Aërias Chair

Aërias begins with the disciplined order of Viennese wickerwork. But instead of treating tradition as a surface motif, Tilla Goldberg and Ippolito Fleitz Group change the rules that make it recognizable. By enlarging the weave, much like a typeface that reveals a different voice at a different size, the pattern becomes graphic and almost architectural. What was once background turns into structure, a semi-transparent layer that sits in the room rather than simply occupying it. A quiet dance of shadows that shifts with daylight and movement, letting the chair participate in its surroundings.

The comfort is where the idea proves itself. Leather straps, stretched across a precisely milled and moulded wooden frame, work like a drum skin. Taut, responsive, and subtly yielding. The chair doesn’t ask the body to conform, it absorbs small changes of posture and makes leaning back feel natural. Executing a traditional weaving technique at this scale, in leather, requires hands that understand tension and alignment the way a musician understands pitch. The optional two-tone weave amplifies the pattern without turning it into decoration, it simply makes the construction more legible.

ClassiCon’s strength has long been its belief that refinement is a process, not a finish, and Aërias makes that visible. Developed in cooperation with three German artisanal enterprises, it sits at the meeting point of moulded wood, leather meshwork, and contemporary frame construction. An object shaped as much by dialogue as by drawing. Goldberg describes it as “a wanderer between different worlds,” and that feels right because it’s a chair that holds the memory of one of our oldest crafts while speaking in a new material language. In the hands of a studio built to move across disciplines, and led in product design by Goldberg’s insistence on a clear signature, Aërias becomes what furniture rarely dares to be: a practical companion at the table, and a small, convincing invitation to imagine.