In the fascinating world of design, few objects can combine functionality and art, perfectly embodying the concept of icon like the chair .
This piece of furniture, apparently simple and present in every home, is the most used in daily life and at the same time one of the most sophisticated from a design point of view, the result of continuous research driven by a passion for design . Behind its apparent simplicity, there is the creative genius of those who designed it, transforming it into a symbol of power, aesthetics and innovation.
The history of the chair: a thousand-year journey of iconic famous chairs
The chair is at the center of a long evolution whose history is very ancient. In Ancient Egypt , the chair was a symbol of authority, reserved for pharaohs, as often represented in art and historical records. In the Roman Empire , it evolved to become more functional, while during the Middle Ages it was enriched with decorative carvings and fine fabrics, reserved for the noble classes.
With the Renaissance , the chair began to spread among a wider audience, becoming an element designed with increasing attention to aesthetics and comfort.
The industrial revolution and the change in design
The turning point in chair design came with the industrial revolution between the 19th and 20th centuries. In this period, the chair transformed from a simple functional element to an object of artistic and technological experimentation. Visionary designers began to explore new materials, such as bent wood, metal, carbon fiber and expanded polyurethane, creating pieces that made design history.
The chair as a work of art
Today many chairs are considered true works of art , symbols of creativity and ingenuity of important world-famous designers, who have given life to objects capable of spanning decades and recounting eras. Some models, true design masterpieces, are exhibited in prestigious museums such as the MoMA in New York and the Vitra Design Museum in Germany.
Symbol of elegance and creativity
A chair is not just a piece of furniture: it is a presence capable of transforming an environment, making it elegant and sophisticated. Each model is the result of artistic intuition, design ability in balance between form and function, innovation and tradition.
The famous and iconic chairs that made the history of design
We have selected twenty chairs which, in our opinion, represent the most iconic models in the history of design. Each of them embodies creativity, ingenuity and priceless historical value. Discover with us what these works of art are and how they have changed the way of conceiving furniture.
1. 1807 – LA CHIAVARINA – GIUSEPPE GAETANO DESCALZI
The CHIAVARINA chair was invented in 1807 by a skilled cabinetmaker from Chiavari: Giuseppe Gaetano Descalzi , known as Campanino. At the request of Marquis Rivarola, Descalzi reworked models of French chairs, simplifying their decorations and perfecting their structure.
The result was an elegant productand, light and extremely robust, made of beech wood and characterized by a hand-woven seat with rattan cane.
The success of Chiavarina was immediate, so much so that its production quickly spread in the Chiavari area, with the birth of numerous artisanal factories. This design masterpiece won over illustrious figures of the time, including Charles Albert of Savoy, Napoleon III and the sculptor Antonio Canova. The famous architect and designer Gio Ponti was also inspired by this icon to create his famous Superleggera chair.
Even today, the Chiavarina chair is produced by various artisans who keep its tradition alive, especially in the Chiavari area, continuing to represent a symbol of quality, elegance and Italian craftsmanship.
2. 1860 – CHAIR N.14 – MICHAEL THONET
Designed by Michael Thonet in 1860, the CHAIR N.14 is the most famous chair still produced by the company today Thonet . It was immediately characterized as the bistro chair, also known as the Vienna chair, was made with an emerging technology of the time that used steam to soften and bend the wood. Due to its simple design and affordable price it had immediate success in the furniture market, maintaining it over time.
3. 1903 – HILL HOUSE 1 – CHARLES RENNIE MACKINTOSH
Designed by the great Scottish architect, designer and painter Charles Rennie Mackintosh , for the Hill House project in Scotland from which it takes its name.
The chair HILL HOUSE 1 is iconic and timeless, originally made of solid wood, it has an unmistakable geometric shape, characterized by a high backrest with vertical and horizontal lines.
Minimalist but with great stage presence, a timeless piece still considered an authentic design masterpiece today. Master cabinetmakers from Meda still reproduce it today for Cassina .
