Large leather seat creating what Taft calls “a floating effect.” The two chairs Suggests, is the boss’s chair for relaxing: large, sunk deep down to the floor,Īnd featuring curved black leather arm pads on the horizontal rests that form a The round chair is understated and unassuming, the Chieftain, as the name Together, the two seem to capture two different forms of aspiration. The other is the Chieftain chair designed by Finn One of two pieces that Maggie Taft considers in her new book The Chieftain and the Chair: The Rise ofĭanish Design in Postwar America. $22.50, 184 pp., University of Chicago Press As one magazine writer from the time described Danishįurniture: It was “human and warm” unlike the “totalitarian” aesthetic put ![]() Products but, without bulk and ornamentation, a sign of the future in whichįorm follows function. The design was aptįor postwar America: democratic looking in its simplicity and use of natural Natural handle), like many other streamlined Danish products. Simple-one big curve that could easily be picked up and moved (the back was a ![]() The ultimate symbol of midcentury sophistication. In the intervening 60 years, we haveĬome to think of JFK winning the debate by knowing how to play to the camera.īut maybe the chairs also helped: They were Danish. On the chair next to him, Kennedy, with his legs crossed,Īppears relaxed, youthful, and handsome. Nixon was memorably not telegenic: sweaty and ![]() Presidential debate, in 1960, began with both candidates sitting before approaching
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