Stylistic Trends in Chair Design at the Start of the
21st Century: Tradition and Modernity
Desislava Ivanova Angelova
Department of Interior and Furniture Design
University of Forestry
Sofia, Bulgaria
d_i_angelova@abv.bg
Abstract - The paper explores the creative output in seating
furniture represented by works of prominent contemporary
European and American designers. A comparative analysis of
works created by such designers after 2000 and examples from
the 20th century reveals the common and the different between
the two. The active following and creative use of the familiar
stylistic trends of the near past are cleverly combined with the
possibilities offered by the new industrial methods and
technologies of production.
The interdisciplinary approach of research (a combination of
engineering and artistic analysis) helps reveal the changes in
the “language” of furniture design: the materials, construction,
outline, colours, etc. and its organic link with the stylistics of
the material world of the Postmodern time.
Keywords: chair, material, construction, production
technologies and techniques, stylistic trends
I. INTRODUCTION
In terms of creative orientation, the furniture designers
of the present have at their disposal a broad range of artistic
features of their creations, including in the area of seating
furniture (chairs). The new materials and technologies get
successfully and seamlessly combined with the rich artistic
heritage recognized long ago in this wide area of
contemporary design.
After World War Two the processes of interchange,
mutual influence and interaction underway among designers
gradually led to the diffusion of the regional and national
characteristics. In this context the new “toolbox”: digital
technologies and the Internet, used most actively by the
international designer community, stands out with particular
strength in terms of importance and meaning in the course
of the past two decades.
The aim of the present work is to identify in most
general terms the key artistic features of the chairs created at
the present moment, from the point of view of the use and
interpretation of the styles that were typical for the past
century.
What artistic trends are being used in contemporary
design work?
Sasha Simeonova Lozanova
Department of Interior and Furniture Design
University of Forestry
Sofia, Bulgaria
sashel@abv.bg
How are they modified and adapted by the individual
designers?
What are the reasons for the changes in the artistic
language used thereby?
II. EXPOSITION
French designer Philippe Starck (b. 1949) is one of the
most prominent artists of his generation. Starck studied at
the École Nissin de Camondo in Paris where he showed an
interest in the living space. He started his career with
furniture design [5]. An active and prolific artist, Starck
designed lighting pieces, door handles, vases, utensils,
vehicles, public interiors, night clubs, stores, private homes,
etc., and came to be recognized as a prominent architect in
Europe and beyond [5]. Starck set up his own design
company and started to work with the biggest industrial
manufacturers in the world. His works can be seen in the
most prestigious museums and galleries in Europe and the
United States.
Guided by the idea for an environmentally friendly,
democratic and humane design, Starck seeks to improve the
quality of life of as many people as possible. The three
guiding principles in his artistic work are ethics, and good
design for the client and also for the final user [1].
Starck's work is characterized by diversity, skilful
selection of traditional and modern artistic styles, artistry,
sense of humour, irony, playfulness. All this is skilfully
combined with the priority use of new materials and
technologies.
Starck designed the Objet Perdu chair in 2004 (fig.1.a).
It can be perceived as a modern version of the famous
Superleggera Chair (No.699) of prominent Italian architect
and designer Gio Ponti (b. 1891, d. 1979) designed in 1957
[8]. The difference between the two chairs is in the bearing
structure (the number of bars under the seat) and in the
material that is used. The resemblance in the Starck chair is
programmatic and exemplifies the designer's affinity
towards democratic design, and towards the traditional,
practical and commonly used furniture of the past, having a
clear, simple and elegant appearance.
a) b)
Fig. 1: a) Objet Perdu, designed by Philippe Starck, 2004, Driade; b)
The Superleggera Chair designed by Gio Ponti, Cassina, 1957 [8]
 Placed side by side, Starck's Mr. Impossible Chair (fig.
