One of Alvar Aalto’s masterpieces. Designed for the Sanatorium of the Finnish city of Paimio, Armchair 41 took the use of curved wood technology to extremes, with a slim and suspended seat that is fixed to the frame in just four points. The chair also represents Aalto’s organic modernism; function and avant-garde technique in soft shapes that adapt to the body.

Armchair with seat and arms in form-pressed birch plywood. The arms are varnished, while the seat is in black or white. Dimensions: 64 x 60 x 80 cm

One of Alvar Aalto’s masterpieces. Designed for the Sanatorium of the Finnish city of Paimio, Armchair 41 took the use of curved wood technology to extremes, with a slim and suspended seat that is fixed to the frame in just four points. The chair also represents Aalto’s organic modernism; function and avant-garde technique in soft shapes that adapt to the body.

Armchair with seat and arms in form-pressed birch plywood. The arms are varnished, while the seat is in black or white. Dimensions: 64 x 60 x 80 cm

Multi-purpose spaces that can be transformed over the course of the day. It was a period in which Joe Colombo experimented with new forms of living, for which he produced designer furnishings with a view to mass production, the use of materials from other sectors and as much flexibility as possible. One of these was Multichair, a transformable seating system for conversation or relaxation that played on the combination of two elements that can also be used singularly. The various forms are obtained through the use of re-positionable leather belts and steel buckles.

Convertible seating system with cushions with an internal steel structure covered in polyurethane foam and upholstered in elasticated fabric. Re-positionable belts and buckles in chromium-plated satin finished steel. Dimensions: 63.8 x 58 × 72 cm.

Multi-purpose spaces that can be transformed over the course of the day. It was a period in which Joe Colombo experimented with new forms of living, for which he produced designer furnishings with a view to mass production, the use of materials from other sectors and as much flexibility as possible. One of these was Multichair, a transformable seating system for conversation or relaxation that played on the combination of two elements that can also be used singularly. The various forms are obtained through the use of re-positionable leather belts and steel buckles.

Convertible seating system with cushions with an internal steel structure covered in polyurethane foam and upholstered in elasticated fabric. Re-positionable belts and buckles in chromium-plated satin finished steel. Dimensions: 63.8 x 58 × 72 cm.

When it was first launched on the market, the Up armchair was distributed in flat packs that, when opened, allowed the polyurethane foam - of which the chair is made - to inflate and assume its final shape, transforming the act into a one-off “happening”. Up is an expression of the experimentation carried out by the C&B Research Centre, reflecting the work of the leading figures of Italian Radical Design as well as the air of change of the period, which focused on introducing new aesthetic codes and, above all, types of product that expressed the lifestyles of a society undergoing profound change. It was nicknamed “Mama” for both its shape and its affectionate look. A number of years later, Pesce himself named it La Donna (the Woman), a reference to the bust of Anita Ekberg, immersed in the Trevi Fountain in the film “La Dolce Vita”. For its fiftieth anniversary, it has been presented with a new range of colours, as well as with upholstery in beige and petrol green stripes, harking back to the original 1969 colour palette.

Armchair in expanded polyurethane foam weighing 52 kg. Up5 takes 2 hours and 45 minutes to upholster, and 1 hour and 30 minutes is needed for the pouffe Up6, and both are hand stitched. Dimensions: 103 x 120 x 130 cm Diameter of the sphere: 57 cm.

When it was first launched on the market, the Up armchair was distributed in flat packs that, when opened, allowed the polyurethane foam - of which the chair is made - to inflate and assume its final shape, transforming the act into a one-off “happening”. Up is an expression of the experimentation carried out by the C&B Research Centre, reflecting the work of the leading figures of Italian Radical Design as well as the air of change of the period, which focused on introducing new aesthetic codes and, above all, types of product that expressed the lifestyles of a society undergoing profound change. It was nicknamed “Mama” for both its shape and its affectionate look. A number of years later, Pesce himself named it La Donna (the Woman), a reference to the bust of Anita Ekberg, immersed in the Trevi Fountain in the film “La Dolce Vita”. For its fiftieth anniversary, it has been presented with a new range of colours, as well as with upholstery in beige and petrol green stripes, harking back to the original 1969 colour palette.

