The Champagne Chair, designed in 1957 by Erwine (1909–2003) and Estelle Laverne (1915–1997), stands as a landmark of mid-century modern design. Produced by Laverne Originals, the chair exemplifies a bold exploration of new materials and form. Its sleek, transparent Perspex body and single aluminium pedestal base create a striking balance between futuristic aesthetics and functional simplicity. In effect, it reflects the era’s ambition to redefine modern living.
The Champagne Chair belongs to the Invisible Group, a collection of Perspex (PMMA) furniture introduced by Laverne Originals in 1958. Notably, it was conceived as an evolution of Eero Saarinen’s Tulip Chair (1955–56), which sought to eliminate the visual clutter of traditional four-legged seating. As Saarinen famously observed, conventional chairs contributed to an “ugly, confusing, and disturbing world.” Therefore, this prompted him to develop a singular stem-based form that redefined modern seating.
At first glance, the Champagne Chair appears almost ethereal. Its high-backed transparent shell, gently contoured, recalls the elegant curve of a champagne flute, from which the chair takes its name. Moreover, this flowing acrylic form, paired with a tufted leather cushion, offers both comfort and visual lightness. In addition, the seat rests on a brushed aluminium base. This base echoes the slender refinement of a wine stem and reinforces the chair’s sculptural unity.
The Laverne duo was known for pioneering modern materials in furniture design. In particular, their work with acrylic plastics anticipated the iconic Lucite pieces of the 1960s and 1970s. Moreover, their ability to craft seamless, sculptural forms set a new standard for designers exploring synthetic materials. As a result, their work helped expand the possibilities of modern furniture beyond traditional wood and metal.
During the 1950s and 1960s, designers increasingly experimented with new materials to create furniture that was both functional and forward-looking. In this context, the Laverne duo drew inspiration from Bauhaus principles and the organic modernism of Eero Saarinen and Charles and Ray Eames. As a result, they sought to blur the boundaries between art, design, and technology. In the process, they produced work that felt both innovative and refined.
Though less widely recognized than Saarinen or Eames, the Laverne Originals brand was crucial in advancing experimental furniture design. The Champagne Chair remains a collector’s piece, sought after for its unique blend of transparency, elegance, and sculptural quality.
Many contemporary designers have revisited the concept of clear furniture, but the Champagne Chair’s refined balance of form and function stands apart. It encapsulates the mid-century beauty ethos through simplicity, proving that good design never goes out of style.
Design Show Interesting Blends - Highlights the Champagne Chair
Article from 3 Jan 1962 Staten Island Advance (Staten Island, New York) <!--- -->
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This design classic is exhibited at the Design Museum in Brussels, where its historical significance and aesthetic innovation continue to captivate design enthusiasts and historians alike. Whether placed in a modernist home, an avant-garde office, or a museum collection, the Champagne Chair remains an icon of elegant minimalism.
Moreover, many contemporary designers have revisited the concept of transparent furniture. However, the Champagne Chair’s refined balance of form and function continues to set it apart. In this way, it encapsulates the mid-century modern ethos through clarity and restraint, demonstrating that truly good design remains timeless.
Design Museum Brussels. (n.d.). Champagne Chair. Retrieved February 18, 2025, from https://collection.designmuseum.brussels/en/champagne-ch1
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