Timeless

What counts in the end are the things that last. We at ClassiCon are dedicated to these timeless companions. Our name stands for the unmistakable combination of classic and ontemporary, i.e. for the classics of today and those of tomorrow. What they all have in common is that their form and function endure beyond trends and fashions. They are a pleasure to have around because they are outstandingly designed, carefully selected and manufactured with great passion and craftsmanship.

That time cannot harm them; on the contrary, they tend to gain over the years.

Pioneering

How much spirit of optimism is there in a piece of furniture?

At ClassiCon, you will only find pieces of furniture that have the courage to be new and innovative. Some of them have a big name and a proud design history that goes back decades. Others are just at the beginning of a great story. Pioneering design is in the very best hands at ClassiCon, because designers and their rights holders know about our respectful treatment of their originals. And because such icons are rare, our collection of modern classics is as small as it is fine.

Authentic

Our designers and their designs are as cosmopolitan as we are down-to-earth when choosing our production partners. Most of our ClassiCon furniture is made by craftsmen in our Munich neighborhood and in Italy. Many of them are family businesses that we have known personally for a long time and each one is a master of their trade. We share the same passion for the best materials and precision craftsmanship with all of them. And because this is the case, the highest quality and uncompromising sustainability are built into our furniture right from the start. They can be recognized by the ClassiCon logo, which unmistakably identifies our originals as such.

Collection

Good furniture is like a good friend: someone we like to have around us, who sooner or later becomes a valued part of us and who accompanies us through life, wherever it may take us. This is the kind of furniture we make.

Thinking with our hands

ClassiCon furniture is made by hand. To achieve this, the company works with a network of experts: small, owner-managed craft businesses that venture into new territory with old skills.

You have to dare to do that. To take part in an international design fair as a furniture brand, but to show almost no furniture. To celebrate craftsmanship without even a single movement being visible. Instead: Faces. In close-up, larger than life, covered in sweat and highly concentrated, they appeared on the screens of a video installation with which ClassiCon was represented at the renowned „Designers‘ Saturday“ trade fair. The concept came from designer Sebastian Herkner. He commissioned the glassblowers who make the colored base of his Bell Table. Their facial expressions alone make it clear that they are doing the hardest and most precise work, and the appreciation is particularly noticeable in the close-up, which focuses entirely on the people themselves. For Herkner and ClassiCon, these men are „heroes“. This is the title of the installation, which was awarded the „Grand Prix“ of the trade fair, and it says just as much about the importance of craftsmanship for ClassiCon as it does about the challenge for the manufacturers with whom the company works. And it makes it clear how identity-forming the relationship is for both sides.

ClassiCon has its furniture made by hand, enabling a design that exhausts and expands its possibilities. In Eileen Gray’s famous „Brick Screen“ screen from 1925, for example, the flawlessness of the surfaces is part of the design. This is achieved by covering each of the movable panels with piano lacquer, sanding them and then lacquering them again – eight times in total, like a concert grand piano – and consequently in a workshop that specializes in the construction of these instruments. The „Mars“ chair, on the other hand, designed by Konstantin Grcic in 2003, looks like it was folded from a complex construction sheet. The particular difficulty lies in providing its surface geometry of bevels and edges with a cover made of sto_ or leather, which not only fits like a second skin, but also emphasizes each fold of the body with a straight decorative seam. For even the most experienced upholsterer, this is the ultimate in precision.

Finally, the rocking chair „Euvira Rocking Chair“ by Brazilian Jader Almeida (2013) is given its characteristic lightness by the two side sections. The trapezoidal frames made of solid oak form armrests and runners by tapering slightly at the top and bottom. Their surface changes smoothly from straight to organically shaped, the fine curve in the wood that makes this possible is turned and sanded by hand -_and is a small masterpiece.

You need a network of specialists for furniture like this. Manufacturers who venture into new territory with old knowledge and come up with solutions that go beyond the standards of serial machine production. Most of these are small to medium-sized craft businesses, owner-managed like ClassiCon itself, and here as there the decision-making paths are short and the willingness to think outside the box is comparably great. And precisely because the orders for the manufacturers are unusual and demanding, the search for such companies can basically be seen as part of the design process itself. Most of them are based in Germany and many even in the Munich area, where there have always been excellent and highly specialized craftsmen. „The know-how is on our own doorstep,“ says Oliver Holy. „Of course we use and promote it“.

„Without the craftsmen, we could pack up,“ believes designer Sebastian Herkner, and his colleague Tilla Goldberg is convinced that „only companies with passion and ambition for their own craft can create collector’s items such as ClassiCon furniture“.

The designer from Stuttgart, partner of the Ippolito Fleitz Group, has designed the „Pegasus“ desk for ClassiCon with a saddle leather table top that rolls up to the side instead of folding. She also designed the „Aërias“ chair, for which she reinterpreted the classic „Viennese weave“ as an XL pattern and in leather (instead of rattan). These are both designs whose implementation is not immediately obvious, but must first be found according to the „trial and error principle“.

the basket weaver from Westphalia, with whom she developed „Aërias“, calls this „manual thinking“. „The leather didn’t scare me,“ he explains. The challenge was rather to enlarge the familiar, small-scale weaving pattern of the seat and backrest and to find the right proportions, also in relation to the chair frame. „It was clear to me that if we really wanted to learn something, we couldn’t work with small models. Right from the start, we could only work on a one-to-one scale, with the real material and the real seat shell. This is unusual and time-consuming in every respect, but is fully in line with the „if-only“ principle, which is also typical of ClassiCon itself. The expert, who grew up in a town with 250 years of wickerwork tradition, threw himself fearlessly into the project, right down to the smallest details: a leather panel on the neck of the seat shell, for example, kept him busy for days („Should it be glued or stapled?“), he spoke to gluing experts on the phone („They’re super awkward“), worked with the designer on the perfect bottom view („How can you staple concealed in the wood?“) and on textile inserts to make the leather straps stable. „You’re dealing with people who want to develop something,“ he says about ClassiCon, and the reverse is also true. In turn, a northern Italian leather manufacturer found the solution for the table top of the „Pegasus“ secretary: Thin metal rods are concealed in the saddle leather of the flexible table top, giving it elasticity and stability at the same time, „like a corset“, explains the managing director. Magnets fix it to the desk body and give it shape: „We receive the drawing and develop an idea from it.“ Of course, this requires in-depth knowledge of the nature of the material, its strength, flexibility and surface. The company is now in its second generation, „so we have a lot of knowledge about what works and what doesn’t.“

Many companies have been preserving their know-how for decades, it just sometimes lies dormant and needs to be rediscovered and awakened. In such cases, Tilla Goldberg asks: „If you can do all this, then maybe you can do this too?“ The bosses usually start to remember how their parents or even grandparents dealt with a similar detail. „‚Let me sleep on it for a weekend‘ is a phrase I hear particularly often,“ she says. „You can see it flashing in their eyes and know that they are already thinking about it.“

Sometimes she receives an „I’ve got it“ email at four in the morning with the solution. It is safe to compare ClassiCon furniture with haute couture. Because, as in the royal class of fashion, their production preserves special knowledge and skills from disappearing. They remain alive because they are constantly challenged. The glassblowing company from northern Bavaria, which produces the base of Sebastian Herkner’s „Bell Table“, is the best example of this. Founded in 1544 and still family-run, it has been preserving the knowledge for classic products such as goblets, vases and bottles for 15 generations. However, the market for these products has become ever smaller and competition from the Czech Republic ever greater. It was something completely different to turn to the production of the large, heavy feet of the „Bell Table“, which consist of a single piece: 15 kilos of hot glass mass, which must be held by the blower, turned, blown in a large, hand-turned wooden mold, again and again, until the characteristic bell shape is created. The models, as the wooden molds are called, are dark, so that „the glassmakers are practically blowing into nowhere,“ explains Sebastian Herkner. „Nevertheless, they know when the glass is at the bottom of the mold, when it rises up the sides and when it has the same thickness everywhere.“ This requires experience.

