FNJI 2020 Crest Line New Collection

来自Fnji 梵几对gooood的分享。更多请至：Fnji on gooood
Appreciations towards Fnji for providing the following description:

9月1日，中国独立家具设计品牌梵几十周年之际，在北京黑糖盒子艺术中心先锋性地举办了中国首次家具设计展演——寻河，以“场景诗与物体剧”的形式呈现品牌十年的历程。这是中国家具设计品牌历史上，第一次以“秀场”的形式将品牌理念和新品发布结合。梵几从创立到不断变得完整，如同一条寻河之路，是对自身的寻回往溯，并在永恒的时间之下，一直流动，延续。十年时间，梵几所做的事都在诠释“生长于野，安于室”，这一融注在血液里的品牌理念。

2020 September 1st, on the tenth anniversary of Fnji, a Chinese independent furniture brand, the first furniture design performance in China–Dream Flow, was held at the Beijing Hey Town Art Center, presenting the ten years of the brand in the form of “scenic poetry and object theater”. This is the first time in the history that a Chinese furniture brand combines its brand concept with new collection release in the form of a “show”. Since its establishment, Fnji has become increasingly integrity and perfect. It is like a journey in search for a river and tracing of self, which keeps flowing and going on in the eternal time. What Fnji has done in the past decade is interpreting the concept of “Nature Bred, Home Nourished” that is flowing in the blood of the brand.

▼梵几2020山脊线新品系列，Fnji 2020 Crest Line New Collection ©梵几

自然，是“生长于野“的基因。中国的道家哲学有“道法自然”的表达，人与自然的亲近感是与生俱来的。梵几始终坚持以实木为主体，融合皮、羊毛、石材等多种自然材质，将取诸山野的灵气回归日常生活之中。而从自然形态中汲取的灵感也造就了梵几诸多经典之作，如螳螂椅、豆荚摇椅、海星椅等。

Fnji carries the gene of “Nature Bred”. The Taoism of China has an expression, “Tao models itself after nature”. The intimacy between humans and the nature is inherent. Fnji has always insisted on taking solid wood as the main material and using a multitude of natural materials like leather, wool and stone, infusing the spirit of the nature back to the daily life. The inspiration drawn from the natural forms has also give birth to various classical works of Fnji such as Mantis Chair, Peascod Rocking Chair and Starfish Chair.

▼从自然中汲取灵感，inspired by the nature ©梵几

“安于室”，是梵几关于传承的凝练和表达。通过对东方文化与传统生活的感知，结合现代人的生活方式，将东方韵味与哲思付诸于设计的灵感之中。梵几一直坚持手工打磨，保留木材原生纹理与质感，呈现冷硬的工业化制造无法复制的微妙细节和温润触感，是对中国传统技艺的传承与保护，也是对设计的极致追求。

“Home Nourished” is the refinement and expression of Fnji on inheritance. By perceiving the Oriental culture and traditional life and combining with the lifestyles of modern people, the Oriental flavor and philosophy are incorporated into the inspiration of designers. Fnji has always insisted on manual polishing to preserve the natural wood grain and texture, presenting the subtle details and a gentle touch which cannot be copied by the cold and hard industrial manufacture. It is the inheritance and protection of traditional Chinese craftsmanship, as well as an ultimate pursuit of design.

▼梵几2020山脊线新品系列的用场景，usage scene of Fnji 2020 Crest Line New Collection ©梵几

梵几2020山脊线新品简介
Crest Line New Collection of Fnji, 2020

风筝床
Kite Bed

尺寸：L/W281 P/D233 H112
适用床垫尺寸L/W180 P/D200 H220

风筝床的设计灵感来自于中国传统的风筝燕子，床的靠背部分取了风筝燕子的翅膀造型，硬体的实木线条有一个向后弯曲的张力，而软体部分则向使用者围合，增加舒适度。实木和软体用金属五金连接，形成一种空间感，让人联想到传统水墨画的虚实关系。床脚的部分则汲取了燕子尾部纤细、外扩的造型。这款床因为靠背的软体部分厚度较大，可以最终与实木部分在一个平面，因此可以靠墙放，也可以单独放置，隔开卧室的空间。

The design of the kite bed is inspired by traditional Chinese swallow-tailed kites. The backrest of the bed takes the shape of the wings of a swallow-tailed kite. For the hard part of the bed, the solid wood lines have a backward bending tension, while the soft part of the bed encloses the user to increase the comfort. The solid wood and the soft part are connected with hardware to create a sense of space, reminding us of the relationship between virtual and reality in traditional ink wash painting. The foot of the bed takes the shape of the swallow’s tail, slender and expanded. Because of the heavy thickness of the soft part of the backrest, this bed can be placed on the same plane as the solid wood part. Therefore, it can be placed against the wall or placed independently to separate the space of the bedroom.

