amedee
amédée is a settee and armchair combination, designed around a lumbar support which is quilted and stitched just like the bucket seats of the best Italian motor cars. the armchair may be rotating, and there is also a footstool for when it’s time to relax. chic, urban and thus compact, this family of seating acquires undeniable luxury object status when upholstered in the new full grain, pure aniline orga leather, with its slightly smooth, glossy finish.
anda
anda envelops and supports the body perfectly. anda outstrips the archetype of the historical 'fauteuil crapaud' (squat armchair) by offering a totally new shape - offered, for optimum comfort, in both low and high-backed version, complemented by a footstool.
andy
andy seems set to be a great classic, bearing as it does the imprint of pierre paulin. as a precious refinement, he mounted the chromed steel legs inside the armrests both to the front and to the rear, a touch which was just as elegant when viewed from the front as from the rear: inserting the leg into the armrest necessitated more meticulous stitching and upholstery for a perfect finish.
archi
archi is a reproduction of a pierre paulin 1955 original. it pays homage to their timeless design and the perfection of their comfort curve.
base available in satin black lacquer, black stained ash, cherry stained ash and chrome.
astair
astair benefits from all the expertise of ligne roset: a pocket-sprung suspension, the considered use of the very best high resilience foams on the market, and a studied padding which guarantees both comfort and longevity. the working of the tubular steel structure and base is of the highest quality: the base is bent into shape with no visible solder joints or screws. the armchair and its footstool may be complemented with pedestal/low tables with matching bases.
backpack 2
the backpack armchair derives its distinctive personality from the slim, elegant structure/base which is the perfect foil for the perfectly-designed silhouette of its welcomingly thick and ergonomically-curved seat/back cushion. at the top of the back, the cushion rolls over on itself and is held in place by a strap on its back (red or black) which is evocative of the kind of backpack used by the explorers of yesteryear.
bonnie
ligne roset was able to work on the reissue of the bonnie seating using a real collector’s item, one of only a few very rare examples in existence (modèles 500 and 500/2 – design 1975). from the outset, the bonnie seating was striking in terms of its comfort, both visual and real, hugging the lines of the human body fiercely. the bonnie seating is at once extremely comfortable and also clever, without being too clever.
cosse
the inspiration for the cosse is comfort. soft, welcoming contours, a soft, delicate, all-enveloping form which, sustained by a fine natural wood structure, floats above the ground. the remarkable comfort of the seat, achieved thanks to its elastic-webbed suspension, contributes to this feeling of comfort and lightness.
armchair.
elizabeth teck
an iconic model from the 2013 collection, elizabeth captivated from the first with its organic, modern approach to the wing chair. the choice of special 'outdoor' covering materials for the cushions makes it possible to use this seating out of doors.
elsa
a small armchair which shares the same aesthetic inspiration as the chair of the same name. seat shell in thermoformed abs clad in foam, to which the cover is glued.
enki
enki is the first seating evangelos vasileiou has designed for ligne roset. intended to respond to multiple requirements, its pure, elegant lines lend themselves to both stand-alone seating and corner compositions, with a range of 18 items in total. to make it possible to tailor both looks and comfort, there is a choice between 2 leg heights (10cm or 13cm), giving a seat height of either 41cm or 44cm, and a choice of 2 heights for the back cushions.
facett
the magic of facett will touch all those who desire purity, without compromising on the perfection of the design. compare for example the minimalist simplicity of its monolithic form with the ultra-sophisticated work involved in its realisation - in particular the stitching (toning or contrasting), the complexity of which recalls the cutting and shaping of a precious stone, or even the complex folds of origami.
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