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The Grace project began with our desire to create a different kind of seating system
that was somehow inspired by the fashion world.
For this project we therefore identified an essential, clean, categorical structure
onto which different seats are mounted with sartorial detailing.
The project began with the name Grace in reference to the style icon, Grace Kelly
and then each version has a name that denotes its character
for example the "Eton" chair reminds you of the morning suit with the tail, a bit like the formal penguin.
Then there's Grace "Pin Up" that instead shows off completely its legs, its structure.
The "Mandarin" Grace instead emphasizes the mandarin collar detail.
And there is another version which is called "Polo"
which invokes the idea of a saddle or a flap, with the layering of elements.
The collaboration with Living Divani was a very natural process.
They received our presentation with great enthusiasm
and encouraged us to push the project further, to create as many possible differences between each chair.
Living Divani has very high capabilities and know-how within the company
and also open-minded that allowed us to develop the project in this direction
and they encouraged us to develop more and more models.
The challenge was to restrain certain excesses
to keep clear that the inspiration and references to the fashion world should only be partly visible.
We had to avoid falling into the production of chair covers, of a housse
which would become too linear, or too obvious.
As the domestic and contract sectors are getting closer and closer
we tried to develop a product that could live between these two worlds.
There is no longer a clear division. We see more and more that products
can live together in completely different areas.
At the same time, it was fun to consider a situation in a meeting room
imagine 18 men in suits and ties sitting on chairs
that remind you of the formal aspect of the dress code of that occasion.
Therefore this was an opportunity to be able to give more personality to spaces
so there is a transposition from the identity of the product to the identity of those who live that space.