000 Modernist fans every year.

The critically acclaimed Farnsworth House was designated a National Historic Landmark in 2006, and is a must-see on every architecture enthusiast’s map, considered one of America’s most important Modernist sites. Frequently described with words such as ‘poetry, art, heaven and masterpiece’, the directional structure paved the way for Mie van der Rohe’s remarkable career and is seen as the ultimate realisation of the architect’s refined principles.

This year will see the house temporarily converted to how it was in 1955 showcase the style of Dr. Edith Farnsworth, a period of its life that is generally overlooked. This will be accompanied by exhibits focusing on the untold story of the house’s commissioner, first occupant, and namesake.

See the building’s tumultuous story play out on the big screen this year in upcoming film Farnsworth House starring Ralph Fiennes as Mies van der Rohe and Elizabeth Debicki as Edith Farnsworth.

Designer

Anonymous.

Details

2019 Christmas hampers, from £60.

Background

Dating back to the 1700s, Fortnum’s first hampers were created to meet the demands of well-heeled folk returning to their country estates after sojourns in London.

In fact, Piccadilly – Fortnum & Mason’s home in the capital since the early 18th century – was once filled with coaching inns, but the fare on offer was often poor. So wicker baskets containing pies, Scotch eggs, cheese, fruit and cake – not to mention flagons of beer and wine – were expertly prepared by the specialist grocer.

As the British Empire grew, so did the demand for Fortnum’s hampers. From the Congo to the Punjab, soldiers, civil servants, engineers and clerics gratefully received reminders of home in the shape of biscuits, jam, chutney and marmalade.

Today, the range extends from the Tea Basket, a scrummy festive scone tea for one, to the Imperial, a thoroughly indulgent (not to mention expensive) suite of hampers overflowing with the finest food and drink Fortnum’s can offer. The ultimate basketful of goodies...

See these Christmas table ideas.

Designer

Mason Cash, 1901.

Details

Cane mixing bowl in glazed stoneware, available in a rangeof sizes, from £15, at John Lewis & Partners.

Background

While we’ve seen many advances in kitchenware technology and materials over the past hundred years, the Cane mixing bowl from Mason Cash’s potteries in Church Gresley, Derbyshire, remains pretty much unchanged.

You don’t have to be a Great British Bake Off fan to recognise this beauty. Its distinctive warm yellow glaze and markings have made it an icon across the globe. Why? As any cook worth their salt will tell you: the bowl’s shape is ideal for holding in the crook of one arm, as you beat your mixture with the other, and its thick rim and diamond embossment provide a good grip.

Create a Cook's Kitchen fit for a Masterchef.

It’s also wide and deep enough to get your hands in to ‘rub in’ and aerate fat and flour, while many use it to knead dough. Its weight and flat bottom ensure it won’t slide around while you work and the white interior allows you to keep an eye on the colour and consistency of your mixture. It’s also useful for proving bread as, unlike plastic, the stoneware retains heat.

Updates have made the bowl chip-resistant and microwave, freezer and dishwasher safe, so treated carefully, it should last a lifetime and become a potential heirloom.

There’s something very satisfying about making Christmas pud in the same bowl Gran used...Timeless indeed.

See theKitchen Essentials from a celebrated cook.

Designer

Marcel Wanders, 2007.

Details

Aluminium shade with plaster diffuser, available in Glossy Black, Glossy White, Matt Gold and Matt Rusty Brown finishes, from £2,385, Flos at Clippings.com.

Background

‘In a former home of mine, I had a fabulous decorated plaster ceiling,’ Marcel Wanders explains. ‘I called itmy Skygarden, as it always looked good even without me having green fingers, or taking care of it. I loved it so much that by the time I moved house, I couldn’t bear to leave it behind – I had to finda way to take it with me.’

His loss has been the design world’s gain as Wanders, never one to abide by the rules, played with preconceived notions of what a lamp shade should be by designing a pendant with its elaborate decoration on the inside. Its glossy exterior has a sleek, modern look, while hidden beneath is ornate plasterwork more usually seen in majestic period interiors.

Now we can all enjoy a piece of classic architecture without ever leaving our seats – just by glancing up. Needless to say, it’s alsoa perfect piece of contemporary craft, with its glow diffusing downwards in a lovely pool of light. Wander-ful...

See more design classics here.

The Vitra Eames House bird is witty piece of associated with the minds of mid-century modern furniture masters Charles and Ray Eames. 