4. 1917 RED AND BLUE CHAIR – GERRIT RIETVELD
Conceived and designed in 1917 by the Dutch designer Gerrit Rietveld , completed only after his entry into the “De Stijl” group, an artistic movement, also known as Neoplasticism, born in the Netherlands, which aimed for an essential and geometric art form, just like this chair.
It is made up of fifteen black beech wood slats with yellow headers that form a weave of vertical and horizontal lines into which the red and blue lacquered backrest and seat are inserted; the chromatic aspect is a distinctive feature.
A chair almost devoid of mass or volume, which does not interrupt the space in which it is placed but lights it up; the backrest, released from the rear legs, generates a suspension effect.
Rietveld himself repeated that he designed this chair to be “comfortable enough for relaxation and the awakening of consciousness”.
Theo van Doesburg called it an abstract-realistic sculpture for the interiors of our future homes
The RED AND BLUE CHAIR is today exhibited atthe Museum of Modern Art in New York.
5. 1926 – S34 – STAM BY MART STAM
In 1926 the Dutch urban planner and designer Mart Stam was the first to experiment with an innovative and revolutionary concept of a cantilever chair – cantilevered – through the assembly of gas pipes connected by flanges, giving life to the S 34 , a true example of 20th century design. This chair has only two uprights folded to the ground and the seat is connected horizontally by a curved and continuous steel tube; covering, seat and backrest are in full grain leather.
It was launched in Stuttgart in 1927 during the Werkbund Die Wohnung exhibition and produced by the German company Thonet, it was the subject of heated disputes between Starm and his colleagues from the Bauhaus school of the caliber of Mies Van Der Rohe and Marcel Breuer, who took over the chair and reworked some details. The S 34 chair is a piece of contemporary design history that is still produced today by the Thonet brand.
6. 1929 MR MIES – MIES VAN DER ROHE
And here is the answer to the aforementioned S-34 by Stam, revisited in some details in 1929 by the undisputed master Ludwig Mies Van Der Rohe, German architect and designer , at the time of the Bauhaus school of which he was a teacher.
The MR MIES is a cantilever chair with a modern and light line, with a chromed tubular steel structure and a backrest and seat covered in hide or hide. It is among the chairs that have left an indelible mark on modern design, with an unmistakable signature, a true cult of the brand Knoll .
7. 1934 ZIG ZAG CHAIR GERRIT RIETVELD
We find the genius of Gerrit Rietveld in a work that hides a truly complex project behind its apparent simplicity.
The Dutch designer, whose Red and Blue Chair we learned about 17 years earlier, invested a good part of his career in studying the concept of foldability: his challenge was to obtain three-dimensional structures – like a chair, in fact – starting from a flat element. With this project, Rietveld’s objective was to obtain a seamless form between the elements that compose it and in the ZIG ZAG Chair, in fact, the only element is nothing more than a metal tube with an “S” profile, which forms the backrest, seat and legs in a single line, giving life to one of the most sought-after chairs. It is still in production under the Cassina brand.
8. 1946 – DSW CHARLES & RAY EAMES
The Dining Height Side Chair Wood Base ( DSW ), designed by the American designer duo Charles & Ray Eames.
Charles Eames, a multifaceted and visionary figure, distinguished himself as an architect, designer and director, his design philosophy was based on practicality: every creation had to arise from a concrete need.
This 1946 duo project was launched at the International Low-Cost Furniture Design Competition, organized by the MoMA in New York, with theI try to respond to post-war housing needs. Since its debut, the DSW has won over audiences and critics for its robustness, ease of cleaning and versatility, after more than 70 years, it still remains a symbol of functionality and timeless style.
Its first version was in molded metal, later replaced by fibreglass, it is currently produced by Vitra in post-consumer recycled plastic to meet eco-sustainability needs with customizable models and a wide range of colours.
9. 1949 – 832 LUISA – FRANCO ALBINI
The 832 LUISA chair, winner of the Compasso d’Oro in 1955, is one of the masterpieces of Franco Albini , one of the most important Italian architects and designers of the twentieth century. Characterized by geometric, square and clean lines, which are the distinctive features of Albini’s aesthetics, it stands out for an essential and refined design, which combines construction robustness and visual lightness.
