Eileen Gray usually designed what she aspired herself. Some say she was her best client. That might be the reason that Elieen Gray chairs and sofas appear less programmatic than those of many peers. She was eager for inspiration by the stream of ideas around the Bauhaus and the De Stijl movement in the Netherlands but didn’t feel obliged to apply their dogmas to her own work. Instead she freely interpreted them, which is apparent throughout her furniture designs.
Anyone looking for Eileen Gray chairs and sofas isn’t looking for a uniform but unique design classics.
The Bibendum chair is the first thing that comes to mind when you hear about Eileen Gray chairs. The humorous and unusual armchair offers a great deal of comfort and attracts attention.
The base of the voluptuous designer chair is a slender tubular steel frame. Two upholstered leather tubes form the back and armrest. The name is a jibe. The symbolic figure of Michelin has quite a bit in common with the namesake chair and popularly known as Bibendum.
This design classic presents Eileen Grays manifold talents in a beautiful way for those who miss a bit of zest in other Bauhaus classics.
A look at Eileen Gray sofas too confirms the same. She did not commit to a certain look.
The daybed is much more than just a sofa. It is a particularly versatile piece of furniture that can be placed freely in a room or against the walls. It is accessible from all sides. It suits a very large room as well as narrow spaces and the design without frills goes with almost any decoration style.
It demonstrates that Eileen Gray was very much capable to compete with her colleagues at the Bauhaus without loosing her sense of humour.
Another Eileen Gray sofa, the Lota sofa, is rather interesting but hardly in demand these days due to its size and heaviness. The sides are adorned with lacquer art, albeit in a minimalistic way, the dying art that had captured Gray’s interest in the earlier years.