Mademoiselle, the most fashionable design small armchair, is dressed by the most famous Made in Italy fashion labels with a special rapport with, and affinity for, Kartell. The collection in fact includes a series of print fabrics signed by Missoni and Moschino. For Missoni, Rosita Missoni has chosen "Vevey", a kaleidoscope of flowers available in red or burnt tones, and "Cartagena" with elegant white and black flower graffiti. For Moschino, Rossella Jardini has chosen "Sketches", a patchwork print of original illustrations by Franco Moschino, "Margherite", a floral carpet on a black background which flows from the seat up onto the back and "Cuori", the label's iconic black and white hearts print. Chic and cheerful, the Mademoiselle armchair has a transparent or black polycarbonate frame.
- Seat: Fabric-covered Polyurethane
- Fabric: 100% cotton
- Frame: Transparent or Mass-dyed Polycarbonate
- Height: 74 cm / 29.1 inch
- Width: 55 cm / 21.6 inch
- Depth: 52.5 cm / 20.6 inch
- Seat Height: 46 cm / 18.1 inch
- Seat Width: 41 cm / 16.1 inch
Kartell's company story shines through in each and every one of its products. A commitment to the ever changing and advancing technology and versatility of plastic, Kartell's primary material, is at the heart of this Italian design house. Design integrity and innovation is another core element of Kartell's operations, highlighted by its partnerships with internationally aclaimed designers. Kartell's design roster includes Philippe Starck, Partricia Urquiola, Enzo Mari, Piero Lissoni, Vico Magistretti, Alberto Meda, Ferruccio Laviani and Ron Arad, among other top talent.read more...
Over a 63 year history, Kartell has positioned itself in the forefront of contemporary interior design, building an impressive resume of prestigious awards including several Compasso d'Oro awards - the oldest industrial design award in Europe. New York's Museum of Modern Art is also a collector of Kartell for its permanent collection, including the iconic modular Componibili storage unit by Anna Castelli Ferrieri.
Kartell's comprehensive catalogue includes a vast selection of products ranging from wall hooks to sofas - all available in bold beautiful colours and, of course, in Kartell's signature material: plastic. Proving that plastic can be beautiful has been a challenging goal exquisitely achieved by this design company. Kartell's products can be found and celebrated in private homes and public spaces all over the world. www.kartell.it
Kartell Mademoiselle "À La Mode" Chair Designed by:
- Philippe Starck , 2005
“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.