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Lazada
Designed by Philippe Starck
Costes chair debuted in 1984, marking the beginning of the partnership between Philippe Starck and Driade. A designer, formerly unknown in Italy, creates one of the world’s most iconic object. Designed for the once homonymous, now disappeared Parisian cafe, owes its timeless success to the absoluteness of forms: a dark wooden embracing structure with three highly tilted legs.
Finishes:
Structure in steel painted black, seat shell in mahogany, ebonized mahogany, grey oak, striped wenge with seat upholstered in leather in black or bamboo with seat upholstered in leather in beige
Dimensions:
W475 x D580 x H800 mm SH470 mm
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As a reinterpretation of Costes chair, King Costes alters its size and increase its firmness while confirming the absolute recognition of this image and its durability against trends alternation.
Neoz sofas, bed and day-bed emphasize the formal charateristics of the collection they belong to, by building a sort of living nest marked by the hem-stitched tissue whiteness, like past laundry, and the cushions’ softness. Large wheels, though, suggest it as an only termporary luxe.
Thanks to its transparent and aerial architecture the Valencia dining table creates original visual effects through the combination of the glass base and the top available in different materials and finishes. An idea that shapes infinite possibilities, always with a unique design.
The ceramic or lacquered glass top of Toronto table is supported by a wooden base. The legs with the special “V” profile give a lively visual sense of lightness, while maintaining the solidity and strong presence of the overall structure.
$2,750.00$2,337.50
Inspired by the Scandinavian heritage of design and furniture craftmanship, In Between is a result of Sami KallioÕs solid grounding in traditional wood- working techniques and his eye for ingenious detail. It started with a single chair which later resulted in a series of furniture including both tables and bar stools.
Even a coffee table can become a piece of art if it can stand regardless of the typological limitations. Fredrikson Stallard address the issue with the strength of the material to be bent and shaped. The result is a completely new form, marked by an important, and expressionistic, depression in the center of the top.