But it's not actually designed by them, despite it now being named after them. The version we see today in an array of Livingetc homes around the world, and used often in modern interior design is actually a replica, put into production by Vitra, and renamed the Eames House Bird, as it was Charles and Ray who first gave it design credibility after they found it on their travels. This was before they had designed their iconic Eames Lounge Chair.

Sometimes referred to as American folk art, the original avian was a crow decoy used for hunting. But for the Eameses, it had a beautiful simple line, so they gave it pride of place in their living room and often used it in promo work – it even made the cover of the Architectural Review magazine in 1952.

When was the Eames House Bird designed?

• The Eames House bird was originally designed in 1910, by Charles and Edna Perdew. The version popular today was reissued by Vitra in 2007

How to style the Eames House bird

• The best way to style the Vitra Eames House bird is to sit it with other mid-century modern furniture. 
• It is one of those living room ideas that doesn't take itself too seriously, so can work alongside a mis-match of quirky ornaments and accessories. 
• Pair with monochrome furniture to make its strong, graphic shape stand out.
• Place it on a mantlepiece or bookshelf, or on a coffee table next to a statement armchair.

Where to buy an Eames House bird

• Buy the Vitra Eames House bird from The Conran Shop for £159 here
• Buy the Vitra Eames House bird from Nest for £165 here
• Buy the Vitra Eames House bird from John Lewis for £165 here

Pictures of the Vitra Eames House Bird in Black

Pictures of the Vitra Eames House Bird in walnut

Designer: Lucian Ercolani, circa 1950. Rereleased 2003.

Details: Ash and beech bar stools, £240 each, Ercol.

As elegantly simple as when it was first conceived, Ercol’s Originals bar stool is a prime example of the clean-lined aesthetic that was to reimagine UK furniture during the Fifties, far removed from the heavy, ornate pre-war styles.

Originally made for Ercol’s draughtsmen to use at their drawing boards, its moulded elm seat and tapered beech legs would become synonymous with the company’s contemporary take on crafted pieces.

But founder Lucian Ercolani faced the unenviable task of producing top-quality furniture while also keeping within the strictures of post-war rationing.

Sleek but sturdy, the bar stool fitted all the criteria. Manufactured using time-honoured techniques, it became a commercial success.

And when the company rereleased the piece as part of its Original collection in 2003, it readily found a new audience.

Curiously enough, Ercolani first began studying furniture design at a night school in Shoreditch and it’s within this hipster ’hood that Ercol’s pieces have enjoyed much of their renaissance, satisfying the interior world’s hunger for all things mid-century.

Quality craft never goes out of fashion.

Designer:DeMakersVan for FatBoy

Details:Transparent moulded polycarbonate with red flex cabling, £439, fatboy.com.

An outdoor chandelier is one of those design concepts which, on first consideration, seems vaguely preposterous. Yet in reality, Fatboy’s RockCoco, works deliciously well.

The unlikely juxtaposition of the ultimate emblem of high-end luxury (the 18^th-century chandelier) with the relaxed vibe of 21^st-century outdoor living, sends out a subversive style message. Like wearing a ballgown with trainers, hanging a chandelier outdoors cocks a snoop at convention, declaring “I’m cool. Deal with it…”

The first outdoor chandelier (now also adapted for indoor use) was created by Dutch designers DeMakersVan for FatBoy, the brandknown for designs that are cheeky in both concept and execution (staples include bean bags, dog beds, hammocks and, new this season, inflatable furniture).

Launched in Spring 2011, this completely weatherproof lighting innovation boldly replaced classic crystal with durable polycarbonate, employing LED technology to ensure a soft, cosy light, and adding the contemporary twist of scarlet red cabling.

Particularly popular hanging from pergolas, verandahs and alfresco DJ booths of bars and restaurants across the continent, over 4,000 have been sold since the RockCoco lit up the outdoor lighting scene.

A recent update even has a dimmer switch and a handy remote control – so you can set the mood without shifting from your sunlounger! Baroque ’n’ roll will never die.

Designer: Eero Aarnio, 2005.

Details: Magis Puppy, from £57, Utility Design.

Believe us when we say that back in the early Noughties, there was a dearth of decent pieces design-conscious parents could kit their kids’ rooms out with. Then along came Magis and its Me Too collection – one of the first modern, design-led ranges created specifically with children in mind. Overnight, things changed. The brainchild of Eugenio Perazza, founder of Magis who, the story goes, was inspired to create the range when he couldn’t find a decently child-friendly drawing table for his granddaughter. A roll call of Me Too designers reads like a who’s who of those (Philippe Starck and Javier Mariscal among others) working at the more fun end of the contemporary design spectrum.

