The making of our favourite chairs

Considered, made-to-last design takes time, shaped by skilled artisans who’ve spent years honing their craft. These are not mass-produced pieces. They’re built with care, intention, and a deep respect for materials and process.

At Cimmermann, we believe the making of classic design icons is something to celebrate. There’s something meditative about watching a piece come to life, the repetition, the precision, the quiet focus. It's a reminder that good design isn’t just about how something looks, but how it’s made.

When you invest in a Little Petra Chair or a Wishbone chair, you’re not just buying a piece of furniture you’re supporting communities where craft still matters. These makers are paid fairly for their work, aligned with UN Sustainable Development Goal 8: decent work and economic growth. It’s the antithesis of fast furniture and cheaply made replicas.

The making of the little petra chair

Originally launched in 1938 by Danish architect Viggo Boesen, the Little Petra Chair was defined by its organic form and sheepskin upholstery. Its curved silhouette made machine production impossible, it had to be hand-stitched, and only a small number were ever made. A collector’s favourite, it’s seen as a precursor to Danish Modernism.

Today, &Tradition has brought it back to life with the same level of care, hand-stitching the rounded back seam, just as Boesen intended. Read more about the little petra.

The making of the Saarinen tulip table

Eero Saarinen’s Pedestal Collection, first produced in 1958, was his response to what he called the “slum of legs” under traditional tables and chairs. His solution: a single, sweeping pedestal and clean, sculptural silhouette — a radical departure from what came before.

The Saarinen table is still made with that same clarity of purpose. Its deep marble veins are carefully selected and finished to a high gloss. The pedestal base is cast in aluminium and coated in durable Rilsan, giving it a seamless, almost weightless presence.  “I wanted to clear up the slum of legs. I wanted to make the chair all one thing again.”

The making of the wishbone chair 

The CH24 ‘Wishbone’ chair by Hans J. Wegner has been in continuous production since 1950 — and is still made by hand using many of the original techniques.

Each chair takes over 100 steps to complete. Fourteen components are individually crafted, with the distinctive Y-shaped back steam-bent from a single piece of solid wood — a detail that’s often lost in replicas. The seat is woven from 120 metres of paper cord, a process that takes around an hour and years of experience.

It’s a chair that’s both sculptural and enduring — a true icon of Danish craftsmanship, made by Carl Hansen & Søn. Read more about the wishbone chair.

The making of  Finn Juhl’s fireplace chair

Designed in 1946, the Fireplace Chair is a study in balance — soft curves, generous armrests, and clean architectural lines. With exposed joinery and tapered legs, it’s unmistakably Finn Juhl.

Still produced in Denmark by House of Finn Juhl, the chair is made from solid wood and upholstered by hand. Every detail reflects a deep respect for materials and proportion — a quietly confident piece that feels as relevant now as it did nearly 80 years ago.

The making of the Eames lounge chair

Launched in 1956, the Eames Lounge Chair redefined modern comfort. Unlike the hard-edged designs of its time, it was warm, tactile, and inviting — a new kind of luxury for a new way of living.

Still made in Michigan, USA, each chair involves a blend of skilled handcraft and precise engineering. The curved shell is formed from layers of plywood, then veneered and hand-finished. Cushions are upholstered in supple leather, carefully matched for grain and tone. The seat floats — it’s not fixed to the shell — giving the chair its signature lightness and ease.

Every element reflects the Eames philosophy: craftsmanship meets innovation. Read more about the Eames lounge chair.