Armchair in expanded polyurethane foam weighing 52 kg. Up5 takes 2 hours and 45 minutes to upholster, and 1 hour and 30 minutes is needed for the pouffe Up6, and both are hand stitched. Dimensions: 103 x 120 x 130 cm Diameter of the sphere: 57 cm.

In the post-war period, in a moment of economic autarchy and scarce resources, a number of architects from the Italian Rationalism movement began to use rattan and India cane for new forms of expression, transforming weaving techniques, initially used above all for furnishings, to create structural furniture. This led to the creation of timeless pieces such as the Margherita armchair, awarded the Golden Medal at the IX Milan Triennale in 1951, and part of the permanent collections of the most important design museums in the world.

Armchair with structure in rattan cane and Indian cane, polyurethane foam cushions. Dimensions: 94 x 75 x 83 cm

An ironic and eccentric chair, Fiocco draws inspiration from stockings on a leg. An echo of the successful Falkland light designed by Bruno Munari for Danese, Fiocco presents a curved tubular structure upholstered in elasticated fabric in contact with the user. The structure moulds around the body of the sitter, partially losing its initial form, to then return to its original shape.  

Seat in curved tubular metal covered in elastic fabric. Dimensions: 108 x 70 x 120 cm

An ironic and eccentric chair, Fiocco draws inspiration from stockings on a leg. An echo of the successful Falkland light designed by Bruno Munari for Danese, Fiocco presents a curved tubular structure upholstered in elasticated fabric in contact with the user. The structure moulds around the body of the sitter, partially losing its initial form, to then return to its original shape.  

Seat in curved tubular metal covered in elastic fabric. Dimensions: 108 x 70 x 120 cm

Magistretti combines the idea of the folding camping chair, with a metal structure covered in light fabric, with the concept of an umbrella, an object that he himself has defined as one of the most useful and best-conceived in the history of design and from which he cites the handle and the fabric wrapped around the folded structure. A new form of light and portable tub chair, with removable and changeable upholstery to last over time. Kenia is also a reflection of the identity and style of the company Campeggi, which stands out for its multi-purpose and transformable products.

Tub chair with an anodised aluminium structure and removable cotton covering that slides onto the structure like a suit. Dimensions: 73 x 58/73 x 58 cm.

The Feltri armchair was created in the Cassina Research Centre. It represents a completely new concept, in the sense that the entire chair, including the supporting frame, is made of fabric. The manufacturing technique is, in fact, patented. Feltri has a structure made entirely in thick wool felt with a wrap-around and flexible backrest, while the rigid lower part is impregnated with thermosetting resin. The backrest is upholstered in a soft quilted mattress, a reference to the idea of a protective blanket.
 
Feltri forms part of the Cassina “Contemporanei” collection. It has a structure in wool felt and quilted mattress sewn together with polyester padding. The mattress can be upholstered in the fabrics from the Cassina Collection. A limited edition of 100 chairs made with the vintage quilt collection by Raf Simons is also available. Dimensions: 98/130 x 73 x 66 cm.

The Feltri armchair was created in the Cassina Research Centre. It represents a completely new concept, in the sense that the entire chair, including the supporting frame, is made of fabric. The manufacturing technique is, in fact, patented. Feltri has a structure made entirely in thick wool felt with a wrap-around and flexible backrest, while the rigid lower part is impregnated with thermosetting resin. The backrest is upholstered in a soft quilted mattress, a reference to the idea of a protective blanket.
 
Feltri forms part of the Cassina “Contemporanei” collection. It has a structure in wool felt and quilted mattress sewn together with polyester padding. The mattress can be upholstered in the fabrics from the Cassina Collection. A limited edition of 100 chairs made with the vintage quilt collection by Raf Simons is also available. Dimensions: 98/130 x 73 x 66 cm.

One could say that this was the first “industrial” armchair in the history of Italian design, as it substituted springs with Nastrocord elastic strips and traditional horse-hair stuffing with modern foam rubber. Zanuso used materials that had never before been employed for furnishings. He also used design methods that were typical of the automotive sector, conceiving the armchair in two separate parts; the support structure and the “chassis”, in turn made out of four elements: the seat, the backrest and the two sides, with different levels of padding according to the requirements of body support.