Puppy, designed by Eero Aarnio (he of the iconic Bubble chair) is the standout piece in the range. As Aarnio explained, ‘I wanted to keep only the most essential features of a puppy when designing it, just like children do when they draw their first animals: head, body, legs.’ He nailed it.

Whether used indoors or out, as a chair, a stool, a toy or a sculpture, with its appealing amorphic shape and sturdy moulded polypropylene form, Puppy is one of those joyful pieces that brings a playful touch to any space.

Designer: RichardSteiff, 1902

Details:Steiff collectors’ teddy bears, from £110, Steiff

It may look cuddly and cosy, but the forerunner of this classic children’s soft toy had a spiky start.

In 1879, Margarete Steiff, a young German seamstress, stitched a small felt elephant, intending to use it as a pin cushion.When local children clamoured to play with it, she spotted an opportunity and founded a business that kicked off a hitherto non-existent soft-toy industry.

One year later, in 1880, Steiff Manufacture was founded and over 5,000 of the little elephants were sold at the nearby Heidenheim market.

Ten years later, monkeys, donkeys, horses, camels, dogs, hares and giraffes had been added to the range and Margarete hired her nephew Richard to join her expanding team. Richard designedthe world's first stuffed toy bear with moveable arms and legs,the "Bear 55PB", in 1902 and an American buyer fell in love with them at theLeipzig toy trade fairand placed an order for 3,000 – catapulting the grizzly bear to fame.

The bears began an unprecedented selling success in the USA from 1906 under the name of Teddy Bear (named after the American president Theodore "Teddy" Roosevelt), andit soon became a worldwide children’s favourite.

By 1907, Margarete employed 400 employees and 1,800 home workers to produce around 1,700,000 toys – of which973,999 were teddy bears.

Highly prized examples include the 1904 Teddy Girl and the limited-edition black-clad Teddy in mourning, released after the Titanic disaster, complete with eyes rimmed red from weeping.

Should you find a battered version of either in your attic, look first for the Knopf im Ohr, the yellow tag sewn into every bear’s ear as the sign of authenticity.

Designer: Josiah Wedgwood, 1774

Details: Porcelain Christmas tree decorations, from £25, Wedgwood

A true English classic, Wedgwood Jasperware has been a star player in British dining rooms since visionary master potter Josiah Wedgwood introduced it to society in 1774.

Crafted in his independent Staffordshire pottery from the finest unglazed vitreous stoneware and graced with exquisite classical and contemporary reliefs, each creation feels like a luxury piece of history.

Although there are many shades in the Wedgwood colour wheel, from cream Queen’s Ware to Black Basalt, it is the delicate light blue and white Jasper design that is most synonymous with the brand.

In fact, ‘Wedgwood Blue’ is every bit as famous and recognisable as America’s ‘Tiffany Blue’.

Today, Wedgwood remains true to Josiah’s exacting standards, with many of its products still hand-finished using techniques that date back to the company’s beginnings more than 250 years ago.

And with its royal warrant, innovative new product ranges and undoubted quality, it remains a welcome guest at the banquets of both royals and heads of state – what’s the betting these show-stopping future heirloom baubles will be given a top spot on the trees at Buckingham Palace and the White House this Christmas...

Photography: Paul Massey

Designer: David Linley, 2005

Details: Nelson armchair, £3,450, Linley

The phrase ‘fit for a king’ takes on a rather literal meaning with master furniture brand Linley’s regal Nelson chair – or it would, were the expression actually ‘fit for an admiral’.

Designed by one of the UK’s leading exponents of traditional craft techniques, the hand-stitched leather armchair mimics the exact style of seatingVice-Admiral Horatio Nelson used aboard his flagship HMS Victory.

Reportedly Nelson’s favourite chair, Linley’s replica, launched in 2005 to celebrate the bicentenary of the Battle of Trafalgar (where Nelson famously lost his life even as his naval forces were defeating the combined fleets of France and Spain), joins the likes of Nelson’s Column in Trafalgar Square in honouring the Admiral’s service to his country.

A grandson of Queen Elizabeth's, David Linley trained as a cabinetmaker. When conceiving pieces for his furniture and accessories lines, he often refers to historic precedents. Following this tradition, Linley collaborated with the National Maritime Museum in 2005 to create an exact replica of the last chair on which Admiral Nelson ever sat, exactly 200 years after Nelson's death in 1805.