▼风筝床，kite bed ©梵几

使用独具特色的面料KvadratMosaic，Mosaic意为马赛克，这个名字特别精确的表达了这款面料的视觉效果，特殊的加工工艺使菱形的图案有了立体的效果。从远处看，面料有着整体的颜色，但仔细观察会发现每款布料的颜色是由两种微妙对比的颜色或同色调的纱线结合在一起形成的。

The unique fabric KvadratMosaic is adopted. The name KvadratMosaic specifically expresses the visual experience brought by the fabric. The special processing technology gives the diamond pattern a three-dimensional effect. Looking from a distance, the fabric has an overall color. But if you look closer, you will find that the color of each fabric is formed by the combination of two subtly contrasting colors or yarns of the same tone.

▼远看面料有着整体的颜色，fabric has an overall color from distanced view ©梵几

为了达到向异形软体向内包裹的效果，在制作过程中人工介入比较多。面料选择上则采用弹力高的面料才能制作出风筝床异形软体。产品链接件为梵几自主研发的金属链接件。

In order to achieve the effect of wrapping the special-shaped soft roll inward, lots of manual intervention is needed in the production process. As for choosing the fabrics, highly stretch fabrics is used to make the kite bed with special-shaped soft roll. The connecting piece of the product is made of metal independently developed by Fnji Furniture. ©梵几

▼细部，details

豆荚摇椅
Peascod Rocking Chair

尺寸：L/W189 P/D78 H74（坐高32）

“小时候帮父母摘豆角。手里把玩着这样一个弧形的东西，指尖感受到有很多豆子的凸起。来自自然的事物会有自己浑然天成的弧线变化，这其实是自然界生长的规律，不论是人的骨头，还是树干树枝从粗到细的变化等等。而豆荚，它是一个片状再到三维立体的一个变化：先出来一个鼓鼓的豆子，再回去。再出来，再回去。是这样的一个形态，也是非常美的。我就想到用这种灵感去表现一个摇椅。做摇椅一直都是我的一个愿望。小时候去沈阳的亲戚家时，他家有一个特别大的大摇椅，我就觉得，老人坐在上面怎么那么惬意啊。后来自己也买过好几个摇椅。作为灵感，我就想把豆荚给我带来的美去实现出来。而用到的两个颜色：青绿色、紫色，也是我对记忆中豆子颜色的一个诠释。” ——创始人、主设计师古奇

“I helped my parents pick long beans when I was a kid. Holding this arc thing in my hands, I could feel the bulge beans with my fingertips. Why do I always talk about my love to the nature? It is because the natural things have a natural change on the arc. In the later period, I designed less and less simple products with straight lines. The designs from my hand basically have curves. It is actually the law of natural growth, regardless the human bones or the branches from thick to thin. The peascod shows a change from a slice to three-dimensional body. A fat bean runs out and in repeatedly. It is a very beautiful form. I want to make a rocking chair with this inspiration.” ——by Guqi,CEO and Designer of Fnji

▼豆荚摇椅，peas cod rocking chair ©梵几

豆荚摇椅是梵几的第一把摇椅，一个有动态体验感的家具。灵感来源于豆荚，用实木框架模拟豆荚的外部造型，用软包模拟内部的豆子。豆荚摇椅的设计特点来源于豆荚流线感的整体造型，与螳螂椅类似的扶手和悬空靠背，圆柱体软包的尝试。

The Peascod Rocking Chair is the first rocking chair of Fnji Furniture, a furniture with dynamic experience. Inspired by peascods, the solid wood frame is like the external shape of the peascod, and the soft roll is like the beans inside. The design of the Peascod Rocking Chair is inspired from the overall streamlined shape of the peascod, with the armrest and suspended backrest that is similar to the mantis chair, and a cylindrical soft roll.