Armchair upholstered in leather or fabric, padded with foam rubber and with arms with a wooden structure and padded in expanded polyurethane. Lady is also available in a selection of fabrics designed by Raf Simons, and in a special edition with black and white checks. Dimensions: 78 x 85 x 80 cm

One could say that this was the first “industrial” armchair in the history of Italian design, as it substituted springs with Nastrocord elastic strips and traditional horse-hair stuffing with modern foam rubber. Zanuso used materials that had never before been employed for furnishings. He also used design methods that were typical of the automotive sector, conceiving the armchair in two separate parts; the support structure and the “chassis”, in turn made out of four elements: the seat, the backrest and the two sides, with different levels of padding according to the requirements of body support.

Armchair upholstered in leather or fabric, padded with foam rubber and with arms with a wooden structure and padded in expanded polyurethane. Lady is also available in a selection of fabrics designed by Raf Simons, and in a special edition with black and white checks. Dimensions: 78 x 85 x 80 cm

In a period in which hotels and public reception areas in general began to seek striking expressions and new forms of product, the Tatlin collective seating system made its appearance. Designed to take position in the centre of a room, it has a very particular backrest that allows users to sit around the circular seat instead of in a row, encouraging various forms of interaction. As the name suggests, the chair is inspired by the Tatlin tower, the wooden model of which is kept at the Beaubourg in Paris.

Collective seating with a wooden structure and spiral in moulded steel. Padding in hand-cut polyurethane foam upholstered in velvet. The particular spiral shape allows for multiple elements to be combined. Dimensions: 134 x 210 x 175 cm

Designed to furnish Arne Jacobsen’s masterpiece of design, the Radisson Blu Royal Hotel in Copenhagen, the Egg Chair is a compact and all-enveloping shell-like chair that serves to isolate the sitter from surrounding noise. It is the first example of cocooning seating in the history of modern furniture, the forerunner of many high-backed systems that populate the contract and office furniture sector. For its 60th anniversary, versions in pink and orange leather with gold plated bases were produced.

Armchair with a synthetic shell padded with polyurethane foam and upholstered in fabric or leather. 4-spoke star base in aluminium mounted on a brushed steel pedestal. The chair can be combined with a coordinated footstool. Dimensions: 107 x 86 x 79 cm

Designed to furnish Arne Jacobsen’s masterpiece of design, the Radisson Blu Royal Hotel in Copenhagen, the Egg Chair is a compact and all-enveloping shell-like chair that serves to isolate the sitter from surrounding noise. It is the first example of cocooning seating in the history of modern furniture, the forerunner of many high-backed systems that populate the contract and office furniture sector. For its 60th anniversary, versions in pink and orange leather with gold plated bases were produced.

Armchair with a synthetic shell padded with polyurethane foam and upholstered in fabric or leather. 4-spoke star base in aluminium mounted on a brushed steel pedestal. The chair can be combined with a coordinated footstool. Dimensions: 107 x 86 x 79 cm

Designed to furnish Arne Jacobsen’s masterpiece of design, the Radisson Blu Royal Hotel in Copenhagen, the Egg Chair is a compact and all-enveloping shell-like chair that serves to isolate the sitter from surrounding noise. It is the first example of cocooning seating in the history of modern furniture, the forerunner of many high-backed systems that populate the contract and office furniture sector. For its 60th anniversary, versions in pink and orange leather with gold plated bases were produced.

Armchair with a synthetic shell padded with polyurethane foam and upholstered in fabric or leather. 4-spoke star base in aluminium mounted on a brushed steel pedestal. The chair can be combined with a coordinated footstool. Dimensions: 107 x 86 x 79 cm

Shades of the organic modernism typical of Nordic countries in a “democratic” version for everyone’s pockets. The Poäng armchair reflects Nordic design both in terms of style and of manufacturing efficiency and optimisation. It is one of the Swedish furnishing giant's most popular long-sellers. The bent birch plywood frame offers flexibility, while the high back provides neck support.


