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  • Designed by Charles and Ray Eames

 

  • Coordinating chair and ottoman pair

 

  • Cherry wood accents and pigmented black leather upholstery

Description

Details

Indulge in pure comfort and relaxation with the timelessly stylish Classic Eames Lounge Chair and ottoman in black leather with a cherry wood frame.

Making its public debut in 1956 on Arlene Francis’ ‘Home’ show, Charles Eames said his goal for this iconic chair was that it be “a special refuge from the strains of modern living”. The first Eames Lounge Chair and Ottoman was designed by Charles and Ray Eames as a gift for Billy Wilder, director of the classic film ‘Some Like It Hot’.

The chair, which is manufactured by Vitra, is a contemporary and luxurious interpretation of the traditional gentlemen’s club chair, provided with a coordinating ottoman for superior comfort.

The Classic Eames Lounge Chair combines modern sculptural lines of cherry wood veneer and removable supple natural leather upholstery to create a design classic that is as comfortable as it is stylish. Its die cast aluminium frame on shock mounts provides flexible movement, as well as a unique five arm base and functional swivel action.

The Lounge Chair is one of Charles and Ray Eames’ most famous designs and has attained the status of a classic in the history of modern furniture. Each Lounge Chair and Ottoman carries Charles and Ray Eames’ signature as a mark of authenticity.

Care instructions: Leather should require no more than a wipe with a warm, damp, soft cloth to remove any dirt, followed by drying with a soft cloth - avoid using detergent.

Dimensions:

Chair: 84cm (w) x 84cm (h) x 85-91cm (d); Seat Height: 38cm

Ottoman: 63cm (w) x 42cm (h) x 56cm (d)

 

View our entire range of Eames furniture

Charles & Ray Eames

American designers Charles (1907-1978) and his wife Ray (1912-1988) Eames made groundbreaking contributions to many creative fields including architecture, furniture design, industrial design, graphic design, fine arts and film.

 

Born in St. Louis, Missouri, Charles Eames grew up in America's industrial heartland. As a young man he worked for engineers and manufacturers, anticipating his lifelong interest in mechanics and the complex working of things. Ray Kaiser, born in Sacramento, California, demonstrated her fascination with the abstract qualities of ordinary objects early on. She spent her formative years in the orbit of New York's modern art movements and participated in the first wave of American-born abstract artists.

 

The couple married in 1941 and moved from Michigan, where they had met at the Cranbrook Academy of Art, to Los Angeles and established an office together. With a grand sense of adventure, Charles and Ray turned their curiosity and boundless enthusiasm into creations that established them as a truly great husband-and-wife design team. Their unique synergy led to a whole new look in furniture. Modern and minimal. Playful and functional. Sleek, sophisticated, and beautifully simple. That was and is the "Eames look."

 

They got their first big break in 1942 when the US navy placed an order for 5,000 splints that they had made from a mould of Charles’ own leg. Having moved into a rented studio on nearby Santa Monica Boulevard, the couple continued their experiments in plywood producing furniture such as the Plywood Chair (1945), sculptures and even toys. After plywood, the Eames focused on projects with other materials by creating furniture in fibreglass, plastic, aluminium and, for the 1956 Lounge Chair, which was designed as a gift for director Billy Wilder, leather and a rich plywood. It was their experiments with fibreglass that led to the production of one of their most recognisable pieces still today: the Eames plastic armchair. The Eames plastic armchair was first presented in 1948 at the New York Museum of Modern Art’s ‘Low cost furniture design’ competition. The comfortable shell, made of fibreglass-reinforced plastic, was combined with a variety of bases to create different looks.

 

Their lives and work represented the nation's defining movements: the West Coast's coming-of-age, the economy's shift from making goods to producing information, and the global expansion of American culture. Their evolution from furniture designers to cultural ambassadors demonstrated their boundless talents and the overlap of their interests with those of their country. In a rare era of shared objectives, the design team partnered with the federal government and the country's top businesses to lead the charge to modernise postwar America.

 

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