EGG™ CHAIR IN RE-WOOL

Crafted using 45% recycled wool, Re-wool is a rich upholstery textile with a sustainable profile by Kvadrat. The textile is partly made from scraps of yarn spinners in the UK. It is designed by Margrethe Odgaard.

‘The idea was to create a both honest and environmentally friendly – textile with a poetic feel by recycling leftover material from Kvadrat’s own production’, explains Margrethe Odgaard.

Like bright stitching on dark fabric, Re-wool textiles have an exceptional depth of colour and a vibrant texture that is magnificent on curves of the Egg™ lounge chair. 

We are delighted to offer the Egg™ lounge chair in 21 Re-wool textiles.

Re-Wool has a durability of 100.000 Martindale and has the EU Eco label ´The Flower`.

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Arne Jacobsen designed the Egg™ for the lobby and reception areas of the SAS Royal Hotel in Copenhagen. The commission to design every element of the hotel building, including the furniture, was the designer’s grand opportunity to put his theories of integrated design and architecture into practice. The Egg is one of the triumphs of Jacobsen’s total design – a sculptural contrast to the building’s almost exclusively vertical and horizontal surfaces. The Egg sprang from a new technique, which Arne Jacobsen pioneered: a strong foam inner shell beneath the upholstery. Like a sculptor, Arne Jacobsen strived to find the shell’s perfect shape by experimenting with clay in his garage. The design is available in a wide range of fabric upholstery as well as leather, always combined with a star base in aluminium mounted on a satin-polished steel pedestal. A matching footstool is also available.

This decision may seem typical today, but in the early twentieth century white walls were not yet in fashion. From the very beginning, Arne Jacobsen was ahead of his time. 

For more than half of the twentieth century, Arne Jacobsen’s ideas shaped the landscape of Danish design, rippling out from Scandinavia to influence architects and designers around the world. He managed to direct projects ranging from complex buildings like Danmarks NationalBank to detailed challenges as humble as a special teaspoon for his cutlery set, working with a relatively small studio staff driven by an unquenchable need to create. 

Jacobsen’s creative process centered on his strict consideration of detail. He brought his visions to life for patrons and builders with scrupulous, hand-painted watercolours. In any given year, Jacobsen managed to design what others might be happy to produce in five. 

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