▼整体造型富有流线感，streamlined shape of the chair ©梵几

豆荚摇椅的诞生经过一系列的尝试。它实现难点在于，如何保证摇椅摇动的曲线在一个舒适的范围，以及在静止状态下保持一个易于上下的角度。对于这两个问题，我们在前期做了很多专门测试摇动弧线的样品，经历过很多坐上去头重脚轻的失败的打样产品之后（设计师一度想要放弃），最终寻找人机工学的完美平衡点。我们加厚了曲木板坐面连接位置，但保留了曲木板纤细的边缘，使曲木板既能靠自身的厚度支撑起人躺下的重力，同时可见面仍旧纤细有灵动的美感。

The birth of the Peascod Rocking Chair took a series of attempts. The difficulty lies in two problems, namely, how to ensure that the rocking curve of the rocking chair is in a comfortable range and how to maintain an angle that is easy to go up and down in a static state. Regarding these two issues, we did a lot of tests to test the rocking curve in the early stage. After many failed prototyping products (the designer even wanted to give up), we finally found the perfect balance of ergonomics. We thickened the connecting part of the curved board, but retained the slender edge of the curved board, so that the curved board can support the user when he/she lies down by its own thickness, and meanwhile, the visible surface is still slender and beautiful.

▼细部，details ©梵几

摇椅的软包垫由5种不同直径不同硬度的12个圆筒相连组成。根据人躺在摇椅上的受力情况和人体的坐姿特征，设计师为放于不同位置的圆筒的设计了不同的硬度，也精心设计量不同尺寸的圆筒排布方式，以保证整体座面既柔软又有支撑。豆荚摇椅的软包垫并不是牢牢固定在木架上的，所以针对不同身高的人，可略微调节软包垫的位置，以达到相对最舒适的体感。软包套表面材料为100%意大利制造牛皮。此款皮丝绸般柔滑，紧致耐用，饱满且具有包容性。软包垫放在木架上，软包套不可拆，但可整体换。

The soft cushion of the rocking chair is composed of 12 cylinders with 5 different diameters and levels of hardness connected together. According to the force on the chair when the user is lying on it and the characteristics of the sitting position of the user, the designer designed cylinders placed in different positions with different levels of hardness, and carefully designed the arrangement of cylinders of different sizes to ensure the overall seat surface is soft and supported. The soft cushion of the rocking chair is not firmly fixed on the wooden frame, but can be slightly adjusted based on the height of the user, so as to provide the most comfortable experience. The external material of the soft roll is 100% Italian-made cowhide. The leather is silky smooth, firm and durable, rich and inclusive. The soft cushion is placed on the wooden frame, the cover of which is not removable, but can be replaced as a whole.

▼摇椅软包可以根据使用需求调整位置，the soft cushion of the rocking chair could be adjusted according to different requirements ©梵几

螳螂椅10周年纪念版
Mantis Chair 10th year anniversary limited version

尺寸：L/W56 P/D57 H91（坐高45 扶手高65）

螳螂椅10周年纪念版，在现有的螳螂椅软体的基础上进行了再设计，改良软包坐垫部分，靠背圆角增加，使整体造型更加圆润。其次，软包表面材质从布料改为皮料，表面增加类似螳螂肚子的不等距缝线下凹缝线，营造出一种类似螳螂肚子的凹凸感，为一个平面化的坐垫增加立体感。使整体造型更加立体。设计上，靠背线条比经典版本的螳螂椅圆角更大，缝线宽窄不一，坐下时皮面微微起伏，有呼吸感。

The 10th anniversary limited version of the Mantis Chair is redesigned based on the existing soft roll of the Mantis Chair. The design of the soft cushion is improved, and the rounded corners of the backrest are increased to make the overall shape look rounder. Secondly, the external material of the soft roll is changed from fabric to leather, and the surface is added with unequal-spaced stitches similar to the belly of a mantis, creating a concave-convex feel similar to the belly of a mantis, adding a three-dimensional sense to the flat cushion, and making the overall shape look more three-dimensional. In terms of design, the backrest line is larger than the classic version of the mantis chair with larger rounded corners, and the stitch widths are different. When sitting down, the leather surface is slightly undulating, as if it can breathe.

▼螳螂椅，mantis chair ©梵几

软包套表面材料为100%意大利生产牛皮，此款皮丝绸般柔滑，紧致耐用，饱满且具有包容性。为了使增加的缝线看起来有凹凸感，设计师把皮料与海绵预先缝在一起，这样有缝线的位置自然就下陷，而没有缝线的皮面凸出并且坐在上面有软度。

The external material of the soft cover is 100% Italian-made cowhide. This leather is silky smooth, firm and durable, rich and inclusive. In order to create a concave-convex feel to the stitching, the designer stitched the leather and sponge together, so that the stitched position can naturally sag, while the leather surface without stitches will bulge and be soft when sitting on it.