Armchair in birch plywood with removable cushions and covers. A footstool is also available. Dimensions: 100 x 68 x 82 cm

Shades of the organic modernism typical of Nordic countries in a “democratic” version for everyone’s pockets. The Poäng armchair reflects Nordic design both in terms of style and of manufacturing efficiency and optimisation. It is one of the Swedish furnishing giant's most popular long-sellers. The bent birch plywood frame offers flexibility, while the high back provides neck support.


Armchair in birch plywood with removable cushions and covers. A footstool is also available. Dimensions: 100 x 68 x 82 cm

Shades of the organic modernism typical of Nordic countries in a “democratic” version for everyone’s pockets. The Poäng armchair reflects Nordic design both in terms of style and of manufacturing efficiency and optimisation. It is one of the Swedish furnishing giant's most popular long-sellers. The bent birch plywood frame offers flexibility, while the high back provides neck support.


Armchair in birch plywood with removable cushions and covers. A footstool is also available. Dimensions: 100 x 68 x 82 cm

Designed in 1953, the armchair formed part of the furniture for Gio Ponti’s private residence in via Dezza in Milan. It reflected the rationality and the plays on colour present in the floor tiles. A blend of modernism and tradition, it uses bronze in the structure, but plays with the contrasting colours that emphasise the form through the use of chiaroscuro. The original fabric, designed by Ponti in 1934, re-interprets the age-old technique of velvet.

Armchair with structure in brushed bronze, frame in solid firm and upholstered in twin-tone leather or in Rubelli dotted fabric. Dimensions: 80 x 77 x 103 cm

The chair seems to have been rescued from a fire. With its style, an echo of the classic bergère, the Smoke chair claims space in settings that, at the beginning of the third millennium, are still influenced by minimalism and more linear and high-tech aesthetics. It marked the sensational debut of the Dutch brand Moooi. The solid wood frame of each chair is hand-burned, rendering each item unique.

Armchair in burned solid wood finished with fire retardant epoxy resin; padded in polyurethane foam and upholstered in leather. Dimensions: 104 x 40 x 80 cm

The chair seems to have been rescued from a fire. With its style, an echo of the classic bergère, the Smoke chair claims space in settings that, at the beginning of the third millennium, are still influenced by minimalism and more linear and high-tech aesthetics. It marked the sensational debut of the Dutch brand Moooi. The solid wood frame of each chair is hand-burned, rendering each item unique.

Armchair in burned solid wood finished with fire retardant epoxy resin; padded in polyurethane foam and upholstered in leather. Dimensions: 104 x 40 x 80 cm

Patricia Urquiola has drawn inspiration from a shell fragment broken and smoothed by the waves to design a collection of chairs for the home and for public spaces. The Scandinavian influence, evoked by the name, can be seen in the elongated form of the seat, a metaphor for the inlets along the Nordic coasts, as well as the homage to Arne Jacobsen’s Egg Chair. The particular split form is not only an aesthetic factor but has also been created to favour various ways of sitting. Characteristic traits include the visible stitching, which emphasises the skills of the Moroso artisans.

Swivel armchair in injected flame-retardant foam over internal steel frame. Square base in powder coated steel. Dimensions: 102 x 95 x 80 cm.

Patricia Urquiola has drawn inspiration from a shell fragment broken and smoothed by the waves to design a collection of chairs for the home and for public spaces. The Scandinavian influence, evoked by the name, can be seen in the elongated form of the seat, a metaphor for the inlets along the Nordic coasts, as well as the homage to Arne Jacobsen’s Egg Chair. The particular split form is not only an aesthetic factor but has also been created to favour various ways of sitting. Characteristic traits include the visible stitching, which emphasises the skills of the Moroso artisans.

Swivel armchair in injected flame-retardant foam over internal steel frame. Square base in powder coated steel. Dimensions: 102 x 95 x 80 cm.

