Montage has been restoring Saarinen chairs for years in every fabric one can imagine, right in our very own workroom. Skilled craftsmen bring each chair back to life to live on for generations to come. Now we introduce the Montage Special Edition Saarinen Chair with astonishingly elegant 24-karat gold-plated legs. The combination of our Fine curated 100% cotton Italian velvets with these gold legs is an aesthetically perfect match, shown above in supple Crème.
Our Saarinen executive chairs are available in any quantity and can be upholstered in various fabrics/leathers and of course COM. Please contact us to get a detailed quotation based on your desires or to request a swatch. These are always upholstered-to-order to ensure the best quality. The Montage Special Edition variation with 24-karat gold plated legs has an added lead time to ensure perfection, it's worth the wait.
About Eero Saarinen (Designer)
Through his work as an architect and designer, Eero Saarinen was a prime mover in the introduction of modernism into the American mainstream. Particularly affecting were the organic, curvilinear forms seen in Saarinen’s furniture and his best-known structures: the gull-winged TWA Flight Center at John F. Kennedy airport in New York (opened 1962), Dulles International Airport in Virginia (1962) and the Gateway Arch in St. Louis, Missouri (1965).
Saarinen had a peerless modernist pedigree. His father, Eliel Saarinen, was an eminent Finnish architect who in 1932 became the first head of the Cranbrook Academy of Art in suburban Detroit. The school became synonymous with progressive design and decorative arts in the United States, and while studying there the younger Saarinen met and befriended several luminaries of mid-century modernism, among them Harry Bertoia, and Charles and Ray Eames.
At Cranbrook, Saarinen also met Florence Schust Knoll, who, as director of her husband Hans Knoll's eponymous furniture company, would put Saarinen’s best designs into production. These include the “Grasshopper” chair, designed in 1946 and so named because its angled bentwood frame resembles the insect; the “Tulip” chair (1958), a flower-shaped fiberglass shell mounted on a cast-aluminum pedestal; and the lushly contoured “Womb” lounge chair and ottoman (1948). In his furniture as in his architecture, the keynotes of Eero Saarinen’s designs are simplicity, strength and grace.