2.a) of 2007 and Carl Jacobs' chair of 1950 carry the typical
features of organic design and in particular the work of
American designers George Nelson (b. 1907, d. 1986), Paul
Goldman (b. 1912) and others of their generation. The
splayed legs and the shape of the upper part of the Starck
chair direct the viewer to another such piece of furniture, the
chair model C2 by Danish designer Carl Jacobs (fig.2.b).
a) b)
Fig. 2: а) Mr. Impossible designed by Philippe Starck 2007, Kartell;
b) Jason chairs, model C2, designed by Carl Jacobs in 1950 for
Kandya [2]
Starck's Min Ming (fig.3.a) chair was inspired by both
the work of prominent Scandinavian designer Hans J.
Wegner (b. 1914, d. 2007), as well as by the traditional
Chinese art of the Ming period, which the artist interpreted.
The new aspect in Starck is the use of the polycarbonate
polymer in combination with armrests in aluminium, solid
wood or polymer. In the minimalist spirit Starck simplified
and visually lightened the structure.
a) b)
Fig. 3: а) Min Ming designed by Philippe Starck, 2008, XO; b)
Chinese chair designed by Hans J. Wegner, 1944, Fritz Hansen
The Masters Chair (fig.4.a), as its name suggests,
combines stylistic features of the Scandinavian design and
of works by American designer Charles Eames (b. 1907, d.
1978), the DSW chair of 1948. The back of Starck's chair
combines the typical features of the 3107 chair of 1955 by
Danish designer Arne Jacobsen (b. 1902, d. 1971) and of
Finnish-born American designer Eero Saarinen (b. 1910, d.
1961). The new thing in the Starck chair is the use of
modern production methods (injection moulding) and
materials: polymers.
a) b)
Fig. 4: a) Masters designed by Philippe Starck 2009, KARTELL; b)
3107 chair designed by Arne Jacobsen, 1955; the DSW Chair
designed by Charles Eames, 1948; Tulip chair, Eero Saarinen, 1957
Another artist from this generation is Italian architect
and designer Matteo Thun (b. 1952) who studied
architecture in the University of Florence, sculpture in the
Salzburg Academy under the supervision of Oskar
Kokoschka, and in the University of California, Los Angeles
[3]. Later Thun started to work with Ettore Sottsass and
became a member of the Memphis Group. In 1980–1984 he
designed a number of projects in the characteristic style of
the Group. In 1983–2000 Thun taught in the University of
Applied Arts, Vienna (Hochschule für Angewandte Kunst,
Wien), and in 1984 founded his own studio in Milan where
he worked on projects for big manufacturers.
In 2001 Thun's cooperation with Luca Colombo, Herbert
Rathmaier and Antonio Rodriguez led to the creation of
Matteo Thun & Partners which does architectural projects
and interior and product design. Thun's work has earned the
artist many awards, including the prestigious ADI
Compasso d'Oro Award for design excellence which he won
three times.
Thun's works are characterized by an extensive creative
“register” (interior design products with diverse functions)
and stylistic trends: Postmodernism, including Italian radical
design, etc.
Fig. 5 shows the Slide chair of 2005-2006 designed in
co-authorship with Antonio Rodriguez. The execution
directs to the DCM chair of Charles and Ray Eames of
1945. The differences in structural terms are insignificant.
The material of the Thun chair is transparent polycarbonate,
similar to the chair in Fig. 3. An impression similar to that
of glass is created, made possible thanks to the possibilities
of the new materials.
a) b)
Fig. 5: а) Slide chair, design by Matteo Thun and Antonio Rodriguez,
2005–2006, Segis; b) DCM designed by Charles and Ray Eames, 1945
The resemblance of Thun's Isu chair (2005–2006), in all
likelihood inspired by the Shadows chair of Rene Herbst
(1928-1929), is in the outline and in the material used
(fig.6.a.b.). The difference in the Thun chair is the use of
recyclable aluminium and the seat and back done in the
same material. The stylistic features of the newer chair
recreate the traditions of a number of schools prominent in
the 20th century: Bauhaus, Modernism, High-tech, and
Minimalism. The Isu chair won Thun the 2007 New Classic
Award, Schöner Wohnen.
