Kartell Louis Ghost Armchair - Crystal (Priced Each, Sold in Sets of 4)

A comfortable armchair in transparent polycarbonate in the Louis XV style, it is the quintessence of baroque revisited to dazzle, excite and captivate. Louis Ghost is the most daring example in the world of injected polycarbonate in a single mould. Despite its evanescent and crystalline appearance, Louis Ghost is stable and durable, shock and weather resistant and can also be stacked six high. This article has great charm and considerable visual appeal and brings a touch of elegance and irony to any style of home or public area.

MEASUREMENTS:

• Width: 54 cm / 21.2 inch
• Height: 93 cm / 36.6 inch
• Depth: 55 cm / 21.6 inch
• Seat Height: 47 cm / 18.5 inch
• Seat Width: 48 cm / 18.9 inch
• Arm Height: 67 cm / 26.4 inch

MATERIALS:

• Transparent Polycarbonate

HELPFUL NOTES:

• Please contact us for version with fire resistance

Philippe Starck

France 1949

“I like to open the doors of the human brain” - Philippe Starck

School dropout Philippe Starck jump-started his career by designing two nightclub interiors in Paris in the 1970s. The success of the clubs won the attention of President Francois Mitterand, who asked Starck to refurbish one of the private apartments in the Elysee Palace. Two years later, Starck designed the interior of the Café Costes, in Paris and was on his way to becoming a design celebrity. In quick succession, he created elegant interiors for the Royalton and Paramount hotels in New York, the Delano in Miami and the Mondrian in Los Angeles. He also began to produce chairs, lamps, motorbikes, boats and a line of house wares and kitchen utensils, like his Juicy Salif for Alessi.

During the 1980s and 90s Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his La Marie chair and playful Prince Aha stool). Starck’s furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling. Starck’s approach to design is subversive, intelligent and always interesting.

His objects surprise and delight even as they transgress boundaries and subvert expectations. During the 90s Starck has also begun to promote product longevity and to stipulate that morality, honesty and objectivity become part of the design process. He has said that the designer's role is to create more “happiness” with less. For all his fame Starck’s work remains a serious and important expression of 20th century creativity.

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