The unmistakable shape of the armchair is the result of an idea by the designers to remove the traditional padding, leaving only the curves “strictly necessary” for optimum back and lumbar support. It is one of the first chairs by the Castiglioni brothers to demonstrate their interest in ergonomics. Also innovative in its structure, Sanluca is composed of separate components that are assembled as though they were parts of an automobile. The chair is complemented by a pouffe designed by Achille alone in 1991.

The rigid structure is composed of elements in birch plywood and solid beech and poplar. The feet are in semi-glossy ash with either a wenge or Canaletto walnut stain. The armchair is upholstered in leather, also available in two-tone, or in fabric. The limited edition is upholstered in a jacquard fabric with a never-before-seen design from 1968 by Max Huber, named “Onde Geofisiche”. Dimensions: 99 x 85 x 98 cm

The unmistakable shape of the armchair is the result of an idea by the designers to remove the traditional padding, leaving only the curves “strictly necessary” for optimum back and lumbar support. It is one of the first chairs by the Castiglioni brothers to demonstrate their interest in ergonomics. Also innovative in its structure, Sanluca is composed of separate components that are assembled as though they were parts of an automobile. The chair is complemented by a pouffe designed by Achille alone in 1991.

The rigid structure is composed of elements in birch plywood and solid beech and poplar. The feet are in semi-glossy ash with either a wenge or Canaletto walnut stain. The armchair is upholstered in leather, also available in two-tone, or in fabric. The limited edition is upholstered in a jacquard fabric with a never-before-seen design from 1968 by Max Huber, named “Onde Geofisiche”. Dimensions: 99 x 85 x 98 cm

One of the most iconic pieces by Alessandro Mendini, and probably of Italian design in general, the Proust chair made its debut at the “Close encounters of Architecture” exhibition at Palazzo Diamanti in Ferrara. It reflects the post-modern style of the time and is a decontextualisation of 18th century chairs and the late-1800s technique of Pointillism. The structure is in carved wood, and each chair is hand-painted, rendering it unique. Cappellini produces the standard version of the chair, while with Magis, Mendini sought a more accessible version, creating the same shape in rotational-moulded plastic.

The new edition by Cappellini presents a carved wooden hand-painted frame with multicoloured fabric upholstery (and in 2009 a version in geometric-printed fabric was issued, and is still available), while the version produced by Magis is in single-colour rotational-moulded plastic. Dimensions: 105 x 104 x 90 cm

Cofounder of the famous office company Tecno, during the 1950s Osvaldo Borsani developed various projects which re-visited “modern” furniture and production techniques in industrial and mass-produced form. The P40 is based on the idea of mechanical joints to allow a range of movements and body positions, from seated to fully reclined, thanks to a foldaway element under the seat that provides extended leg support.  The armchair thus goes beyond the idea of the chaise longue as a static seat for resting, at the same time considerably reducing its bulk.

Armchair with painted lead grey metal structure and details in brass or satin nickel finished metal, arms in steel and rubber. Extendible footrest in metal. The padding is upholstered in fabric or leather. Dimensions: 70/90 x 72 x 80/150 cm.

Cofounder of the famous office company Tecno, during the 1950s Osvaldo Borsani developed various projects which re-visited “modern” furniture and production techniques in industrial and mass-produced form. The P40 is based on the idea of mechanical joints to allow a range of movements and body positions, from seated to fully reclined, thanks to a foldaway element under the seat that provides extended leg support.  The armchair thus goes beyond the idea of the chaise longue as a static seat for resting, at the same time considerably reducing its bulk.

Armchair with painted lead grey metal structure and details in brass or satin nickel finished metal, arms in steel and rubber. Extendible footrest in metal. The padding is upholstered in fabric or leather. Dimensions: 70/90 x 72 x 80/150 cm.

A classic of international design, the lounge chair is inspired by chairs in English clubs. It plays on the contrast between the dark wood shell, the star base reflecting office models, and the padded part, upholstered in leather. Charles and Ray Eames sought to achieve a modernist and organic style that was not a break from tradition, save for in the manufacturing methods, where the aim was to make use of industrial techniques, often borrowed from other sectors.

