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Eames Lounge Chair and Ottoman
Iconic Designs

Eames Lounge Chair and OttomanBy Charles and Ray Eames

About the Design

Long before it was the pièce de résistance in a collector’s office or an upscale bachelor pad — landing in ample design magazines, on television and in well-appointed offices over the years — the Eames lounge chair was a fresh, subversive new take on a classic club chair and a culmination of experimentation by its inventive creators.

Charles and Ray Eames (1907–78; 1912–88) met while studying at the Cranbrook Academy of Art, the prestigious Michigan institution that drew such illustrious design minds as Florence Knoll, Eero Saarinen and more. After graduation, they formed the Eames Office, where they spent much time exploring and formulating new techniques in bent plywood and fiberglass with the goal of producing affordable furniture for a mass market. The Eames lounger, on the other hand — with its signature wood-grain back and sumptuous (usually black) leather seat — was different.

While the couple’s DCW chairs, introduced in the 1940s, prioritized ease of production and affordability of materials, the lounge, which debuted in 1956, was Charles and Ray’s interpretation of luxury furniture. And to the Eameses, luxury meant, above all, comfort. The couple famously called the lounge chair and ottoman “a special refuge from the strains of modern living” and described their design as having the “warm receptive look of a well-used first baseman’s mitt.”

Although the seat makes use of the same bentwood technique the Eameses pioneered using their famous “Kazam! Machine” (a handmade apparatus for molding plywood) for their DCW chairs, it tops off this frame with supple leather over a plump, upholstered shape.

Ever fascinated by ergonomics, the Eameses carefully calibrated the pitch of the seat. It has enough flexibility for comfort but not so much that stability is sacrificed. This precise shape comes by way of three connected plywood pieces, which, on early models were covered in five layers of Brazilian rosewood; owing to an early 1990s-era embargo on the material, however, the Brazilian rosewood has since been replaced with either ash, walnut or palisander. The accompanying ottoman is the icing on the comfort cake, inviting the sitter to quite literally kick back and relax.

Today, imitations of the Eames lounge chair and ottoman abound. The seat is currently manufactured by both Herman Miller and Vitra, and when it was launched initially by the former, the supporting marketing blitz emphasized the chair’s versatility — an effort that, given the seat’s current ubiquitousness, was clearly successful.

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3rd Generation Eames Lounge Chair in Brazilian Rosewood and Oxblood Leather
3rd Generation Eames Lounge Chair in Brazilian Rosewood and Oxblood Leather

3rd Generation Eames Lounge Chair in Brazilian Rosewood and Oxblood Leather

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A beautifully 3rd-generation Eames Lounge Chair in Brazilian rosewood and Oxblood leather. Refinished and Restored Rosewood Shells in a very rare and unusual lighter variety, New Lea...

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Gorgeous Avocado Eames Lounge Chair and Ottoman

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Not a color you see often! A classic Eames lounge chair and ottoman with vintage wood and metal components outfitted in brand new leather cushions in Avocado shade. 3-4 week producti...

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Eames Lounge Chair with Ottoman, 1950s

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Rare 1964 Rosewood Herman Miller Eames Lounge chair & Ottoman w/Original Receipt

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Eames Lounge Chair and Ottoman by Charles & Ray Eames for Vitra, Black Leather a

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This is an original Eames Lounge Chair and Ottoman, models 670 and 671, designed by Charles and Ray Eames in 1956. This set dates to circa 1970 and has Brazilian rosewood shells.

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Charles Eames, Lounge Chair in black leather by Herman Miller

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For sale is a lovely set of two iconic Vitra 671 Lounge Chairs, designed by Charles and Ray Eames in 1956. The Eames’ wanted to create a spacious armchair that combines ergonomics — ...

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Styles
Mid Century Modern
During World War II, American designers Charles and Ray Eames (1907–78; 1912–88) worked with the United States Navy to make a new leg splint. Recognizing that metal splints could further injure a wounded person through the vibrations of their material, the couple created a new model with molded plywood. That wartime experience propelled the Eameses to continue their explorations in plywood. In 1946, they debuted the DCM, its shortened name referencing the “Dining Height (D) Side Chair (C) on ...
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