When Nelson died, his elder brother William became Lord Nelson and inherited the estate of Standlych in Salisbury, renamed Trafalgar House. The estate's collection contained the chair which, according William Nelson, was the last chair on which the Admiral ever sat. A careful study of this original chair was made to create the Linley Nelson chair that mimics the exact dimensions and design of the original chair last sat on by Lord Nelson.

Available in black or tan leather, the beech-framed chair is hand stitched and features fine brass studwork, andcontinues the Admiral’s legacy, moving from stormy seas to contemporary townhouses and chic apartments.

Photography: Simon Bevan

Designer: Antonio Citterio, 2005

Details:Happy chaise longue, approx £4,380, Flexform

Channelling modern Made in Italy sophistication, the Happy chaise longue has a low metal frame with leather laces stretched across in a loose weave. It's a perfetto example of the kind of fine Italian craftsmanship we know to expect from the enduring 40-year design partnership between Flexform and Citterio.

The cushions are filled with goose down and upholstered in a choice of first-class fabrics, from leather and linen to cashmere and velvet, plus there’s a bolster cushion that’s there to be positioned at whim. An added bonus is that the fabric and leather upholstery are removable covers – ideal for swapping, changing and washing.

Details: Happy chaise longue, approx £4,380, Flexform

Antonio ‘gentleman of design’ Citterio started his design office in 1972, aged just 22, and his degree in architecture is clear in his smooth translation of Flexform’s commitment to clean lines and classic silhouettes.

When designing the stylish 'Happy' chaise longue for Flexform in 2005, he used a metal insert to stabilise the down-filled bolster cushion, replacing the need for a fixed armrest. This created the contemporary and sleek silhouette which is widely recognised today.

Wherever the 'Happy' chaise longue is positioned – Tuscan villa, Florentine appartamento or back home in Blighty – we declare it our happy place. Bellissima!

Photography: John Day

Designer: Jim Read, 1993

Details: The 50’s ‘Electric’ wall clock in Chrome, £75, Newgate

Clock watching is a forgivable offence when the timepiece in question is an example of great British design at its finest. At first glance, it may look like time’s stood still – the Newgate 'Electric' wall clock is a clear nod to the mid-century modern electric clocks that adorned the walls of factories and train stations during the Thirties, Forties and Fifties.

Details: The 50’s ‘Electric’ wall clock in Chrome, £75, Newgate

Designed by Newgate founder and creative director Jim Read in 1993, this design classic's influence is clear in its deep metal cases, bold retro dials and the black metal propeller hands of the classic industrial designs.

But while the clock is named ‘Electric’ after the original clocks, which were powered by electrical current, there’s nothing behind the times about what’s inside. Quartz movements make it far more convenient in domestic situations, hence its enduring popularity for nearly a quarter of a century.

Founded in 1991 by Jim and Chloe Read from the spare room of their apartment, Newgateis known for its vintage, industrial, retro and mid-century style designs. Fusing vintage designs with a twist of modernism, the Newgate 50s Electric Wall Clock is a strong reminder of the days of dodgy sci-fi movies, leather greaser jackets and roller skate waitresses, with its retro numbers and stark, sharp clock hands.

Jim Read's grandfather was an inventor for MI5, so we think time-keeping and clever design must run in the family!

No 15 minutes of fame here... This is a truly timeless British icon.

Photography: John Day

Designers: Yael Mer and Shay Alkalay, 2013

Details: Lacquered-ash and oak bookcase, £559, Raw Edges for Lema

Known for their edgy yet playful creations, eclectic design duo Yael Mer and Shay Alkalay, aka Raw Edges, played with the idea of the book transcending its function as an object to become something altogether more innovative, multifunctional – and impossible to ignore.

Thus with Booken, your most treasured tomes move out of the background to become a design feature in their own right, banding together on a series of oak bookmarks to work not only as a nifty, hanging library, but a stylish side table and shelf for resting your cup of tea, specs and, er – headspin – book of the month on.

While a horizontal rather than vertical library takes a bit of getting used to, soon you won’t want anything else – just think, no more neck ache craning to find the right book and, thanks to the built-in bookmarks, no more losing your place or resorting to the sinful practice of thumbing-down pages.

The name Booken comes from the idea that the book becomes the constituent material of an object. In the same way that ‘wood’ becomes ‘wooden’, ‘book’ becomes ‘booken’. Genius.

Of course, the temptation would be, as here, to colour coordinate your histories of modern design, making Booken not merely a hanging library but a statement art installation.

What a novel idea!