a) b)
Fig. 6: a) Isu chair, design by Matteo Thun and Antonio Rodriguez,
2005–2006, Driade; b) Shadows chair designed by Rene Herbst,
1928-29 [8]
 French designer Christophe Pillet (b. 1959) graduated
from the Arts Décoratifs college in Nice in 1985 and then
studied in the Domus Academy in Milan. Pillet then worked
in Italy and France (together with Philippe Starck). He was
interested in furniture, interior and product design, and
architecture. Pillet worked in collaboration with prominent
Italian and other manufacturers. His style is characterized by
delicate, clean lines and mellow shapes.
The form-formation of Pillet's Stream chair (fig.7) fits in
the tradition of the organic design which was widely spread
in Europe and the United States in the time after World War
Two. The chair bears obvious similarity to the 1988 S chair
of British designer Tom Dixon (fig.7.b). The works of both
artists are distinguished for their artistry, elegance, laconic
expression (similar items such as the sign in graphic design),
anthropomorphism.
a)
Fig. 7: a) Stream chair designed by Christophe Pillet; b) S chair
designed by Tom Dixon, 1988
The Meridiana chair of 2007 is executed in transparent
colour polycarbonate shell (seat, back and armrests) and
metal base, while Saarinen's Tulip armchair of 1958 is made
of polymers only, which was typical for the 1950s and the
1960s. Irrespective of the differences in structure and
materials, the outline of the two chairs suggests the impact
of the organic design.
a) b)
Fig. 8: a) Meridiana designed by Christophe Pillet, 2007, Driade; b)
Tulip Armchair designed by Eero Saarinen 1953-58, Knoll
Jasper Morrison (b. 1959) is a British product and
furniture designer who studied in the Kingston
Polytechnic Design School, the Royal College of
Art, London, and the Berlin University of the Arts (formerly
the Hochschule für Bildende Künste).
Morrison is famous for his experimental furniture pieces
and the installations he did for many exhibitions. Morrison
worked in collaboration with prominent designers of his
generation (Konstantin Grcic, Hella Jongerius, Ronan&
Erwan Bouroullec, among others) and created many works
of industrial design.
The chairs in Fig. 9 have identical structural solutions
and materials: a metal base, and seat and back from
moulded plywood. In harmony with the existing British
tradition of form-formation of that time, the design is
simple, and such that saves materials (a reduced number of
structural elements) and space, as the chairs are stackable.
a) b)
Fig. 9: a) Tate Chair designed by Jasper Morrison, 2000, Produced
by Cappellini; b) Q-Rod chairs designed by Robin Day, 1953 for Hille
In 2008 Jasper Morrison designed the Pipe chair
(fig.10.a), in all likelihood inspired by the famous furniture
maker of the 19th century Michael Thonet (b. 1796, d.
1871), whose factories (in Europe and in the United States)
manufactured many classical serial furniture items with
universal functions and use which continue to be in fashion
b) to this day.
a) b)
Fig. 10: a) Pipe chair designed by Jasper Morrison, 2008, produced by
Magis; b) Chair Model 14, Michael Thonet
Karim Rashid is an artist working in industrial and
interior design, architecture, brand identity and packaging.
Rashid was born in Egypt, studied in Canada and founded
his own studio in New York in 1993. He works in more than
40 countries. Rashid has participated in many prestigious
exhibitions, published several monographs, and won more
than 300 awards.
The seating furniture designed by Rashid is in two main
directions: organic and geometric design. Rashid's furniture
items are recognized by the skilful use of new technologies
and materials, the bright, lively colours and the marked
physical and visual comfort.
The Steek Chair shown in Fig. 11 incorporates many
characteristics: from the style of Frank Lloyd Wright (b.
1867, d. 1959), to the characteristic of Postmodernism, e.g.
