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A deep blue armchair with a wide, hexagonal backrest. The seat and back are covered in a quilted, geometric pattern of raised diamond shapes.

Benjamin Hubert's centenary celebration chair for Poltrona unveiled in Milan

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Date
26 April 2012

Surely no play has lodged itself in our collective cultural consciousness more than Romeo and Juliet and it latest incarnation is in chair form. To celebrate its centenary, Poltrona Frau challenged 12 designers to come up with chair that Janus-like would reflect its illustrious heritage and presage its future. It should also be a chair that people want to spend time in and made using traditional techniques. The winner was announced at Milan last week, with London’s Benjamin Hubert studio taking the honours for its Juliet chair, inspired by the sleeve of the same name ( i.e. a sleeve that tightly fits the arm and has a large deconstructed ‘puff’ on the shoulder lads).

“This inspiration was used to communicate the properties of leather upholstery. The out side of the chair utilises the flexibility and tensile strength of leather to describe a fluted traditional timber frame work where the shape of the timber can clearly be seen through the tight leather covering. This is contrasted by a ‘tri-pleated’ generous sitting area with a soft and loose appearance,” the winners said.

“This de constructed area is used to describe the comfort of the chair. The shape of the sitting area is ‘wide screen’ to allow the user to sit in multiple positions in line with how people really use and mis-use furniture.”

Five quilted, geometric beanbags in olive, orange, blue, grey and green. They are arranged in a circle against a plain white background.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau

A person in a bright orange coat leans over a large, textured sculpture on a table. The piece consists of a smooth white base topped with a grey, intricately folded fabric structure.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau (making of)

A large, quilted grey fabric drape covers a piece of furniture, creating a rounded, textured shape. It sits on a simple brown bench in a bright, minimalist studio with open doorways.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau (making of)

Two white 3D-printed chair prototypes sit on a white desk. They are surrounded by foam cut-outs, technical sketches and rolls of tape.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau (making of)

A top-down view of a blue, octagonal seat cushion. The fabric is tightly smocked into a repetitive, textured pattern of small pinched folds.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau

A blue upholstered chair with a high, structured back. A quilted blue fabric cover is draped over the top and sides of the seat.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau

A close-up of a bright blue leather surface with a deeply quilted, geometric pattern. The material is pinched into a series of repeating, three-dimensional folds.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau (detail)

A close-up of a bright blue leather surface, heavily creased and folded into a dense, organic pattern. The material catches the light across its undulating ridges and deep shadows.
Above

Benjamin Hubert: Juliet chair for Poltrona Frau (detail)

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About the Author

Rob Alderson

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Rob Alderson is a freelance writer, editor and strategist. He was previously editor-in-chief of It’s Nice That and WePresent, and editor of Design Week. He publishes the newsletter Undo, which tries to make sense of how AI is changing design work, the design process and the design industry.

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