COIFFEUSE

by Chanel Kapitanj Belgium

3.146 Incl.21% VAT

10 in stock

Insured Delivery: 260
Est delivery: Feb 1st, 2022
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Dimension LxWxH (cm): 140x85x42
Material : Powder lacquered metal
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Description

This furniture stands proudly in the center of a room or against a wall. It offers a storage space and a mirror in a minimalist configuration and simple shape. The dressing table, a product not often revisited, which, nevertheless, deserves all our attention. Made of powder-coated steel in whatever color. Also available in zinc chromated steel, brass, or copper on request, price on request.

Please note that the dressing table comes in 4 separated pieces, the buyer has to assemble every piece together once received.
Special edition for Adorno, signed by the designer.

Additional information

Weight 85 kg
Dimensions 90 × 45 × 65 cm
Dimensions LxWxH (cm)

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About the designer


Chanel Kapitanj

Born in Liège in 1992, Chanel Kapitanj studied Industrial Design in Belgium. Her fascination with metallic materials and manual work, pushes her to train in the profession of welder. As a result, in 2017, she launched her Design and Ironwork studio. It is with a minimalist approach and the highlighting of metallic materials that she approaches her projects.

Curated by

The body of work in this collection consists of pieces by Greek designers of the mainland and the diaspora, or international professionals who live and work in Greece. As a common theme we tackle the elusive notion of “Greekness” and how this transpires through the work of seemingly diverse and distinct individuals. In our attempt to define “Greekness”, we aim to raise questions about how this plays out in the work presented. How do Greek designers view their identity? Is it through their effort to decipher their heavy heritage? Is form important in order to achieve a predisposed classic elegance, or is a philosophical disposition towards shape more poignant? Could it be simply a resourcefulness and DIY ethic to make up for the absence of design infrastructure? How do Greek designers based abroad deal with their background? Could it be that they simply ignore it in order to finally free themselves? Is there a certain amount of innovation necessary in order to channel it into the new environment? Finally, how do foreign designers see their work influenced by their Greek surroundings? Is it the reference through the use of noble materials such as marble or the abundance of natural light that makes their work unquestionably Greek? Or could it be something else they were seeking when they decided to move here, something abstract like humour or drama? Could their arrival finally mean a departure from Greek heritage’s self-reference? The pieces that we present might seem ill-matched, but they share an important core element. They are confident in their narrative of a personal story of identity, that is either at peace or against the Greek archetype. Through this communication, they all describe a culturally mature and vibrant scene that is finally extroverted and coming of age.