Frank O. Gehry (b. 1930). Here one discovers essential
features of the work of artists of the Bauhaus school, along
with elements of the organic design. The latter are easily
discernible in Karim Rashid's Kat chair of 2012, which
borrowed the shape of a 1950 chair by Scandinavian
designer Olavi Kettunen.
a) b)
Fig. 11: a) Steek Chair designed by Karim Rashid, 2011, Arteco by
Artisan, Bosnia; b) Chair, Easy Edges Collection, designed by Frank
O. Gehry, 1972
 Finnish designer Eero Aarnio (b. 1932) (with diverse
appearances in interior and industrial design, photography
and graphic design) [5] inspired Rashid for the Koop Chair
of 2010 (fig.12.a). In the 1960s the Pop Art conquered all
spheres of contemporary art and design. Rashid's Koop
Chair followed closely Aarnio's piece, using the materials
preferred by the by Pop Art (polymers), minimalist
structural elements, clean, laconic shapes and bright
contrasting colours.
a)
Fig. 12: a) Koop Chair designed by Karim Rashid, 2010 MARTELA,
FINLAND; b) Ball or Globe chair, designed by Eero Aarnio, 1963-65;
Sessle Oval Eye Ball Chair, designed by Eero Aarnio
Considered one of the most talented contemporary
designer, Spanish artist Patricia Urquiola (b. 1961) studied
in the University of Architecture at Madrid Polytechnic and
Milan Polytechnic, and later taught in prestigious
universities such as the Milan Polytechnic and the
E.N.S.C.I. in Paris, working together with the famous
Achille Castiglioni and Eugenio Bettinelli. At the moment
Urquiola works in her studio in Milan doing architectural
works, space design, etc. She is a winner of a number of
international design awards, including New York MOMA
USA, AFI-FAD Spain, Wallpaper International, A&W
Designer of the Year and Design Prize Cologne, etc.
Urquiola designs furniture for leading international furniture
companies. Her work is characterized by a distinct
individuality and an experimental approach in materials,
shapes, as well as by adherence to the traditional woman's
home creativity.
The items from the Glove series of seating furniture
(fig.13.a) designed in 2005 are made with a single structural
piece (metal sheet), curved and fully upholstered. The warm
colours, the soft, rounded and smooth shapes seem to
remind of fluffy toys which produce a felling of comfort and
security. Such an outlook and mood is also induced by the
1965 Djinn chair of French designer Oliver Morgue.
a) b)
Fig. 13: a) Glove Seats designed by Patricia Urquiola for Molteni &
Co., 2005; b) Oliver Morgue, Djinn chair and stool 1965
The chair from Urquiola's M'afrique collection shown in
Fig. 14 invites similar associations like the impressions
created by the chairs in Fig. 13 (children's toys – fun,
challenging, provocative), complemented by the features of
the Surrealism art. The human eye motif is a landmark one
for Surrealism and can be found in the Le Temoin (The
Witness) of 1971 of famous Dadaist and Surrealist Man Ray.
a) b)
Fig. 14: a) A chair from the M'afrique Collection, design by Patricia
Urquiola and Ayse Birsel and Bibi Seck for Moroso; b) Man Ray,
Le Temoin (The Witness) chair for Gavina, 1971 [5]
b) Born in 1965, Konstantin Grcic studied in London (the
Royal College of Art), and continued his designer work in
Munich (Germany). Grcic works in product design,
furniture design and lighting, etc., doing projects for many
leading companies. Grcic earned public recognition by
winning a number of awards, among them the prestigious
Compasso d'Oro. The experts note his inclination towards
industrial aesthetics and experimental approach. Added to
this are the designer's extensive knowledge of the history of
architecture and design, of new materials and technologies,
his creative minimalist approach .
Grcic's DAHLEM chair of 2014 (fig.15.a) reproduces
classical models of the aesthetics of Minimalism, present
already with the masters of the Vienna Secession, Joseph
Maria Olbrich (b. 1867, d. 1908), Koloman Moser (b.