It takes four to five years for a craftsman to reach this stage; the youngsters among them are initially only allowed to do the last part of one foot as an exercise. „Before lunch or at the end of the day,“ says the boss. His manufactory has gained a new, contemporary profile with the „Bell Table“ and at the same time has remained true to itself. It too is now „classic“ and „contemporary“.

Our furniture is a commitment to substance and quality – in private rooms as well as in offices, lobbies, business premises or hotels. We work closely with designers and manufacturers. This enables us to implement individual wishes quickly and reliably. In line with the respective project and the people behind it.

Designs from the ClassiCon collection can be found in the collections of design museums worldwide:

• MUSEUM OF MODERN ART NEW YORK, USA
• CENTER POMPIDOU PARIS, FRANCE
• NATIONAL MUSEUM OF IRELAND DUBLIN, IRELAND
• LOUISIANA MUSEUM OF MODERN ART COPENHAGEN, DENMARK
• VICTORIA & ALBERT MUSEUM LONDON, ENGLAND
• MUSÉE DES ARTS DÉCORATIFS PARIS, FRANCE
• MUSEUM OF MODERN ART SAN FRANCISCO, USA
• THE CHICAGO ATHEANEUM CHICAGO, USA
• THE INTERNATIONAL MUSEUM OF DESIGN LONDON, ENGLAND
• MUSEUM OF MODERN ART PHILADELPHIA, USA
• TEL AVIV MUSEUM OF ART TEL AVIV, ISRAEL
• MUSÉE DES ARTS DÉCORATIFS ET DU DESIGN GENT, BELGIUM
• MUSEUM OF DESIGN ZURICH, SWITZERLAND
• ARCHITECTURE MUSEUM FRANKFURT AM MAIN, GERMANY
• VITRA DESIGN MUSEUM WEIL AM RHEIN, GERMANY
• DESIGN CENTER STUTTGART, GERMANY
• THE NEW COLLECTION MUNICH, GERMANY

Responsibility for masterful designs

Eileen Gray – Collection

ClassiCon produces and distributes the Eileen Gray collection as the sole licensee of Aram Designs Ltd, London. The designer began working with Zeev Aram in the 1970s to bring her furniture and lighting to series production for the first time. in 1973, she transferred the worldwide rights to produce and distribute her designs to Aram Designs Ltd, London. As a long-standing partner and licensee authorized by Aram, we guarantee high-quality and absolutely detailed production of the authorized Eileen Gray designs. Eileen Gray’s embossed lettering and the ClassiCon logo testify that these pieces of furniture have been produced in agreement with the rights holders. During production, we also guarantee compliance with all environmental regulations, the use of high-quality materials and processing techniques as well as a thorough, final quality control.

In 2009, a brown leather armchair just under 61 cm high sold at Christie’s for £19.4 million, setting a new record for 20th century furniture. The chair was of illustrious provenance, especially as it had stood in the drawing room of Yves Saint Laurent and Pierre Bergé in Paris. „But who was the designer?“ people asked. The name was Gray, Eileen Gray – and it left a quizzical look on the faces of most of those present. May they be forgiven for their ignorance. Eileen Gray, Anglo-Irish artist, designer and architect, was one of the most influential creatives of the 20th century, and yet she remains one of the most elusive and her work is often attributed to other artists. Amidst the art and ideas that exploded in Paris in the 1920s, she rubbed shoulders with Gertrude Stein’s literary stars, drank cocktails with Djuna Barnes‘ androgynous rebels and theorized with Le Corbusier’s modernist pioneers – but she never committed herself to any particular group.

She worked alone – devoting herself to painting, interior design, Japanese lacquer art, designing furniture, making carpets and selling her work in her own gallery. It was a strange phenomenon – her talent was undisputed, her work was popular, she had passionate love affairs with men and women, and yet Eileen Gray remained calm and industrious amidst the hubbub of her contemporaries. As art critic Brian Dillon writes: „The real drama was in her work.“

She also cultivated a passion for privacy. in 1926, Gray was looking for a refuge far away from the noise of Paris, a place where a person could „count on being alone“. While she was in a love affair with the Romanian journalist and architect Jean Badovici, who was 15 years her junior, she bought a plot of land on the coast in Roquebrune-Cap-Martin in his name, on which she wanted to build a house for him and herself.

The result was E1027 – one of the most extraordinary examples of modernist architecture ever created. E1027 was built in collaboration with Badovici over three years and the name is a cryptic expression of their union. The architecture was influenced by Le Corbusier’s understanding of the „house as a machine in which one lives“, but deviates from the rigour of his theories in that personal needs are prioritized. „Formulas are nothing,“ says Gray, „people are everything“ – and so E1027 is a home planned around people’s personalities. This doesn’t just apply to the shell. Inside, there’s the height-adjustable E1027 side table that Gray designed for her sister because she loved eating breakfast in bed but hated the crumbs; the serving trolley that silenced clattering cups, the gentle curves of the Bibendum armchair and the simplicity of the Transat recliner.

She believed that architecture had to be sufficient in itself as decoration. So the walls remained white and invited the sun, the land and the sea to take over the inner space. The result was a gentle serenity, a fusion of art and nature, the tranquillity she so longed for. However, this was not to last long. Gray and her lover separated soon after the house was completed. While Gray always sought peace and quiet, Badovici apparently longed for the hedonism he had left behind in Paris – and she moved on to the coast.

In the late 1930s, Le Corbusier visited Badovici and was given permission to cover the pristine walls with obscene and garish paintings – an act that Gray saw as an act of shameless aggression towards her work and theories. Le Corbusier’s obsession with the house is well documented; after defacing the property, he tried several times to buy it – and failed repeatedly. Eventually, he built a „cabanon“ on the outskirts that would allow him to stay near the house forever. Le Corbusier drowned in the sea off E1027 in 1965 – the house was perhaps the last thing he saw.

Eileen Gray never returned to her most famous building. After the war, she moved to Paris and continued her work in the peace and quiet she always wanted – and disappeared into oblivion until she enjoyed a resurgence in popularity shortly before her death in 1976 at the age of 98. E1027 has had an unhappy history. After Badovici’s death, it was bought by a Swiss heiress who bequeathed it to her gynecologist; he sold all of Eileen Gray’s handmade furniture and was later murdered by the gardener. Squatters took over E1027 after his death and accelerated its deterioration until the French government finally acquired the property in 1999. The restoration process was laborious – but the house was opened to the public in the summer of 2015.

Designers

The international designers in our portfolio are separated by decades or entire eras. What they have in common is a creative approach to materials, shapes and technologies – and the aspiration to create outstanding products.

Eileen Gray

1878-1976

Born into a noble Irish-Scottish family, Eileen Gray went to London and Paris to study architecture and design. She initially became known as a leading designer of lacquered walls and decorative panels. With her design and architectural theories, she shaped our idea of living; her work is considered the epitome of modernism. Gray’s tubular steel furniture, revolutionary at the time of its creation, is now considered a classic. Her Adjustable Table E.1027 is one of the most copied and best-known designs in the world and was added to the permanent collection of the Museum of Modern Art in New York in 1978. Her Dragons Armchair was sold in 2009 for the incredible sum of 21,905,000 euros, making it the most expensive design object ever sold at auction.

A major solo exhibition at the Centre Pompidou in Paris in 2013 paid tribute to the non-conformist’s life’s work. The productions of the feature film „Price of Desire“ and the documentary „Gray Matters“ (both 2014) build on the success of the exhibition. Gray’s best-known architectural design, the Maison en Bord de Mer E.1027 on the Côte d’Azur, was reopened to the public in 2015.

