Wire stool&Tradition

Verner Panton, 1981 

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&Tradition, Danish Design Furniture & Lighting
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

&Tradition is reissuing the Wire Stool, a jewel from the archives of renowned Danish designer Verner Panton, echoing Montana's Wire Cube, which, like Panton's Wire Cube, is made of a single chromed wire forming a simple geometric figure. 

This stacking stool, which can also be used as an occasional table, was first marketed in 1981. Its re-edition by &Tradition features removable magnetic cushions in 4 colors inspired by Verner Panton's archives.

My father was perpetually immersed in the design process, always pushing the boundaries, experimenting and searching for innovative solutions," says Carin Panton. Among his favorite tools were pipe cleaners and, above all, fine wire, appreciated for its malleability and ease of handling. Her deep mathematical skills, particularly in geometry, are reflected in her works of furniture, textiles, installations and architecture."

The Wire stool captivates with its airy aesthetic. Seen from above, the seat is made up of concentric circles. The lightness of the wires masks the stability of the construction, which allows up to 12 stools to be stacked. 

"The metal stool was one of my father's favorites," adds Carin. "He was drawn to its paradoxical nature - a design that combines airy transparency with structural integrity and aesthetic elegance. The harmonious effect it produces when stacked particularly captivated him, prompting him to continue his exploration of steel wire designs."

"When we chose the colors for the cushions, we opted for blue, red, green and gray. For Verner Panton, blue represents tranquility, confidence and concentration," explains his daughter. "Red symbolizes vivacity, brightness and warmth. Green is associated with stability, security and rationality. Gray, meanwhile, stands for balance and neutrality."

Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Materials Mirror-polished steel, Molded foam cushion with fabric-upholstered magnet
Dimensions Ø44 x H42 cm Cushion Ø36 x H3,5 cm 

Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Wire Stool

Magnetic cushions

Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Hallingdal 600

Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Hallingdal 723

Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Hallingdal 944

Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Hallingdal 126

Tabouret Wire  &Tradition  Verner Panton, 1981

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Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981
Tabouret Wire  &Tradition  Verner Panton, 1981

Verner Panton

Verner Panton started out as a painter before studying architecture at the Royal Academy of Fine Arts in Copenhagen. After an apprenticeship with architect/designer Arne Jacobsen, Panton moved into furniture and interior design, where he became famous for his avant-garde creations. These included legless chairs and a sofa set vertically against the wall. In the 60s and 70s, his passion for designing entire environments led to immersive interiors featuring his hypnotic patterns and futuristic designs for furniture, lighting, wallpapers, posters and carpets.

Panton's innovative use of materials, colors and shapes earned him a reputation as a visionary. In 1998, the Queen of Denmark awarded him the Knight's Cross of the Order of Dannebrog in recognition of his achievements. 

The Flower Pot lamp became the emblem of the Flower Power peace movement in the 60s. With its range of bright colors, it is just as synonymous with modernity as when it was launched in 1968. Panton's Topan lamp is its little sister, a simple half-sphere that can also be configured in groups. "Panton's provocative use of materials, geometric shapes and psychedelic colors set him apart," notes Martin Kornbek Hansen. "Our &tradition product catalog wouldn't be complete without this endearing example of this radical design evangelist."