1868, d. 1918), Josef Hoffmann (b. 1870, d. 1956). The
same aesthetic guidelines were revived by the artists of the
German Bauhaus, such as in the excellent example shown in
Fig. 15, designed by Erich Dieckmann in 1926.
а) b)
Fig. 15: a) DAHLEM CHAIR design by Konstantin Grcic for ARFLEX
JAPAN, Project assistant: Charlotte Talbot (KGID), 2014; b) Armchair
for the furniture workshop at the Staatliche Bauhochschule in Weimarm,
design by Erich Dieckmann (b. 1896, d. 1944), c.1926 [5]
Grcic's MYTO chair (fig.16.a) of 2008 was most
probably inspired by the 1927 landmark chair of German
designer Heinz Rasch, called The Spirit-of-Sitting Chair
(fig.16.b). Made from plywood (?), Rasch's chair is a
classical example of a cantilever chair and early
biomorphism. Grcic's chair follows the shapes and outlines
of form-formation recreated using the means of design of
the 21st century. The innovative feature here is the material
used, Ultradur® High Speed, which makes it possible to
 manufacture the chair in a single piece using monoblock http://www.elledecor.com/design-decorate/talent/patricia-urquiola-
plastic injection moulding. The material allows the creation furniture-designer
of elegant shapes. The base is a bearing frame, while the [4] Farthing, S., R. Cork, Art: The Whole Story. Thames&Hudson. 2010.
seat and back are perforated. [5] Fiell, C., P. Fiell, Design of the 20th Century. Taschen, 2001. pp.
662- 691.
[6] Fiell, Ch., P. Fiell, Modern Chairs. Taschen, 2002.
[7] Lozanova, S., Art in Design. European Architecture, Interiors and
Product Design after 1830. Grafika 19, 2014. pp. 267-268.
[8] Miller, J., Miller’s 20th Century Design. Octopus Publishing Group
Ltd. 2012. p. 78, p. 160

a) b)
Fig. 16: a) MYTO Chair, design by Konstantin Grcic, Project
assistant: Alexander Löhr (KGID), Commissioned by: BASF,
Producer: Plank, 2008; b) Sitzgeiststuhl (The Spirit-of-Sitting Chair,
1927), Heinz Rasch

CONCLUSION
On the whole, the brief survey of the product designs
created after 2000 highlights their fitting into the stylistics
of Postmodernism. Two major trends are observed: in the
first the artists modify the stylistic features borrowed from
the past; in the second we have a kind of “quoting” that has
been programmatically laid down by the artists themselves.
Another significant trend is the use of materials with
improved characteristics (production technology, care for
the environment, low cost, etc.). These materials allow
visual lightening in the spirit of Minimalism (thanks to
transparent, lace-like patterns the artists can, as it were, de-
materialize the products; small thickness of the parts used in
the structure; simplified constructs, including such made
from a single piece or with a small number of components).
The organic design appears to be the preferred trend taken
from the 20th century.
The chair – this trivial product of design, reflects
the R&D achievements of the end of the 20th century and
beginning of the 21st century, as well as the entire range of
trends in design and art that rapidly changed the outlook of
the modern product environment.

ACKNOWLEDGMENTS
This document was supported by grant No.
BG051PO001-3.3.06-0056, financed by the Operational
Programme Human Resources Development (2007 –
2013) and co-financed by the European Social Fund of
the European Union and the Bulgarian Ministry of
Education and Science.
REFERENCES
[1] Beard, A., Life’s Work: Philippe Starck, Harvard Business Review,
(2013, April). Available at: http://hbr.org/2013/04/philippe-
starck/ar/1.
[2] Beazley, M., The Elements of Design. Octopus Publishing Group Ltd,
2003. p. 424
[3] Designer Q & A: 10 Questions for Patricia Urquiola, The Spanish
architect and furniture designer on making, and living with, beautiful
things, E LLE DE C OR . Available at: