POUF

The collection begins from a single body — a cylindrical pouf, 40 cm in diameter and 45 cm high, upholstered in suede across its top and sides, resting on a brass plinth of slightly smaller diameter that lifts it off the floor — and crosses it with three Belle Époque crafts. The first is steam bending: a backrest of wood bent in one continuous line, inset with woven cane, quoting Thonet above a seat in emerald green suede. The second is carving: varnished oak shaped into a form that opens like a leaf, capped with brass terminals, over rosewood-pink suede. The third is brass: a curved sheet of precise, reflective Art Deco geometry, over navy blue suede.

Each chair sets an airy, almost linear backrest against the opaque, silent mass of the pouf. The piece rests not on legs but on a solid volume, and the back — rising to 90 cm from the floor — seems to lift away from it like a loose stroke of the pen. Brass is the one material present in all three pieces: it forms the plinth, finishes the carved terminals, constitutes the third backrest entirely and, above all, appears as an exposed rivet at the joint between back and seat structure. That joint is not concealed but declared, with the same constructional candour found in English library joinery. Each model unfolds into two to four backrest variants: the collection proposes not a closed object but a grammar — the same artisanal gesture, repeated and varied, like the repertoire of a workshop.