Otto Blümel

1881-1973

Born in Augsburg, Otto Blümel devoted himself to painting after studying architecture at the Technical University of Munich. From 1907 to 1914, he managed the drawing room of the „Vereinigte Werkstätten für Kunst im Handwerk“ (United Workshops for Art in Crafts) in Munich, which at the time was a trendsetter in interior design. The focus was on craftsmanship, redesigning the everyday living environment and making functionality visible. During this time, he created furniture designs that are still appreciated today. These include his most famous design: the Nymphenburg coat stand from 1908. In 1909, Blümel met the writer Hermann Hesse, for whom he designed several book covers in the following years. Otto Blümel was awarded the Cross of the Order of Merit of the Federal Republic of Germany.

Eckart Muthesius

1904-1989

After studying at the Vereinigte Staatsschule für Angewandte Kunst in Berlin and at the Polytechnic in London, Eckart Muthesius was a master student in the studio of his father Hermann Muthesius – a co-founder of the Deutscher Werkbund. in 1929, the young Muthesius met Prince Yeshwant Rao Holkar Bahadur, the future Maharaja of Indore, in Oxford. He commissioned him to build and furnish his palace Manik Bagh – and over the course of four years, Muthesius created a jewel of Art Deco.

The architectural design of the palace and the design of much of the furniture and lighting were his own work. Together with avant-garde pieces by Marcel Breuer, Charlotte Perriand and Eileen Gray, he combined them to create a masterful work of art. from 1936 to 1939, Muthesius was also head of the Indore State Urban Development and Redevelopment Authority. When war broke out, he was forced to leave India and returned to Berlin, where he worked as a freelance architect.

Herbert H. Schultes

1938-2020

Herbert H. Schultes studied engineering and design in Munich. Together with Norbert Schlagheck, he founded the design office of the same name, Schlagheck Schultes Design, in 1967. As a partner, he worked on the corporate design of well-known companies such as Agfa, Marker, Atomic, Braun and on projects for Siemens, Bulthaup and ClassiCon, among others. From 1985 to 2000, he was Chief Designer at Siemens AG and later Managing Director of Siemens Design und Messe GmbH. The accomplished designer was also involved in setting up the industrial design course at the Munich University of Applied Sciences and taught industrial design at the Cologne Werkschulen.

As a member of various institutions, Schultes played a decisive role in shaping the significance of German design. For this he was awarded the Federal Prize for the Promotion of Design and the Cross of Merit on Ribbon of the Federal Republic of Germany. Many of his products, as well as those created in design teams under his direction, can be seen in the Museum of Modern Art, New York or in the Chicago Athenaeum Museum of Architecture and Design.

Herbert H. Schultes was still working in his own studio in Munich at an advanced age, where he designed furniture until the end.

Konstantin Grcic

1965

Konstantin Grcic was born in Munich in 1965. After training as a cabinetmaker at the John Makepeace School (England), he studied design at the Royal College of Art in London. in 1991, he set up his own business as an industrial designer in Munich with his company KGID, which is now based in Berlin. In the same year, he presented furniture designs for ClassiCon, and his name is closely associated with the company. in 2002, the first book about his work was published by ClassiCon; in addition, a solo exhibition was dedicated to him in Milan. Since then, he has developed furniture, lighting and industrial products for renowned companies such as Hugo Boss, Rado and Galerie Kreo.

Many of his products have been awarded international design prizes, such as the Compasso d’Oro for the Mayday lamp. The Chaos armchair by ClassiCon is part of the collection of the Musée des Arts Décoratifs (Paris). in 2006, Phaidon Verlag published the book „KGID Konstantin Grcic Industrial Design“. More recently, Grcic has also been curating exhibitions and designing for museums. In 2012, for example, he was responsible for the exhibition design of the German Pavilion at the Venice Biennale. Solo exhibitions of his work have been presented at the Museum Bojimans Van Beuningen (Rotterdam), Haus der Kunst (Munich 2006) and The Art Institute Chicago (2009) and most recently the exhibition „Panorama“ at the Vitra Designmuseum (Weil am Rhein). In England, Grcic was honored as Royal Designer for Industry. Design Miami Basel named him Designer of the Year in 2010. in 2016, ClassiCon celebrated 25 years of collaboration with the publication of a limited Black Edition, accompanied by an artist portfolio.

Sebastian Herkner

1981

Sebastian Herkner was born in Bad Mergentheim. He studied product design at the HfG Offenbach am Main and founded his own studio for objects, interior design and exhibition design there in 2006. Even during his studies, he concentrated on designing objects and furniture that combine different cultural contexts. He finds inspiration in original materials and techniques. He reinterprets simple mechanical principles and processing techniques through the use of contemporary technologies and finishing methods.

His Bell Table design from 2012, which is part of the ClassiCon collection, was his first major step towards international recognition. Herkner now works for international companies, designs furniture and lighting, porcelain and glass and curates and stages exhibitions on the subject of design.

Sebastian Herkner’s success is reflected in numerous accolades, including the German Design Award for Young Designers in 2011 and the EDIDA Award for „Best International Newcomer“ in 2015. For imm cologne 2016, Sebastian Herkner was named Guest of Honor and asked to design „Das Haus – Interiors on Stage“. This was followed by the Designer of the Year 2019 award at Maison&Objet Paris.

Neri&Hu

1965, 1968

Lyndon Neri and Rossana Hu are the founding partners of Neri&Hu Design and Research Office, an international design and architecture firm based in Shanghai since 2004. Both initially studied architecture at Berkeley; Hu completed her master’s degree at Princeton, Neri his at Harvard. Today, the pair are among the most influential forces in design and architecture in China and beyond.

Neri was previously a partner and project manager for Asia at Michael Graves & Associates in Princeton for ten years and also worked for various New York architecture firms. Hu also initially worked for the architectural offices of Michael Graves & Associates as well as for other large planning offices in New York and San Francisco.

In addition to their renowned architecture and design office, Lyndon Neri and Rossana Hu are the founders of Design Republic, a concept store for outstanding international design in Shanghai. The duo also work as designers themselves and create products for numerous international companies. They market their own products under the name Neri&Hu – and have already received various international awards for them. In the meantime, both architects have taken on teaching assignments at the universities of Hong Kong, Princeton and Harvard.

Jader Almeida

1981

Jader Almeida was born in Santa Catarina in southern Brazil in 1981. He began gaining practical experience in the local furniture industry as a teenager. He later studied architecture and urban development. His subsequent work for a furniture manufacturer gave him experience in working with local materials such as wood, leather and wickerwork. This, as well as contact with masters of Brazilian furniture design such as Sergio Rodrigues, shaped Almeida’s approach to design. Today, he works as a product designer and architect in his own studio in Florianópolis. His designs have been awarded numerous national and international design prizes, including the IF Design Award and the Good Design Award Chicago.

Barber Osgerby

1969

Edward Barber and Jay Osgerby studied architecture at the Royal College of Art in London. Their collaboration began while they were still students; they founded the Barber Osgerby design studio in 1996. Their very first piece, the Loop Table, attracted a great deal of attention and is part of the collections of the Metropolitan Museum in New York and the V&A Museum in London. Many successful products for well-known companies followed, and the collaboration with ClassiCon began in 2004.

In addition to their first company, the two Brits also founded another design studio in London: „Universal“ is now regarded as one of the world’s most innovative design consultancies for architecture, interiors and exhibition design. Whether in the field of furniture and industrial design or architecture: Barber Osgerby stand for the philosophy of „Interaction Design“ – their central question is the best possible reciprocal relationship between user and object. The Royal Society of Arts awarded them the title of Royal Designer for Industry in 2013.

