Inspired by Eames

Lounge Chair

Inspired by Eames

Lounge Chair

Save 30%

Availability: In stock

Regular Price: £2,206.68

Special Price £1,544.68

Reset Configuration

* Required Fields


100% Made in Italy. Swivel armchair. Five star base in black lacquered aluminium fusion, and steel frame in the high part. Shell in curved plywood with a rosewood or a cherry veneer or walnut, or with black-painted finish. Padded with polyurethane foam. Leather upholstery.
The “Lounge Chair” (1955) is the only Eames’ model which deliberately winks at the world of luxury and opulence. Above all, it represents a decisive contribution to the modern design of the ‘50s, which, free of the austere geometric forms of the ‘20s, moves towards more sculpted and organic shapes. Eames wanted a comfortable yet simple armchair, whose frame and upholstery are fused like two hands crossed together. This is the explanation he gave his wife, or at least it’s as the story goes. The result fully respects his intentions: the armchair appears to wrap itself around the body like a glove, allowing the user to sink into slowly, just the way Eames intended it. Without minimizing in any way its innovative aspects regarding materials: bent plywood for the wooden “frames,” pressure-cast aluminium for the base. On permanent exhibit at MoMA in New York. Swivel armchair and Ottoman. Black lacquered aluminium fusion base, and polished chrome in the high part. Bent plywood shell, natural or lacquered. Polyurethane foam padding. Leather upholstery.

Additional Info

Dimensions L80 P85 H82 HS40 cm
Inspired by Eames


  • CUIR QUALITY: peau de veau épaisseur 0,8-1 mm.
  • CHROMAGE TOP: high thicknesschrome manual brushing and metal
C. Eames


C. Eames


After his early unsuccessful experiences as an architect, Charles Eames taught industrial design at the Cranbrook Academy of Art in Michigan. Among his colleagues were Harry Bertoia, Eero Saarinen, and Ray Kaise; Eames went on to marry Kaise, with whom he shared both his work and his life. The influence of Charles and Ray Eames on design in the ‘50s were truly enormous: sculpted organic forms, new materials, and production techniques, a revolutionary approach which expressed itself not only in design but in exhibitions, stage designs, cinematography and in forerunning multimedia presentations (films, slide shows, drawings).

With their multifaceted activities, the Eames supported the values of coherence and social morality, egalitarianism, informality, and anti-materialism. Among the most important exponents of the Organic Design and also the greatest designers of the century, Charles and Ray Eames showed how modern design could improve our quality of life, as well as knowledge and comprehension between peoples.

In the end, everything ties up.