Its broken volumes, with separate backrest and seat, and the details in the joints and connection points, give it an only apparent simplicity. Thanks to its versatility, the chair adapts perfectly to different contexts, from studies to dining rooms and elegant restaurants. LUISA was created in five versions: the first in 1939, followed by those of 1942, 1949, 1950 and 1954. Only in 2008, with the putting into production by Cassina S.p.A ., did the project receive its definitive name, chosen to pay homage Luisa, Albini’s assistant and wife of his collaborator Gino Colombini.
This iconic piece of furniture, an example of technique and material, fully represents Albini’s poetics, with its expressiveness and historical value it continues to be a symbol of elegance and functionality.
10. 1949 – CH24 WISHBONE CHAIR – CARL HANSEN & SON
The CH24 WISHBONE CHAIR , designed by Hans Jørgen Wegner in 1949 for Carl Hansen & Søn , is an icon of Scandinavian design, capable of capturing attention with its timeless charm.
This timeless classic, characterized by the unmistakable Y-shaped backrest, combines elegance and functionality, offering comfortable support and optimal stability.
Made with different types of wood and finishes, the Wishbone Chair meets high standards of eco-sustainability thanks to the use of materials from Danish and North American sawmills. The seat is available in woven paper, both natural and black, adding a refined, artisanal touch.
Hans Jørgen Wegner is considered a fundamental figure in the history of Danish design and one of the best chair designers of the twentieth century. Trained as a cabinetmaker, Wegner has always maintained a strong bond with wood, a material that he has been able to enhance through harmonious and organic shapes. Inspired by the Scandinavian artisan tradition, he has undertaken a process of continuous simplification and purification of forms, pursuing perfect functionality.
During his career, Wegner designed over 500 chairs, tincluding this masterpiece that combines tradition and innovation.
11. 1952 BERTOIA
The BERTOIA chair, designed in 1952 by Harry Bertoia , a designer of Italian origins, is another example of experimentation that revolutionized 20th century design.
This seat, famous for its chromed steel structure and metal wire weave, stands out for its visual lightness and elegance, while maintaining great robustness.
Harry Bertoia’s innovative design was born from experimenting with the potential of metal, and is a perfect combination of art and functionality.
Harry Bertoia created this chair with the intention of creating a “functional sculpture” to be used in various environments, its shape offers comfort and resistance, exploiting the flexibility of the metal for dynamic support.
The Bertoia chair has been produced and distributed by Knoll since its debut, immediately establishing itself as a symbol of modern design. It owes its popularity both to its innovative style and its versatility, it is available in different finishes: with a padded seat or covered in leather or fabric, it fits perfectly into a minimalist furnishing style but also into a more refined one.
It is still a cult for design enthusiasts today.
12. 1956 – SUPER LIGHT – GIO PONTI
The SUPERLEGGERA , designed in 1957 by Gio Ponti , one of the most important exponents of post-war architecture, is an authentic masterpiece of design, a symbol of perfection and balance between solidity and lightness. The name itself reveals its distinctive feature: the chair weighs just 1,700 grams and can be lifted with one finger. This result is the result of the vision of Ponti, who determinedly pursued the objective of reducing weight to a minimum without compromising sturdiness.
Produced continuously by Cassina since 1957, the Superleggera represents the culmination of a process of research and experimentation on the streamlining and dissolving of the structure. This masterpiece was possible thanks to the artisanal and innovative ability of Cassina and its master carpenters from Meda, capable of translating the subtle shapes into an incredibly resistant and functional chair.
The Superleggera is available in different variants, including the version with padded seat, with a structure in natural ash, ash stained white, black or red, or lacquered in white or black. It is also proposed in the two-tone variant, which combines a white lacquered structure with black details or vice versa, for an elegant and distinctive effect.
Another version includes a rattan cane seat, which enhances the artisanal and traditional appearance of the chair, combined with a natural or lacquered ash structure.