Sauerbruch Hutton

1955 / 1957

Louisa Hutton and Matthias Sauerbruch both studied at the Architectural Association London. The eponymous office for architecture, urban planning and design, which they founded in 1989, enjoys an international reputation. Sauerbruch Hutton pursue a holistic planning approach that combines functionality with high architectural standards, sensuality and ecological sustainability – from urban planning to furniture design.

Sauerbruch Hutton’s projects, including the Federal Environment Agency in Dessau (2005) and the Museum Brandhorst in Munich (2008), have won numerous awards. Their first high-rise building, the GSW headquarters in Berlin (1999), has been part of the MoMA architecture collection in New York since 2009. 2018 saw the completion of the M9, a museum for the history of the 20th century in the museum district in Mestre/Venice, another highly acclaimed building bearing their signature.

Victoria Wilmotte

1985

Victoria Wilmotte was born in Paris in 1985. She first studied interior design there and then completed a master’s program in product design at the Royal College of Art in London. After graduating, she returned to her home city of Paris in 2008 and opened her first design studio with an integrated workshop. Here she created designs for the Tools Gallery in Paris and works for her first solo exhibition in 2009 at the Galerie Pierre Bergé e Associés in Brussels.

Wilmotte’s very particular design process is comparable to that of a sculptor: she weighs volume and emptiness, removes the material until she has found a perfect angle or an ideal curve and polishes the surfaces until they have exactly the structure, feel or light refraction she wants.

Guilherme Torres

1973

Brazilian Guilherme Torres is known for his innovative residential and commercial architecture projects as well as interiors and furniture designs. in 2001, he founded his own design studio, which is now based in São Paulo. Clear forms, minimalist details and an expressive yet restrained material palette are among the trademarks of Londrina-born Torres. The internationally renowned architect sees himself as a perfectionist who never tires of reworking and improving things. A quote from French music duo Daft Punk underlines this attitude not only on the walls of his studio, but also on his skin: „Work it harder, Make it better, Do it faster, Makes us stronger.“

Clemens Weisshaar

1977

Clemens Weisshaar was born in Munich. He initially trained as a metalworker and then studied product design at Central Saint Martins College of Art and Design and the Royal College of Art in London. He worked as an assistant to Konstantin Grcic for three years before founding his first own design studio in 2000. in 2002, he joined forces with the Swede Reed Kram to form Kram/Weisshaar – an interdisciplinary studio with offices in Munich and Stockholm. In their work, they rethink the design process and combine conventional production methods with the latest technical possibilities. Kram/Weisshaar’s work is part of internationally renowned design collections such as the Vitra Design Museum (Weil am Rhein), the Pinakothek der Moderne (Munich), the Centre Pompidou (Paris) and the Museum of Modern Art (New York).

Sandra Lindner

1974

Sandra Lindner has worked intensively with the raw materials of metal and textiles in three different craft apprenticeships. Her studies at the Hochschule für Bildende Künste in Hamburg, where she graduated as an industrial designer, were the logical next step. in 1996 she set up her own design studio ‚Lindner im Norden‘, also in Hamburg. In recent years, she has attributed an increasingly important role to questions of sustainability in her work.

Nina Mair

1978

Nina Mair was born in Austria in 1978 and studied architecture at the Accademia delle Belle Arti in Florence and at the Leopold Franzens University in Innsbruck. in 2006, she founded the design studio Pudelskern together with Horst Philipp and Georg Öhler. Mair has been working as a product designer and interior architect in her own office in Innsbruck since 2012. Together with her interdisciplinary team of designers and architects, she realizes projects for international premium brands and private clients. The rural alpine region is both home and inspiration for her. She considers her work to be successful when she manages to move people emotionally.

A+A Cooren

1974 / 1973

The Japanese-French designer couple Aki and Arnaud Cooren are behind A+A Cooren. With their multidisciplinary studio, which they founded in Paris in 1999, the duo designs lights, objects, furniture and interiors. A+A Cooren stand for a minimalist design aesthetic and the desire to integrate subtle references to nature into the everyday objects and interiors they design.

Christoph Böninger

1957

Christoph Böninger studied Industrial Design in Munich and Los Angeles. For his diploma thesis, he designed the world’s first notebook – which is now on display in the Pinakothek der Moderne in Munich. After his first professional years in Munich, Böninger moved to New York to develop design in the USA for Siemens. Until 2006, he held various leading positions in design management and as managing director at Siemens. At the same time, he continued to devote himself to furniture design. in 2010, he founded Auerberg, an independent author label for designers and architects. Christoph Böninger is also Chairman of the iF Design Foundation.

Taidgh O’Neill

1980

The artist and designer Taidgh O’Neill lives and works in Los Angeles, California. After training in carpentry and interior design, he studied fine arts at UCLA. O’Neill runs his own large studio and workshop, with which he plans and implements conversions of private and commercial properties. Since 2013, O’Neill has also turned his attention to furniture design. His designs, which he produces as individual one-off pieces or in small editions, are shown in galleries in Los Angeles, New York, Sao Paolo and Seoul.

Taidgh O’Neill’s formal language is reminiscent of artists such as Donald Judd and his work moves between art, design and craft. Trained in fine art, his objects reflect overlapping planes and proportions from abstract painting and sculpture. „I am interested in making things look broken and at the same time stable in this brokenness,“ says O’Neill, explaining his working process with natural materials and minimally assembled configurations. Taidgh O’Neill sees his work as a continuous process of change between a functional and a sculptural identity of the objects.

OrtegaGuijarro

1988 / 1989

Behind the design studio OrtegaGuijarro, founded in Barcelona in 2017, are Carlos Guijarro and Alex Ortega. The two designers with a background in industrial and interior design have set themselves the goal of creating individual and surprising everyday solutions with their work.

A clear yet poetic aesthetic is the hallmark of their designs. Along the way, they are constantly searching for the perfect interface between experimentation and technical innovation. The disciplines within which they operate include art, fashion and technology in equal measure.

Tilla Goldberg / Ippolito Fleitz Group

1973

Ippolito Fleitz Group is a multidisciplinary design studio with headquarters in Stuttgart and branches in Berlin and Shanghai. The architects Peter Ippolito and Gunter Fleitz founded the studio in 2002 and, together with a team of architects, interior designers, communication and product designers, realize a wide variety of international projects as „Identity Architects“. Buildings, interiors and products, communication measures or brand strategies: Ippolito Fleitz Group does not think in terms of disciplines, but develops integrated solutions. The studio has received over 250 design awards.

Tilla Goldberg, born in Düsseldorf in 1973, has been a member of the Ippolito Fleitz Group management team since 2009 and heads up the product design division. Together with her team, she develops room installations, furniture, lighting and objects, including her own materials and surfaces. The aim: to make the identity of each individual project unmistakable.

Thomas Kühl & Andreas Krob

1967 / 1969

Andreas Krob began his training as a civil engineer, Thomas Kühl with an apprenticeship as a carpenter. they met in 1991 while studying industrial design at the Muthesius Academy of Fine Arts and Design in Kiel and continued to work together for a short time after graduating. They combined their ideas to create sophisticated technical details in metal and wood. Kühl now lives and works as a freelance designer in Hamburg. Andreas Krob founded the Swiss-based design studio b4K together with his wife, architect Uta Krob, after working as a development manager for various German companies.

Products

It may sound strange for a designer furniture collection, but we actually feel a great responsibility when putting it together. It is the responsibility to select only the best designs which, together with the other members of our design family, form a coherent, substantial, timeless collection. In one word: ClassiCon.

