Not much is known about Milanese architect Orlando Orlandi except that he worked with Gio Ponti for a certain period of time. It has been suggested by various sources that this specific design is also a fruit of their collaboration, but this has not been confirmed. It may be assumed that the gentlemen shared their avant-garde formal language. Graceful, powerful and very architectonic.
Imagine a décor from a Luca Guadagnino film or a lavish setting in a beautiful country house from one of Luchino Visconti's classics. There, these majestic wingbacks will take on the role of protagonist rather than an inconspicuous supporting role. In fact, superlatives are insufficient to describe the elegance and refinement of these chairs.
The notion of tension on the lines of the poplar wooden frame reveals the sublime craftsmanship that lies behind it. When you touch the armrest or the shapely ears, it immediately becomes clear that it feels pleasant. The patina has been able to develop in peace and quiet into a layer of finesse that radiates warmth and solidness. This phenomena solely occurs as time progresses. And time has been kind.
Both the left and right parts of the frame consist of seven separate pieces, and the drawing in the wood shows a subtle variation in each part. For example, we see coarser or more exuberant flames near the feet that become calmer in design at the top of the backrest. The sensual armrests appear, as it were, from the front of the wood and disappear at the level where the lumbar region rests. This is made with so much tenderness.
We shift our gaze to the actual seating area. These have been completely reupholstered in a mustard mohair fabric of the highest quality. Both the seat and the backrest have been finished with piping all around and pleats have been added using a capiton. The interior has also been renewed and offers pleasant seating comfort.
Finally, we would like to emphasize that the monumental character of these chairs represents a tradition of beauty and craftsmanship from times gone by, but its shapes were progressive at the time and still are today. They became pure vintage examples of highly refined furniture.
Roberto Aloi, ""Esempi di Arredamento Moderno: Sedie, Poltrone, Divani"" Milano, Hoepli, 1954, page 210 shows a photo of the Orlando Orlandi chair with an ottoman with the description, “Poltrona in noce ricoperta di stoffa cretonne a fiori. Dis. Arch. Orlando Orlandi, Milano”."