Gio Ponti’s Superleggera is much more than a chair: it is a celebration of the balance between art, innovation and craftsmanship, an icon that continues to be a point of reference in international design.
13. 1957 GRAND PRIX – ARNE JACOBSEN
Designed by Arne Jacobsen l 1957, premiered at the Designers’ Spring Exhibition at the Danish Museum of Art & Designed in Copenhagen, the GRAND PRIX chair owes its name to the prestigious prize that was awarded to it in the same year at the Milan Triennale.
Available in different variants, which offer a wide possibility of customisation, it is offered in solid wood with various finishes, coverings and a color palette capable of satisfying any stylistic need. The versions with steel base are stackable, offering a practical and stylish solution.
A distinctive element in the design of the Grand Prix is represented by the outwardly inclined wooden legs, which recall the steel bases already used by Jacobsen for his other creations. This combination of aesthetics and functionality makes the Grand Prix a perfect piece of furniture for different contexts, from domestic environments to professional spaces.
Thanks to its timeless design, the chair is able to enhance any space, its quality craftsmanship and attention to detail continue to make the Grand Prix a symbol of Danish design.
14. 1953-1958 – TULIP EERO – SAARINEN
The TULIP chair is a project started in 1953 by Eero Saarinen , a world-renowned architect of Finnish origins, naturalized American.
With this project Saarinen’s challenge was to face the ugly, confused, restless world that he noticed under chairs and tables, represented by their legs.
After a five-year design investigation, Eero Saarinen gave life to the revolutionary Pedestal collection, which includes the famous Tulip chair, with its goblet shape and typical central stem replacing the traditional legs which give the structure a minimalist, unusual and elegant line.
The Tulip collection, in addition to the chair with and without armrests, with fixed or swivel base, is also available in the stool version.
Always produced by the company Knoll , it is an undisputed symbol of design for lovers of interior design.
15. 1958 – CATILINA LUIGI CACCIA DOMINIONI
Presented for the first time in 1957 at the
At first glance, the Catiline is not immediately perceived as a chair: its presence rather recalls that of a small throne. An intricate play of curves defines a seat that challenges conventions, inaugurating a new category in furniture design. With this work, Caccia Dominioni not only reinterprets the chair, but also redefines its use, imposing a specific posture on the user. The metal structure wraps the body at a precise height, inviting you to rest your arms in order to assume a sober, elegant and almost regal attitude. It is not designed for relaxation, but for a representative session.
The name itself, Catilina, pays homage to Lucius Sergio Catilina, senator of ancient Rome, evoking the solemnity and prestige of the past.
Intended for high-level environments, this chair stands out for its timeless refinement. Today it is produced by B&B Italia , which perpetuates its elegance and artisanal quality.
16. 1960 PANTON VERNER PANTON
The PANTON chair was designed in 1960 by the famous Danish designer Verner Panton, whose goal was to create a plastic seat made of a single piece.
Its unmistakable S-shaped profile and shaped body with rounded edges make it fluid and sinuous, the flared base gives stability and balance to the cantilever system – cantilevered shape – an innovation for Scandinavian design.
Ergonomic and comfortable, it bursts out into the environment it furnishes almost as if it were a sculpture.
The material used is injection-moulded polypropylene, cutting-edge materials for the time. Various materials were tested during the design phase.
The range of colors and finishes are numerous, the characteristic shiny surface catches the eye.
Verner Panton began designing at the end of the 1950s, but only developed the first models in the 1960s. The official presentation took place in collaboration with Vitra in 1967 which still produces it today, placing it among its flagship products.
It fits into a historical context in which design was continuous innovation, Panton breaks the mold and immediately ranks high in the approval rating.
It is exhibited in several museums including: Museum of Modern Art (MoMA) in New York, at the Design Museum in London, at the Deutsches Historisches Museum in Berlin and at the Danish Museum of Art & Copenhagen Design.
