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colours in shape
Arne Jacobsen set a new standard for chair design when he created Series 7 – a design fit for the future in 1955. For eternity, some would say. The most sold stackable chair in design history, it has become a style icon and is seen by many as one of the finest examples of timeless design. It has remained popular for six decades – a period of profound changes in technology, culture and lifestyle. Series 7 has now reached its 60th anniversary and is still in perfect shape to continue its journey towards new generations with new demands and new standards for design.
To celebrate the chair that has sold more than seven million copies so far, Fritz Hansen asked the danish artist Tal R to pick nine new colours for the Series 7 chair. Tal R is internationally celebrated for his profound sense of colour, which is also clearly evident in the beautiful colours he has chosen for the new editions of the Series 7 chair.
Fritz Hansen’s approach to colours is associated with our choice of genuine materials that patina over time in a constant state of gradual transformation. Fritz Hansen appreciates this slow metamorphosis, which is also reflected in the nine new colours by the danish artist Tal R.
the nine new colours
Tal R has chosen opium red, which sparks associations to shanghai of the 1930s. With its decadent expression, opium red symbolizes the mystique of the far east.
Another new colour is, which is japanese for indigo blue, a deep shade of blue that is forever drawn towards black. at first glance, the colour appears a dark, rich blue, but after some time darkens further and takes on an amazing sense of depth.
Chocolate milk brown is an indulgent brown with a touch of creamy white. this colour is drawn between brown and rose. It sits right in between the two shades but with a touch more rose, which gives a wonderful warm feel. the colour is like a warm embrace with an appeal that enchants the eye.
Named after the port city in north-eastern italy, trieste is the impossible blue that has been used by so many artists over the decades, especially the impressionists. Tal R chose the name trieste because of the many stories he has heard about the place as a windswept port surrounded by a sparkling blue sea. That is the image behind the colour. Tal R does not want to visit trieste, because he suspects that his mental image might be stronger than the real-life experience. trieste lies somewhere between violet and blue, strong forces pulling it in both directions.
Hüzün green is inspired by islamic green, which is also used on the public buses in Istanbul. hüzün is turkish for wistful, a word that captures the dreamy mood of the colour with its bittersweet touch of nostalgia and yearning. The unique quality of this green is its faded character. It used to be something else, and the implied patination imbues it with a story all its own.
Egyptian yellow is a rich and saturated colour that sparks associations to ancient egypt. The colour has a touch of lead which gives it a highly characteristic and distinctive tone.
Altstadt rose is one of Tal R’s signature colours, as he always includes a rose in everything he creates. the rose expresses impermanence and fiery beauty. This rose has its golden days behind it and is now a fading beauty. To Tal R, this colour suggests a cherished object that has been hidden away in a drawer for a long time, fading with time and acquiring a new expression and a different beauty than it once had.
Evren purple is named after Tal R’s wife. When he looks at her, he sees the colour purple. To him, she is the essence of that colour, embracing it in every way – attractive and passionate, like the colour itself.
Chevalier is an oriental orange. with its air of aristocracy and fine riding horses, Tal R describes it as the most exclusive colour on the new scale.