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Secreto Orange Armchair

USD 1,730
Ships in 3-4 weeks
Secreto Orange Armchair - Main view
Customizable

Designed by Lorenz+Kaz, this modern and traditional chair can be a table chair, elegant and informal at once. Designed on a clear brief: “creating an industrial armchair with an artisan taste, inspired to the traditional Winsor English chair”. The complex structure, especially in the back, is composed of interlocking rods inserted into the base. The upholstered cushion is proposed in orange felt Nord Wool. Available in solid beech or matt lacquered in white or black.

Handcrafted for you in Italy in 3-4 weeks
Shipping to United Arab Emirates: USD 190 (Curbside)
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Product Details

MaterialWoodDimensions (cm)W 57 x D 52 x H 76Product referenceCOLEMI-111Tearsheet

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Discovering the Artisan

Memphis

Memphis

Lombardia, Italy | Designer

Editor's Picks

It’s the evening of December 11, 1980. A group of young designers and architects has gathered in Ettore Sottsass’s living room. The record Stuck Inside of Mobile with the Memphis Blues Again by Bob Dylan plays over and over again: thus Memphis was born. A few days later, a revolutionary collection of design objects was discussed and outlined, one which was to take shape over a few months in the drawings of Ettore Sottsass, Aldo Cibic, Matteo Thun, Marco Zanini, Martine Bedin, Michele De Lucchi, Nathalie Du Pasquier, and George Sowden.

The company is now managed by Alberto Bianchi Albrici, who purchased it in 1996 from Ernesto Gismondi, owner of Artemide, after ten years as managing director. The projects designed by the Memphis group between 1981 and 1988 are still produced today in unlimited series, in the belief that design should be understood as a means of communication and not as an expression of elitist art.

As a cultural movement, Memphis continues to influence the imagination of the general public, from fashion to the film and television industry. The liberating spirit of Memphis is still a source of inspiration for young designers today: reflections on the concept of design and furnishing, on their limits and aesthetic possibilities, on their social and communicative function and on the creative and productive aspect, as well as on the economic models underpinning them, are now more relevant than ever.

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