17. 1967 – CL9 – CESARE LEONARDI AND FRANCA STAGI
The CL9 chair , designed by Cesare Leonardi and Franca Stagi in 1967, is an icon of Italian design of the 1960s, characterized by technological innovation and experimentation with materials, and fits into that historical context in which many designers explored the use of new materials and technologies as part of research that is not only aesthetic, but also functional. It is part of the Radical Design movement , which challenged the functional conventions of modernism to create artistic and experimental objects.
Made in a single mold of polyester reinforced with glass fibre, a totally innovative material at the time, which made it possible to give a continuous and sculptural shape, without joints. In fact, it looks like a ribbon that generates a sinuous shape. It is a perfect example of ergonomic and minimalist design, but with a strong visual impact.
It was mass-produced by the Elco company, specialized in the processing of advanced plastic materials. Today, the CL9 is considered a collection piece and is part of permanent exhibitions in some of the most important design museums, such as the MoMA in New York and the Victoria and Albert Museum in London.
18. 1970 DATTILO ETTORE SOTTSASS
Work by the architect and designer Ettore Sottsass, a leading figure in 20th century designcentury of which he is considered one of the most influential – he was also the founder of the Memphis Group in 1981 – known for his radical approach to design. In 1958 he worked as a design consultant for Olivetti, designing typewriters and mainframe computers. This assignment led him to perceive these products as part of a larger and more complex system, pushing him to consider knowledge of work processes in design.
Between 1970 and 1972, Sottsass designed a series of adaptable office furniture called Synthesis 45 for Olivetti, which included the DATTILO chair. This chair was designed to guarantee user ergonomics: the height of the seat was adjustable via a screw hidden by a plastic sheath, while the backrest could be adjusted both in height and in the angle of inclination. The chair frame and base were made of cast aluminum, while the padded seat and back featured synthetic coverings.
The goal of Sottsass, a pioneer in the field of ergonomics, was to create office furniture that integrated perfectly into a work environment increasingly dominated by machinery, helping to improve the posture and well-being of workers.
These chairs are currently no longer in production, but you can find them at specialized vintage retailers.
19. 1986 – ETRUSCAN CHAIR DANNY LANE
It is a chair-sculpture designed by the American artist and designer Danny Lane in 1984. It represents a fusion of industrial and artisanal materials. Combining glass, stainless steel and aluminum creates a striking contrast between the transparency of glass and the solidity of aluminum and steel. The irregular surfaces characterize it, it presents a design that stands out for its sculptural and bold lines.
With the ETRUSCAN CHAIR , Danny Lane used glass in an innovative way, creating something that, despite performing the function of a chair, presents itself as a work of art.
It is present in many museum collections including the Corning Museum of glass in New York but has been exhibited in numerous international galleries, confirming its status as an iconic piece of design.
20. 1984 – Pratt Chair Gaetano Pesce
With Gaetano Pesce we enter the field of the sublime!
Visionary and multifaceted Italian designer and architect of international fame, he passed away just under a year ago, leaving us with an invaluable legacy of bold and experimental creations and works, which challenge the conventions of traditional design.
His chairs represent a powerful combination of art, functionality and innovative materials. Choosing which one to mention was not easy, we focused on the series PRATT CHAIR which is one of his most evocative and experimental works, created in 1984.
This work is a typical example of Gaetano Pesce’s visionary approach to design, characterized by the use of innovative materials and the customization of each piece. The chair was designed for Pratt Institute in New York, where Pesce taught, and has become a symbol of his firadical philosophy in the world of design.
Made of synthetic resins and colored polyurethane with which Pesce gave body (and soul) to unique and unrepeatable chairs, with random colors and textures that made each chair different from the others.
Each chair is, in fact, a work of art in itself, produced through a manual casting process that guaranteed the uniqueness of each piece.
The Pratt Chair series challenges the idea of uniformity in mass production, demonstrating how craftsmanship can coexist with modernity and industry.
Minimal in structure, but the liveliness of the colors and the irregularity of the lines make it of great impact.
The Pratt Chair is included in the collections of major museums such as the MoMA in New York .
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