Adjustable Table E 1027

Eileen Gray, 1926

Among the classics, this is probably the classic. Its ingeniously proportioned, unmistakable shape has made the height-adjustable table one of the most popular design icons of the 20th century. It is named after the house E 1027 ‚Maison en bord de mer‘, which Eileen Gray built for herself and her partner Jean Badovici. In this code name, the E stands for Eileen, 10 for Jean (J is the 10th letter of the alphabet), 2 for B(adovici) and 7 for G(ray).

Bibendum Armchair

Eileen Gray, 1926

The Bibendum is a singular phenomenon. Nowhere in the history of design will you find a seat quite like it. Despite its size, the Bibendum is impressively harmonious. Like no other armchair, it combines a majestic representative effect with charm and esprit. Eileen Gray underlined the character of her lovable salon lion with tongue-in-cheek irony by naming it after the Michelin tire man, whose shape the armchair quotes.

Day Bed Grand

Eileen Gray, 1925

The Day Bed is rightly one of Eileen Gray’s most famous designs. The reclining sofa „offers pleasant seating comfort and is also ideal for relaxing.“ What she conceals with her characteristic modesty is the fact that the Day Bed is ravishingly beautiful, accessible from all sides and a delight to behold from every angle. The ideal solitaire to be placed freely in a large room.

ClassiCon launched the black version of the Adjustable Table E1027 side table back in 2015. This look corresponds to the version of the famous design classic used by Eileen Gray herself in her house E1027. The matching Day Bed with a black frame has also been available since 2019.

Over the past fifty years, the average body height has increased by almost 10 centimetres. In consultation with the license holder, the second, larger Day Bed Grand format has therefore been available since 2019.

Tube Light Floor Lamp

Eileen Gray, 1927

Reduced to a minimum, the Tube Light by Eileen Gray is radically modern and integrates discreetly into any environment.
The base, the slender rod made of chrome-plated steel and the light source are combined in a simple aesthetic: a line lamp that gives the light a wide distribution through the relatively large surface, so that it is emitted gently and evenly into the room. Tube Light has been included in numerous collections of design museums worldwide as a design classic.

Wendingen Rug

Eileen Gray, 1926-1935

Eileen Gray not only created some of the most important furniture classics of the 20th century, but also ran her own studio where rugs were made according to her designs. Some of her most beautiful designs are now available again: masterpieces of abstract textile art made from 100% pure wool, organic dye, hand-knotted and finished to the highest quality, with a density of 80 knots per square inch. Wendingen is a monument to the Dutch architectural magazine that made Eileen Gray famous.

Lota Sofa

Eileen Gray, 1924

Madame Mathieu-Levy’s apartment in the Rue de Lota in Paris was considered one of the most sensational examples of French interior design of the 1920s. Eileen Gray had spent around five years designing the furnishings, which included black and silver lacquered panels on the walls and a magnificent couch in the shape of a dugout. Another attraction was the Lota sofa with its sumptuous cushions and multi-colored lacquered side panels. Eileen Gray liked it so much that she later had a second one made for her own home.

Centimetre Rug

Eileen Gray, 1926

Eileen Gray not only created some of the most important furniture classics of the 20th century, but also had her own studio where rugs were made according to her designs: Masterpieces of abstract textile art made from 100% pure wool, hand-knotted and finished to the highest quality. Eileen Gray designed the Centimetre Rug for the salon of her villa E1027. With a mysterious code, she draws attention to the number 10 – a nod to J, the tenth letter of the alphabet. The J stands for Jean Badovici, with whom she designed the villa Maison au Bord de Mer E1027. In the late 1920s, Eileen Gray often used numbers and symbols in her designs – such as fragmented elements of everyday objects. These are allusions to the wide-ranging interests to which she devoted her creative existence.

Nymphenburg Coat Stand

Otto Blümel, 1908

It is a sign of the highest culture when even everyday objects become aesthetic eye-catchers. Otto Blümel’s Nymphenburg coat stand is an archetypal classic of its kind, which you can imagine in a Parisian bistro just as easily as in a Salzburg villa. A design classic that stands the test of time, as the Nymphenburg is already over 110 years old. Nickel-plated, black nickel-plated or newly powder-coated in black or bronze, it fits perfectly into any ambience.

Banu Stool

Eckart Muthesius, 1931

Banu is another gem from the gemstone garden. This was the name of the palace of the Maharajah of Indore, for whom Eckart Muthesius designed this stool. Thanks to the use of steel strip and an elaborate manufacturing process, the frame appears from all sides as if it were made from a single piece. The exquisitely elegant stool adorned the bathroom of the Maharani. A slightly modified version traveled through India on rails – in the Maharaja’s legendary salon carriage.

Mandu Valet Stand

Eckart Muthesius, 1932

in 1929, the Maharaja of Indore commissioned Eckart Muthesius to build and furnish his palace Manik Bagh. Over the course of four years, a jewel of Art Décoratif was created. Muthesius himself designed the palace and much of the furniture and lighting.

The maharajah had countless servants. Eckart Muthesius added another to them with his design: his Mandu mute servant is an elegant appearance with the typical sweep of the Art Deco style. Very feminine and yet – or precisely because of this – predominantly used by men who do not want to entrust their business jackets to a simple wardrobe. The original chrome finish reflects the surroundings, while the new black and bronze colors emphasize the lines.

Usha Umbrella Stand

Eckart Muthesius, 1932

in 1929, the Maharaja of Indore commissioned Eckart Muthesius to build and furnish his palace Manik Bagh. Over the course of four years, a jewel of Art Décoratif was created. Muthesius himself designed the palace and many of the furniture and lights. These include the spiral umbrella stand Usha, which writhes upwards like a snake in a snake charm. The original chrome finish reflects the surroundings, while the new black and bronze colors emphasize the lines.

Satish Bar Stool

Eckart Muthesius, 1931

The palace of Maharajah Shri Yeshwant Rao Holkar Bahadur was located in distant India, but it was equipped with all the refinements of modern Western lifestyle. These included a billiard room and an avant-garde bar dominated by stainless steel, lacquer and leather, with walls tinted blue and silver. The bar stools that Eckart Muthesius designed for it are still fascinatingly idiosyncratic today – almost 90 years later – and could be found in any modern trendy bar. There is no time like the present for the true classic.

Orbis Floor Lamp

Herbert H. Schultes, 1994

The designer Herbert Schultes chose the Latin name Orbis not only because the shade of this lamp describes a curved disc, but also because the light, when directed against the wall, reflects around the round metal shade like the sphere around a planet. The Orbis floor lamp can be adjusted to a variety of positions using wireless joints and a rotating and swiveling reflector, making it easier to direct the light at a sofa, desk or bed. A dimmer makes it possible to regulate the brightness. The clear design blends discreetly into any environment.

Orbis Desk Lamp

Herbert H. Schultes, 1994

Base and reflector made of metal with matt black or white textured paint or chrome-plated. Tubes and joints in chrome-plated metal. Adjustable, cordless joints allow a variety of positions. Reflector can be rotated and swiveled. Toggle switch. Transparent plastic glides.

Venus Chair

Konstantin Grcic, 2006

Konstantin Grcic, 2006

Designing the 1001st well-behaved chair version with four legs was too boring for Konstantin Grcic. Instead, he created a new type of chair of high sculptural quality from the intelligent combination of two wooden shells. The light oak wood and its smooth, clear contours show Venus‘ elective affinity to Scandinavian furniture classics of the 50s and 60s. Not a retro design, but an exciting new chapter in the long history of seating – and one of the most beautiful ways of effectively staging a dining room or conference room.

Mars Chair

Konstantin Grcic, 2003

If you are looking for a chair that is like no other chair, you have found it: Mars is a truly unique appearance. By consistently dispensing with any right angles, Konstantin Grcic has given it a surface geometry full of slopes and edges that surprises anew from every angle. It’s good to know that this avant-garde chair still meets all the prosaic requirements of everyday life. The recessed, slightly backward sloping seat makes it extremely comfortable.