Chair with seat and back in bent plywood, with American cherry or Santos palisander veneer, or in black or white walnut veneer for the more recent version. The leather upholstery includes removable cushions. Five-spoke star base in die-cast aluminium. Dimensions of the classic model: 84 x 84 x 56 cm

A classic of international design, the lounge chair is inspired by chairs in English clubs. It plays on the contrast between the dark wood shell, the star base reflecting office models, and the padded part, upholstered in leather. Charles and Ray Eames sought to achieve a modernist and organic style that was not a break from tradition, save for in the manufacturing methods, where the aim was to make use of industrial techniques, often borrowed from other sectors.

Chair with seat and back in bent plywood, with American cherry or Santos palisander veneer, or in black or white walnut veneer for the more recent version. The leather upholstery includes removable cushions. Five-spoke star base in die-cast aluminium. Dimensions of the classic model: 84 x 84 x 56 cm

An armchair that recalls the traditions of modern design, but of cutting-edge technical complexity. Louise is made of eight separate interlocking elements. The effect is of both solidity and lightness, due to the contrast between the solid of the padded shell and the void of the graphic silhouette of the frame.

Armchair with a solid beech frame lacquered in either black or burgundy. The seat and backrest are in poplar plywood with polyurethane padding. Removable upholstery in fabric or leather. Dimensions: 73 x 66 x 75 cm

An armchair that recalls the traditions of modern design, but of cutting-edge technical complexity. Louise is made of eight separate interlocking elements. The effect is of both solidity and lightness, due to the contrast between the solid of the padded shell and the void of the graphic silhouette of the frame.

Armchair with a solid beech frame lacquered in either black or burgundy. The seat and backrest are in poplar plywood with polyurethane padding. Removable upholstery in fabric or leather. Dimensions: 73 x 66 x 75 cm

A type of chair that had never been seen before: a large bag made of strips of vinyl and filled with polystyrene balls. The designers showed the prototype to Aurelio Zanotta, the courageous entrepreneur who had already produced unimaginable objects such as Blow, the inflatable armchair by De Pas, D’Urbino and Lomazzi, and the “anti-armchair” was born. Sacco was an expression of the desire to break the rules that was typical of the collective movements of 1968 that were to transform social dynamics, cultural languages and the hierarchical relationships between people. Created for an anti-bourgeois environment, Sacco is a soft, deconstructed and anti-conformist armchair that allows the user to sit as they like.

Deconstructed seat with a resistant exterior containing expanded polystyrene balls. Cover in Vip, also suitable for outdoor use, fire resistant, antibacterial and stain-proof. Also available in a removable Pied de poule version, and in leather.

A type of chair that had never been seen before: a large bag made of strips of vinyl and filled with polystyrene balls. The designers showed the prototype to Aurelio Zanotta, the courageous entrepreneur who had already produced unimaginable objects such as Blow, the inflatable armchair by De Pas, D’Urbino and Lomazzi, and the “anti-armchair” was born. Sacco was an expression of the desire to break the rules that was typical of the collective movements of 1968 that were to transform social dynamics, cultural languages and the hierarchical relationships between people. Created for an anti-bourgeois environment, Sacco is a soft, deconstructed and anti-conformist armchair that allows the user to sit as they like.

Deconstructed seat with a resistant exterior containing expanded polystyrene balls. Cover in Vip, also suitable for outdoor use, fire resistant, antibacterial and stain-proof. Also available in a removable Pied de poule version, and in leather.

A type of chair that had never been seen before: a large bag made of strips of vinyl and filled with polystyrene balls. The designers showed the prototype to Aurelio Zanotta, the courageous entrepreneur who had already produced unimaginable objects such as Blow, the inflatable armchair by De Pas, D’Urbino and Lomazzi, and the “anti-armchair” was born. Sacco was an expression of the desire to break the rules that was typical of the collective movements of 1968 that were to transform social dynamics, cultural languages and the hierarchical relationships between people. Created for an anti-bourgeois environment, Sacco is a soft, deconstructed and anti-conformist armchair that allows the user to sit as they like.

Deconstructed seat with a resistant exterior containing expanded polystyrene balls. Cover in Vip, also suitable for outdoor use, fire resistant, antibacterial and stain-proof. Also available in a removable Pied de poule version, and in leather.