Eileen Gray Non Conformist
Most of the Gray's designs were polarizing and contradictory - yet always elegant. The Non Conformist chair design is one such contradiction.
The designed chair model looks unfinished to the viewer. And yet, this implemented design idea of Eileen Gray has its function and also its purpose.
Even if it is about forgetting an armrest, hence an asymmetrical design, the idea behind it is thought through logically to the end. By omitting an armrest, the body was allowed more freedom of movement.
Like all our furniture, the Non Conformist chair is handmade in specialized and select italian factories.
Dimensions:
- Height 77 cm (2'6'') x width 62 cm (2'0'') x depth 57 cm (1'10'').
Due to the special situation (pandemic, etc.), the production time of the chair classic starts at about 10 weeks. In addition, about 5 to 9 working days for delivery. Depending on the destination. (As of February 2022)
Available in many
variants
The Eileen Gray Non
Conformist Chair can be ordered in various leather versions or in fabric. The
frame and tubular steel frames are high-gloss chrome-plated or can be painted
in all standard RAL colours.
Convincing design
This design chair
convinces with its aesthetics, function and timeless appearance. In particular,
the imperfect perfection of the design are a statement.
Not just simply copied
Our furniture is not
simply copied. They are subject to the highest quality standards using the most
modern manufacturing techniques. The result is a very durable product which
will give you pleasure for many years over and over.
Craftsmanship from
Tuscany
Tuscan craftsmanship
made in Italy and many years of experience guarantee the highest quality finish
on the Eileen Gray Non Conformist chair. Nothing is more unaesthetic than a
cheap copy that reveals itself as such at first sight.
More about the
designer
Eileen Gray, born on
09.08.1878 in Brwonswood (Ireland) was an extraordinary woman. In what was then
known as the "Children's Kitchen Church" Law period, Gray moved and
went into the professional world. Her autodidactic knowledge led her to
success as an interior and furniture designer, without ever having completed a
degree.
The beginning
Eileen Gray's father
died in 1900. At that time she had already been learning the trade of a
draughtswoman at the Slade School of Fine Arts in London for two years. In 1902
Gray moved to Paris where she continued to devote herself to the arts of
drawing and oriental lacquerwork.
Further Information
In 1907 Gray rented a
flat at 21 rue Bonaparte, which she kept until the end of her life. In Paris,
Gray met the Japanese Sugawara, who introduced her to the art of East Asian
lacquer. It was not until six years later that Gray dared to show her own work
at an exhibition of interior designers. Gray's works aroused the interest of
the couturier Jacques Doucet - an art connoisseur and collector at the time.
The first project
Doucet was
refurnishing a house at the time. The style of the interior design was to move
away from 18th century art towards modernism. Eileen Gray made two tables and a
screen for the Doucet house. These works were dated and signed by Gray.
Return and creative
break
At the outbreak of
World War 1, Eileen Gray returned to London and took up work as an ambulance
driver. After the end of the First World War, Gray returned to her old place of
work, Paris, reopening her workshop. Her first major commission was to design a
flat in Rue de Lota of Madame Lévy, known as Suzanne Talbot.
The breakthrough
In 1922 Gray opened
the Galerie Jean Désert in the Rue du Faubourg St. Honoré. There she exhibited
and sold her furniture, screens and lamps. With her "bedroom-boudoir for
Monte Carlo", Gray caused controversial criticism in the Paris press in
1923. Among the followers of the "de Stijl" movement, however, it was
highly acclaimed. Gray received encouragement from Gropius, Le Corbusier and
Mallet-Stevens. Based on this, she ventured into architecture.
Gray's creativity
With the advice of the
architectural theorist Jean Badovici and after several years of learning, Gray
built a house for herself in Roquebrune. Well thought out including clever
interior solutions and details. The other two projects Gray designed were also
convincing in their ingenuity and practicality. Further designs, however, were
not realised. Until her death in 1976, Gray worked on various newly conceived
projects and was always experimenting with new materials. At the age of 80,
Gray converted a barn near Saint Tropez into a summer house. Shortly before her
death, Eileen Gray had an exhibition of her most important works at the Museé
des Arts Décoratifs in Paris. On 28.11.1976, Gray's eyes closed forever.
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