Wealth, Status and the Creative Reinterpretation of China’s Ming Chair

above: by Tom Dixon

above: by Lisa Whatmough of Squint (left), by Jaime Hayón (right)

above: by Michael young

above: D.B Kim of Swarovski Crystal Palace

above: Qu Guangci of Guangci

above: Barnaba Fornasetti


To celebrate its 160th anniversary this September, Hong Kong department store Lane Crawford asked eight designers to reinterpret the classic Chinese Ming chair. With those involved well respected in the design world, their associated status seems fitting when considering the fact that the Ming Chair has traditionally been reserved for people of power.

Unsurprisingly when considering the multi-cultural background of the designers, the end results provided an interesting variety. British designer Tom Dixon – who considers chairs integral to his progress as a designer – maintained the traditional shape of the chair, instead painting it a fluorescent orange. The resulting uniformity of colour seems to reveal design elements that may have previously gone unnoticed.

D. B. Kim, from South Korea, opted to maintain the original finish, instead placing Swarovski crystals across its surface, presumably as a reference to the wealth of those deemed appropriate owners of such a chair. Lisa Whatmough – of London’s Squint Limited – continues the creative practice of her company by covering the antique chair in brightly coloured fabrics, in this case previously used as english silk ties.

British-born and Hong Kong based designer Michael Young used the ancient Chinese art of paper-folding for his reinterpretation, creating an intricate and delicate back for the chair. A philosophy which perfectly complements his avid support of individually designed items.

Considering tradition a tool to enrich the present, Spanish designer Jaime Hayón adjusted the Ming chair to include a rocking base, painting his variation a stunning shade of purple. Another European designer, Ilse Crawford, took an entirely different approach, stripping the chair of its coating to reveal the complex methods that allowed construction without nails.

Chinese designer Qu Guangci used his heritage as the basis for his variation. Comparing cultural history to the root of a tree, Guangci introduced branches and birds to his chair, expressing family bonds, wealth, and the importance of a relationship with nature. Italian designer Barnaba Fornasetti introduces a theatrical element, filling the negative space of the chair with painted images. Owls peer through the back, with a pair of legs and bottle of champagne adorning the front.

All designs were on display in a public exhibition in Hong Kong’s ifc mall throughout September, offering the general public access to an object once deemed suitable only for those with wealth and status.

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