Chaos Chair

Konstantin Grcic, 2001

When an unconventional minimalist like Konstantin Grcic designs his first piece of upholstered furniture, the result can only be highly unusual. With the Chaos armchair, he has defied many conventions and yet, or precisely because of this, created a perfect piece of seating furniture: slim in profile, opulent in the front and back and uninhibitedly ‚cool‘ in appearance. Chaos is a magical throne that ennobles everyday situations – sitting, waiting, observing – and gives them the aura of something special. A special seat for special places.

Odin Sofa

Konstantin Grcic, 2005

When you stand in front of this sofa, it seems to welcome you with open arms. When you sit on it, its high backrests seem to wrap themselves protectively around you. Odin is an island of peace and security in a hectic world. At the same time, however, it is also a place of communication: the special geometry of the seat means that people do not sit parallel to each other, but face each other: an invitation to talk. Seen in this way, Odin is the modern interpretation of classic lounge furniture, perfect for both private and public spaces.

Ulisse Daybed

Konstantin Grcic, 2016

With Ulisse, Konstantin Grcic further develops his idea of a daybed and combines the symbolism of a simple lounger with the materiality of a perfectly crafted, elegant piece of furniture in the tradition of modernism. The adjustment mechanism of the daybed and the cross-sections of the legs are inspired by the classic designs of Charlotte Perriand or Eileen Gray, their modernity and precision, and thus fit perfectly into the ClassiCon collection.

Ulisse is a daybed that, with its large, freely stretched reclining surface, becomes a symbol of relaxation and comfort and almost looks like the pictogram of a lounger. In its simple, emblematic elegance, the daybed evokes associations with archaic furniture of African or Japanese origin, which in turn were sources of inspiration for many modern designers. Ulisse is therefore far more than just functional furniture; it becomes an expression of the connection between modernity and the present, indeed a symbol of a moment of peace and luxury.

With Ulisse, Konstantin Grcic continues his collaboration with ClassiCon, which began 25 years ago and resulted in successful designs such as the Diana side tables and the Pallas table. While his early designs for ClassiCon were primarily concerned with industrial production and a technical-constructive aesthetic, Ulisse is a deliberate emphasis on craftsmanship, production quality and materiality, which have become increasingly important in his more recent designs. Working with solid wood requires – in contrast to the use of semi-finished products – defining every material thickness and every detail himself and being able to produce it to the corresponding perfection. Ulisse thus represents an important developmental step in the long-standing collaboration between ClassiCon and one of the most influential designers of our time.

Pallas Table

Konstantin Grcic, 2003

Pallas is a table with an overwhelming visual presence. It dominates any room at first glance. And at second glance, it reveals a wealth of exciting constructive details: kinks and notches that break up and enliven the smooth lines, visible screw connections on the underside, plus the tactile appeal of the powder-coated metal surface. The proportions have been chosen so that, unlike many fashionably extra-wide tables, people sit a little closer to each other. This encourages conversation at the table and makes Pallas a natural communication center.

Bell Coffee Table

Sebastian Herkner, 2012

The Bell Table by Sebastian Herkner turns the usual use of materials on its head and surprises our perception: here the table base becomes a striking, colorful, transparent glass form in the room, on which a metal body rests. The glass lends the heavy metal a floating lightness. The glass base, traditionally blown into a wooden form, and the pressed metal body create an exciting contrast and yet form a harmonious unit that is reminiscent of the elegant curve of a bell.

With their attractive reflections and material contrasts, the side tables become characterful elements in the living area. They celebrate the beauty of the materials, their colors, surfaces and traditional craftsmanship. The Bell Table by Sebastian Herkner is a masterpiece of traditional craftsmanship. Each table is handmade, with typical features such as different glass thicknesses, small bubbles or unevenness.

Bell Side Table

Sebastian Herkner, 2012

The Bell Table by Sebastian Herkner turns the usual use of materials on its head and surprises our perception: here the table base becomes a striking, colorful, transparent glass form in the room, on which a metal body rests. The glass lends the heavy metal a floating lightness. The glass base, traditionally blown into a wooden form, and the pressed metal body create an exciting contrast and yet form a harmonious unit that is reminiscent of the elegant curve of a bell.

With their attractive reflections and material contrasts, the side tables become characterful elements in the living area. They celebrate the beauty of the materials, their colors, surfaces and traditional craftsmanship. The Bell Table by Sebastian Herkner is a masterpiece of traditional craftsmanship. Each table is handmade, with typical features such as different glass thicknesses, small bubbles or unevenness.

Bell Side Table Copper Special Edition

Sebastian Herkner, 2013

The Bell Table by Sebastian Herkner turns the usual use of materials on its head and surprises our perception: here, the table base becomes a striking, colorful, transparent glass form in the room, on which a metal body rests. The glass lends the heavy metal a floating lightness. The glass base, traditionally blown into a wooden form, and the pressed metal body create an exciting contrast and yet form a harmonious unit that is reminiscent of the elegant curve of a bell.

With their attractive reflections and material contrasts, the side tables become characterful elements in the living area. They celebrate the beauty of the materials, their colors, surfaces and traditional craftsmanship. The Bell Table by Sebastian Herkner is a masterpiece of traditional craftsmanship. Each table is handmade, which is why small bubbles or imperfections are a typical feature.

Plissée Floor Lamp

Sebastian Herkner, 2020

With his Bell Table design, which marked the beginning of his collaboration with ClassiCon in 2012 and the designer’s first international recognition, Sebastian Herkner turned our usual perception of materials on its head. With the Plissée lamp, he has once again succeeded in doing so in a captivating way: the lampshade balances on a metal base like a sensual, weightless balloon of light. The highlight: what looks like artfully pleated fabric is actually mouth-blown glass. An elaborate manufacturing process gives it a fabric-like, almost soft effect, thus realizing Herkner’s vision. A dimmable LED light source provides the individually desired lighting mood. The design of the pleated luminaire thus combines traditional craftsmanship with an industrial component – and in this way bears the unmistakable signature of Sebastian Herkner.

Bell High Table

Sebastian Herkner, 2020

The Bell Table marked the beginning of the collaboration between Sebastian Herkner and ClassiCon in 2012. Within just a few years, the design has almost become a classic. Probably also because it fascinates with its unexpected use of materials. Glass of all things, a material that is intuitively associated with characteristics such as ‚delicate‘ or ‚fragile‘, provides solid support here as a colorful, transparent table base. On top of it: a metal body which, despite its heaviness, appears to float lightly. Although the two elements form an exciting contrast with each other, they also form a harmonious unit that is reminiscent of the elegant curve of a bell.

in 2020, the Bell Table series now has a new addition: the Bell High Table joins the Side and Coffee Table side tables. Thanks to its dimensions, it is perfect as a highlight in the living/dining area or for presenting special objects in lobbies and public areas. The masterly craftsmanship that makes the production of the largest version of the Bell Table possible in the first place should be emphasized. Here too, the base continues to be blown into a wooden mold in the traditional way, which is exceptional in these dimensions. This means that every single Bell Table is still made by hand and is unique – including typical features such as varying glass thicknesses, small bubbles or unevenness.

Bell Light Pendant Lamp

Sebastian Herkner, 2013

You can see the versatility and flexibility of Sebastian Herkner’s Bell Lights at first glance. Each shade in the pendant lamp family can be combined as desired with the simple, cylindrical sockets in gray, brass or copper and simply screwed together. With different materials, structures and colors, they create completely different lighting moods. If several lights are hung in a group, the contrasting shades enter into an exciting dialog and yet clearly reveal that they belong together. The Bell Lights are thus formally and functionally reminiscent of studio luminaires and transfer this idea of the versatile luminaire from the world of photography with textile materials, glass, non-ferrous metals and warm colors into the living space.

