{"id":2032589,"date":"2026-04-27T13:43:57","date_gmt":"2026-04-27T11:43:57","guid":{"rendered":"https:\/\/www.luxsure.fr\/2026\/04\/27\/the-ceramic-rabbit-chair-when-qeeboo-and-fiorucci-transform-a-seat-into-a-graphic-surface\/"},"modified":"2026-04-27T15:41:43","modified_gmt":"2026-04-27T13:41:43","slug":"the-ceramic-rabbit-chair-when-qeeboo-and-fiorucci-transform-a-seat-into-a-graphic-surface","status":"publish","type":"post","link":"https:\/\/www.luxsure.fr\/en\/2026\/04\/27\/the-ceramic-rabbit-chair-when-qeeboo-and-fiorucci-transform-a-seat-into-a-graphic-surface\/","title":{"rendered":"The ceramic Rabbit Chair, when Qeeboo and Fiorucci transform a seat into a graphic surface."},"content":{"rendered":"\n

In Milan, some collaborations don’t seek to produce a new object, but to shift the gaze on an existing one. The Rabbit Chair, designed by Stefano Giovannoni for Qeeboo, offers a demonstration of this at Salone del Mobile 2026, through a reinterpretation by Maison Fiorucci. <\/em><\/p>\n\n

The Rabbit Chair belongs to this category of objects immediately identifiable by their silhouette. A simple shape: two upright ears, a hollowed-out body to accommodate the seat. Since its creation, it has moved between domestic use and decorative presence, oscillating between furniture and sculpture. <\/p>\n\n

The version presented in Milan changes neither its proportions nor its function. It acts elsewhere. <\/p>\n\n

Fiorucci intervenes with a motif. More specifically, Toys<\/strong>, a drawing from the company’s archives dating back to the 1980s. This visual repertoire assembles heterogeneous elements – fruit, birds, lipsticks, cameras, female figures – in a logic of graphic accumulation.
The result is not an orderly composition, but a deliberate saturation inherited from both pop art and 1950s advertising imagery.<\/p>\n\n

Applied in an all-over pattern to the surface of the chair, this motif does more than simply decorate. It reconfigures the reading of the object. The Rabbit Chair ceases to be an autonomous form and becomes a support. <\/p>\n\n

The choice of ceramic accentuates this shift. Unlike the more conventional polymer versions, this material introduces a different temporality: firing, glazing, fixing the decoration. The surface becomes smooth, dense and slightly reflective. It catches the light and stabilizes the colors, enhancing the legibility of the motif. <\/p>\n\n

This transition from plastic to ceramic is not insignificant. It shifts the object from the register of use to that of conservation. We don’t handle ceramics like an occasional chair; we sit on them, look at them, walk around them. <\/p>\n\n

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Detail<\/strong><\/p>\n\n