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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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The cultured and omnivorous voracity of Philippe Starck faces, in Neoz collection, the poetry of solid wood and the traditional archetypes form is reviewed. The result is a timeless collection characterized by straight lines as well as by a strong image.
Even a classical image, as a railed chair, in the hands of Philippe Starck acquires a particular connotation. In Pip-e, the sequence of horizontal elements, which create the seat and back definetly, takes on a strong chiaroscuro and goes, unexpectedly, to accompany the bending of the knees.
The deep and rounded seat invites to relax and talk. A perfect balance of the volume of the body which perfectly combines with the characteristic support structure, thus defining a new idea of ??the “cockpit” type. Balù provides numerous chromatic variations and ton sur ton or neutral shades foreseen by the colors of the collection. […]
The overall vision created by the harmony of the beveled shapes, the full volumes and the soft but minimal design is recreated in a more rock, metallic version, thanks to the structure that lightens the seat. A wide range of colors for the padding, covered in velvet, or leather or eco-leather makes it suitable for […]
$1,090.00
“The Symbol of a new era focused on plastic”. That’s how Plia chair was presented in 1967 at the Fiera del Mobile in Milan. During the Fair, the Plia got so much acclaim from audiences that many visitors moved away from the stand with some samples without asking for permission… As a result of this […]
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.