Lantern Light Floor Lamp Tall

Neri&Hu, 2017

Light serves us in everyday life by highlighting everything around it, yet it itself is often neglected. Here, the light source itself serves as inspiration; like its ancient predecessor, the fire torch, this design simply consists of an upright rod with a glowing tip. A simple, delicately tinted glass shade, which hangs from one arm of the frame and surrounds the light source, gently protects it and at the same time makes it the focal point.

Lantern Light Floor Lamp Medium

Neri&Hu, 2017

Light serves us in everyday life by highlighting everything around it, while often being neglected itself. Here, the light source itself serves as inspiration; like its ancient predecessor, the fire torch, this design simply consists of an upright rod with a glowing tip. A simple, delicately tinted glass shade, which hangs from one arm of the frame and surrounds the light source, gently protects it and at the same time makes it the focal point.

Lantern Light Table Lamp

Neri&Hu, 2017

Light serves us in everyday life by highlighting everything around it, while often being neglected itself. Here, the light source itself serves as inspiration; like its ancient predecessor, the fire torch, this design simply consists of an upright rod with a glowing tip. A simple, delicately tinted glass shade, which hangs from one arm of the frame and surrounds the light source, gently protects it and at the same time makes it the focal point.

Sedan Lounge Chair

Neri&Hu, 2013

With the Sedan lounge chair, Lyndon Neri and Rossana Hu demonstrate how diverse the effect of a furniture design can be simply by changing the color and materiality of individual elements. The seat shell and frame of the armchair are visually clearly separated from each other as contrasting shapes: the seat appears to float in the wooden or metal frame as if in a sedan chair, thus providing the inspiration for the name of the armchair. Although it offers maximum comfort, it is not a heavy, immovable object, but ‚furniture‘ in the best sense of the word. With a fabric or leather cover combined with a wooden or powder-coated steel frame, Sedan blends harmoniously into any interior or creates a deliberate contrast. The designers have thus created the perfect armchair for the contract sector, reception areas or lounges that they have been looking for for a long time for the interior design of their projects – seating with a strong character, comfortable yet mobile and elegant.

Sedan Chair

Neri&Hu, 2015

With the Sedan Chair, Lyndon Neri and Rossana Hu have added a light, elegant and comfortable chair to their product family that can be used both at the table and as a visitor’s chair. As with the Sedan Lounge Chair, the special appeal of the design lies in the contrast between the seat shell and the frame: the seat shell covers the frame like a shell. The result is two functional areas that complement each other and create exciting contrasts with different materials. The plastic seat shell is available in a single color, with or without flat upholstery. Together with the frame made of different types of wood, a wide range of color and material variants are available, which can be selected to harmoniously or deliberately contrast with any interior. With the Sedan series, neri&hu designed the perfect furniture for the contract sector, which they themselves had long been looking for for the interior design of their hotel projects – seating furniture with a strong character that is comfortable yet light and elegant.

Euvira Lounge Chair

Jader Almeida, 2015

With the Euvira Lounge Chair, Jader Almeida confidently draws on the designs of the great Brazilian design masters of the sixties and seventies, while at the same time finding an independent, contemporary form of expression for an elegant club chair. Its precisely formulated shapes, finely drawn lines and thickened and tapered materials give it a solid yet elegant appearance. The cord-covered surfaces create a graphic interplay of lines that lends the chair transparency while still ensuring a high level of comfort.

The lounge chair is part of the Euvira product family, which also includes a rocking chair. Together, the different versions in the living room, hotel room or lobby are reminiscent of the club culture of the sixties and testify to lively craftsmanship. In dark-stained oak with black cord, the Euvira lounge chair is the clearest indication of its designer’s origins. In light oak with hemp-colored cord upholstery, it almost looks like a Scandinavian furniture classic. Fabric or leather upholstery enhances its expression of comfort. In every version, however, the chair combines tradition and modernity, past and present, stability and elegance.

Euvira Rocking Chair

Jader Almeida, 2013

The Euvira rocking chair by Jader Almeida oscillates confidently between yesterday and today, between lightness and solidity. With its precisely formulated shapes, it is an expression of contemporary design. Its choice of materials and material processing also make it reminiscent of the designs of the great Brazilian design masters of the sixties and seventies. Although it offers the comfort of a wide rocking chair, the finely drawn lines and the tapering of the backrest and runners towards the middle give it an airy and elegant appearance from all sides.

The cord-covered surfaces lend the armchair a special lightness and create a fascinating play of graphic lines, especially when in motion. In dark-stained oak with black cord, it bears the strongest witness to its designer’s origins. In light oak with hemp-colored cord upholstery, it almost looks like a Scandinavian furniture classic. With fabric or leather upholstery, it has the appearance of an elegant club chair. In every version, however, it swings effortlessly between past and present, stability and elegance. Euvira has won the IF Product Design Award and the Red Dot Design Award.

Saturn Coat Stand

Barber Osgerby

Saturn is such a sculptural, dance-like object that you hardly want to give it its actual purpose. Yet Saturn is a perfect, albeit very unusual coat stand. Its large wooden arches are ideal for throwing coats and jackets over with a flourish or putting a hat over them. Saturn is also ideal for formal occasions: There are two metal hooks on each bow from which you can hang conventional coat hangers. Whatever you like – you always have the right object.

Paris Shelf

Barber Osgerby, 2005

Furnishing is a creative game of possibilities. The Paris shelf by the London design team Edward Barber & Jay Osgerby offers plenty of opportunities to indulge your play instinct. Because the shelves are connected to each other by plug-in elements that are neither screwed together nor permanently fixed, the shelf can be regrouped again and again in just a few simple steps. Thanks to its unusual design, Paris has no back, only fronts and can therefore also be used as a room divider in the middle of a room.

Munich Chair

Sauerbruch Hutton, 2011

Modern art of the 20th and 21st centuries deserves an equally modern building and matching furniture. Berlin architects Sauerbruch Hutton took on this exciting task when they were commissioned to design the Museum Brandhorst in Munich. Three different types of seating were designed for the museum, which opened in 2009, for use in the cafeteria, the foyer and the meeting and lecture rooms.

ClassiCon developed the designs in close collaboration with the architects until they were ready for series production. In addition to the formal and qualitatively demanding objectives, the heavy use in public spaces was taken into account and the load-bearing capacity ensured through various test procedures.

Munich Armchair

Sauerbruch Hutton, 2011

Sauerbruch Hutton, 2011

Modern art of the 20th and 21st centuries deserves an equally modern building and matching furniture. Berlin architects Sauerbruch Hutton took on this exciting task when they were commissioned to design the Museum Brandhorst in Munich. Three different types of seating were designed for the museum, which opened in 2009, for use in the cafeteria, the foyer and the meeting and lecture rooms. ClassiCon developed the designs in close collaboration with the architects until they were ready for series production. In addition to the formal and qualitatively demanding objectives, the heavy use in public spaces was taken into account and the load-bearing capacity was ensured through various test procedures.

Munich Stool

Sauerbruch Hutton, 2012

Modern art of the 20th and 21st centuries deserves an equally modern building and matching furniture. Berlin architects Sauerbruch Hutton took on this exciting task when they were commissioned to design the Museum Brandhorst in Munich. Three different types of seating were designed for the museum, which opened in 2009, for use in the cafeteria, the foyer and the meeting and lecture rooms. ClassiCon developed the designs in close collaboration with the architects until they were ready for series production. In addition to the formal and qualitatively demanding objectives, the heavy use in public spaces was taken into account and the load-bearing capacity ensured through various test procedures.

