The origin of Jasper Morrison's ‘Thinking Man Chair’ dates back to the mid-1980s, when the British designer saw an antique chair from the collection of a friend, gallerist Danny Moynihan. 'I saw an antique chair with its seat cushion removed for repair. It looked more interesting without the cushion and I decided to try to design a chair which was all structure and no closed surfaces,' Morrison recalls.
The ‘Thinking Man's Chair’ photographed in the courtyard of Morrison's London studio
His interpretation of the design featured curved metal slats and tubular elements, and was equipped with two small round tables at the end of the sinuous arms. 'It was to be called ‘The Drinking Man’s Chair’. On my way back from a tobacconist’s shop with a packet of pipe cleaners to make a model with, I noticed the slogan ‘The Thinking Man Smokes’ on the packet, which I quickly adapted as a more sophisticated title,' he wrote in an essay looking back at the design's origin.
Sketches for the chair, 1987
The chair was exhibited at Aram in 1987, where it was spotted by Giulio Cappellini. 'Morrison’s “Thinking Man’s Chair” immediately attracted my attention, and so I went to meet Jasper in his studio,' says Cappellini. 'That was the beginning of a friendship and collaboration that lasted for more than 30 years.' For Cappellini, Morrison has created several pieces that embody the designer's rational approach to furniture, from armchairs and beds to tables and office chairs. 'All his pieces are beautiful,' adds Cappellini. 'But I am particularly attached to the “Thinking Man’s Chair”, because it reminds me of the beginning of this extraordinary relationship.'
‘Low Pad Chair’ by Jasper Morrison for Cappellini, 1999
Here, as part of Giulio Cappellini’s guest editorship of Wallpaper* October 2023 (also including interviews with Barber Osgerby, Patricia Urquiola and Doshi Levien on Cappellini, and Cappellini’s vision for the interiors of tomorrow), the designer tell us about his collaboration with the design visionary, and how it has helped shape the studio's commercial success.
Jasper Morrison & Cappellini
Wallpaper*: How did you meet Giulio Cappellini?
Jasper Morrison: In 1987, some of my work was exhibited at Zeev Aram’s shop in Covent Garden. I think Giulio saw the ‘Thinking Man’s Chair’ there, or in a 1988 article in Domus magazine, and then came to visit my studio.
A sketch of the ‘Thinking Man's Chair’ concept, 1987
The chair's technical drawings, 1987
W*: What did you most enjoy about working with him?
JM: I think we understand each other very well. Whenever we meet, there’s an atmosphere of possibility, and a shared aim to make something new. Thirty-five years later, it’s the same – we sit down and talk about new projects with the same enthusiasm.
‘Universal System’, 1990
W*: How has your collaboration with Cappellini helped shape your career?
JM: Early on, it made a huge difference to be working in Italy with Cappellini. Giulio was building the company into something very special and to be part of it was very valuable, it got me noticed and gave me the confidence and experience to work with other companies like Vitra, Alessi, Magis and Flos.
‘One Legged’ table, 1986-88
W*: What is your vision for future landscapes in private and public interiors?
JM: What’s going on now has a decadent air that reminds me of the Postmodern moment and later swings towards the decorative. Sooner or later, I expect people will get tired of the formalism and there will be a return to something less showy.
A version of this article appears in the October 2023 issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today
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Wallpaper* Power 200: the world’s top design names and influencersIt’s back with a double helping of provocation and praise. We have plumped up this year’s Power List to a meaty two-ton’s worth of carefully measured rankings, an upscaled calibration of design achievement. As we strongly suspected, last year’s Power 100 caused a considerable stir and provoked strong words. And, as last month’s editor’s letter made clear, even alarming threats of revenge and recrimination. So this year, unchastened, we thought we would do it all again, but double the dose. To mark our 200th issue, the power 100 has become 200. Or rather 100+100 (normal disservice will be resumed next year). And, in a self-congratulatory nod to our keen eye for talent and perhaps the propulsive effect we have had on nascent design careers, we have trawled the Wallpaper* archives, retraced our expert truffling and recovered the debut appearances of future Power Listers. (Look out for long-lost hair, unlined faces and eyes undimmed).