Munich Sofa

Sauerbruch Hutton, 2010

Modern art of the 20th and 21st centuries deserves an equally modern building and matching furniture. Berlin architects Sauerbruch Hutton took on this exciting task when they were commissioned to design the Museum Brandhorst in Munich. Three different types of seating were designed for the museum, which opened in 2009, for use in the cafeteria, the foyer and the meeting and lecture rooms. ClassiCon developed the designs in close collaboration with the architects until they were ready for series production.

Pli Side Table Low

Victoria Wilmotte, 2016

With the Pli table series, French designer Victoria Wilmotte brings objects of unusual crystalline elegance and astonishing geometry into the living space. The creases and folds from which Pli takes its name make the stainless steel base look almost like an oversized polished gemstone. The oval shapes of the table’s base and table top contrast attractively with the facets of the base, which create a fascinating interplay of light refractions and color reflections in the room. The Pli Side Table is ideal as an elegant side table next to a sofa, armchair or bed. Its fully lacquered glass top is color-coordinated with the base. With their high-quality materials and vibrant colors, the Pli Tables are reminiscent of the elegance of past decades and yet are also contemporary designs for the 21st century.

Pli Table

Victoria Wilmotte, 2017

Piega Mirror Medium

Victoria Wilmotte, 2018

With the Piega mirror, French designer Victoria Wilmotte brings an object of unusual crystalline elegance and astonishing geometry into the living room. The mirror-polished stainless steel makes the surface of the object look like glass mirror surfaces. The creases and folds, from which Piega takes its name, create a fascinating interplay of light refractions and color reflections in the room. With its three-dimensional structure, the mirror thus becomes a living object.

Bow Coffee Table No. 3 Marble

Guilherme Torres, 2019

The Bow Coffee Table No. 3 Marble is part of the Bow side table series by Guilherme Torres. Made entirely from white or black marble, it offers an interesting material contrast to the brass surfaces of the series or cuts a fine figure as a stand-alone piece.

Inspired by the lines of the 70s, the series is casually elegant. Covered in metal or made entirely of marble, the surface of the tables is reminiscent of futuristic designs of the time, yet the design is clearly contemporary. The Bow Coffee Table in metal is available in five sizes, the marble version in one size. The tables can be stacked at different heights. The result is a flexible sculpture with generous storage space on several levels.

Bow Coffee Table No. 3

Guilherme Torres, 2018

Inspired by the lines of the 70s, Brazilian designer Guilherme Torres presents a side table and coffee table series of casual elegance. The metal-coated surface of the body is also reminiscent of the futuristic designs of the era, yet is still a clearly contemporary design. The glass or marble table top floats above a base with rounded corners. The table is available in five sizes. The tables can be stacked at different heights. The result is a flexible sculpture with generous storage space on several levels.

The ensemble is complemented by the Bow Coffee Table No. 3 Marble. It is made entirely of white or black marble. Combined with the other sizes in metal, it creates an interesting material contrast.

Bow Coffee Table No. 4

Guilherme Torres, 2018

Inspired by the lines of the 70s, Brazilian designer Guilherme Torres presents a side and coffee table series with casual elegance. The metal-coated surface of the body is also reminiscent of the futuristic designs of the era, yet is still a clearly contemporary design. The glass or marble table top floats above a base with rounded corners. The table is available in five sizes. The tables can be stacked at different heights. The result is a flexible sculpture with generous storage space on several levels.

The ensemble is complemented by the Bow Coffee Table No. 3 Marble. It is made entirely of white or black marble. Combined with the other sizes in metal, it creates an interesting material contrast.

Triton Counter Stool

Clemens Weisshaar, 2007

Passionate bar-goers know the dilemma: bar stools either look good or they are comfortable – but rarely both at the same time. Triton has succeeded in reconciling these supposed contradictions. Thanks to its ergonomically shaped seat shell, it is unusually comfortable. At the same time, it is surprisingly uncomplicated in a very confident way – and harmonizes with the most diverse furnishing concepts thanks to the many surface and colour variants.

Triton Bar Stool

Clemens Weisshaar, 2007

Selene Pendant Lamp

Sandra Lindner, 2006

Each sphere in the Selene lamp series is handmade and mouth-blown. A process that has not changed for centuries and requires great mastery. Reflections and movements are created in the glass, giving Selene its special brilliance and vibrancy. A simple cylindrical frame changes the character of the luminaire by using different materials. Hanging alone or as a group in different sizes, Selene offers great scope for design.

Cypris Mirror

Nina Mair, 2015

The Cypris Mirror, the result of a collaboration between ClassiCon and the Austrian architect Nina Mair, is a mirror that is reminiscent of the elegance of the 1950s with its harmoniously shaped radii and brass material, yet is an absolutely contemporary design. The generous depth of the surrounding brass frame is optically doubled in the mirror, giving it a special formal conciseness, while remaining a fine and elegant line when viewed from above. Mounted on the wall, the ribbon-shaped brass frame of the mirror becomes a shelf for bottles, cosmetics or small found objects that are perfectly framed here – a stage that enhances the effect of any object. The Cypris Mirror can be used in the entrance area or bathroom, in the dressing room or checkroom, the living room or semi-public areas. It is available in various sizes and can be hung horizontally or vertically on the wall or leaned against it.

Cypris Mirror

Nina Mair, 2015

The round mirror with a generous diameter complements the Cypris series, which is the result of a collaboration between ClassiCon and the Austrian architect Nina Mair. The depth of the solid brass frame is optically doubled in the mirror, giving it a special formal conciseness, while remaining a fine and elegant line when viewed from above. The material makes Cypris reminiscent of the elegance of the 1950s and yet it is an absolutely contemporary design that can be used in the entrance area, dressing room or bathroom, as well as in the checkroom, living room or in semi-public areas.

Sol Side Table

OrtegaGuijarro, 2021

With the Sol Side Table, the Spanish designer duo OrtegaGuijarro has created a design that is impressively multifaceted. For as captivatingly simple as the construction of differently sized glass surfaces may seem at first glance, it is just as multi-layered on closer inspection. Depending on the angle of view, incidence of light and play of shadows, the colored, transparent elements of the table come together to form ever-changing silhouettes, thus playing a visual trick on the viewer. Elegant sculpture or functional side table? Sol is not either-or, but both at once.

Sol plays with light and shadow, transparency and reflections, creating ever new silhouettes.

Sol Side Table Miniature

OrtegaGuijarro, 2021

The Sol Side Table by Spanish designer duo OrtegaGuijarro as a miniature: the 1:5 scale version of the original also shows the impressive multifaceted nature of the design. Because as captivatingly simple as the construction of differently sized glass surfaces may seem at first glance, it is just as multi-layered on closer inspection. Depending on the angle of view, incidence of light and play of shadows, the colorful, transparent elements combine to form ever-changing silhouettes, thus playing an optical trick on the viewer. Each individual miniature is produced true to scale and with the same perfection as the original. An elegant sculpture in miniature format – the perfect gift for design enthusiasts.

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Bruno Wickart AG, Zug – specialized retail partner of ClassiCon in Zug, Zurich and Lucerne

Bruno Wickart AG and ClassiCon maintain a close and cooperative partnership. The Bruno Wickart range includes several ClassiCon bestsellers and new products, including the Adjustable Table by Eileen Gray, Bell Table side table by Sebastian Herkner, the Bibendum armchair by Eileen Gray, Day Bed by Eileen Gray, Nymphenburg wardrobe by Otto Blümel, Pli Side Table by Victoria Wilmotte, Saturn coat stand by Barber Osgerby, Selene lamp by Sandra Lindner, Tube Light by Eileen Gray, Venus chair by Konstantin Grcic, and many more