▼椅子表面设有不等距缝线，the surface of the chair with unequal-spaced stitches ©梵几

▼细节，details ©梵几

铠甲椅
Armor Armchair

尺寸：L/W79P/D75 H82（坐高42）

梵几第一件全皮质的单人椅，也是第一件运用定型海绵工艺的椅子。铠甲椅三维曲面的流线造型，为了追求品质和美感，运用整张牛皮，几乎没有打断线，结合定型海绵工艺，一体成型。软包弧线紧致、挺拔，宛如英姿飒爽的武士，软包缝线彰显细节。铠甲座椅扶手、后背分别与底座相连，靠背的边缘紧挨扶手的边缘，扶手的中部有一个收腰的设计，向上略微外张，有一种动态的张扬，向下则紧挨坐垫，更为收敛一些。座位内侧用金属螺杆连接扶手及靠背。铠甲椅在搭配上可用于书房客厅等，可搭配工字边几，四脚圆几等小而高的茶几，可配合各种沙发，作为房间的点睛之笔。

It is the first full-leather armchair of Fnji Furniture, and also the first chair to use stereotyped sponge technology. The streamlined shape of the three-dimensional curved surface of the armor armchair, in order to pursue quality and beauty, is applied with a whole piece of cowhide with almost no broken lines. Combined with the stereotyped sponge technology, it looks as a whole. The soft-covered curve is compact and straight, just like a heroic warrior, and the details are highlighted in the soft-covered stitching. The armrest and back of the armor armchair are connected to the base respectively. The edge of the backrest is close to the edge of the armrest. The middle of the armrest has a waist-contracting design, which is stretching upwards slightly, with a kind of dynamic feel, and is close to the cushion downwards, which is more low-key. The inside of the seat is connected to the armrest and the backrest with a metal screw. The armor armchair can be used in the study, living room, etc. It can match small and tall coffee tables such as I-shaped side tables and four-legged round tables, as well as various sofas as the finishing touch of the room.

▼铠甲椅，armor armchair ©梵几

▼全皮质单人椅，full-leather armchair ©梵几

国王圆桌
King’s Round Table

1.35版：L/W135 P/D135 H750
1.6版：L/W160 P/D160 H750

梵几第一件带转盘的圆桌，也是梵几第一次使用金属铸造的方式来制作家具。国王圆桌的支架宛如皇冠，用铜材质一体浇铸而成，现在国内几乎不会再有人用这样的方式，用铜铸造一个大尺度整体的圆形支架铸件，是突破极限的一次工艺尝试。支架看似纤细，实际十分坚固、扎实，铜表面留有手工的质感与美感，起到支撑桌面，连接底座的作用。金属棱与棱之间等距的间隔有种空灵之美。金属支架与底座的连接，在视觉上同时也起到了平衡稳固的作用。

It is the first round table with a turntable of Fnji Furniture, and also the first time that Fnji Furniture used metal casting to make furniture. The bracket of the King’s Round Table is like a crown, which is cast in one piece with copper. it is rarely seen in China nowadays to cast a large-scale integral round bracket with copper, which is a technological attempt to break the limit. The bracket looks slender, but it is actually very strong and solid. The copper surface has a handmade texture and beauty, which can support the tabletop and connect the base. There is a kind of ethereal beauty in the equidistant spacing between the metal edges. The connection between the metal bracket and the base also plays a role of balance and stability visually.

▼国王圆桌，King’s round table ©梵几

通过中部金属架连接底座和桌面，1.6米圆桌配有转盘，桌面与桌腿之间的金属支架使用金属铸造工艺，桌面为实木边框贴皮板内芯，黑胡桃、橡木直纹拼花，实木收边。桌子气场强，金属与木的结合，细节丰富。国王圆桌更符合中国人的用餐习惯，且尺度更大，不论是自己用餐还是和家人朋友分享都能满足需求。

The base and the tabletop are connected by a metal frame in the middle. The 1.6-meter round table is equipped with a turntable. The metal bracket between the tabletop and the legs is made of metal casting. The tabletop is a solid wood frame with a plywood core, made of black walnut, with oak ruled art pattern and solid wood edges. The table presents a strong aura and is rich in details with a combination of metal and wood.The King’s Round Table is more in line with the Chinese dining habits and has a larger size. It can meet the needs of users whether they are dining alone or with families and friends.

▼使用场景与支架细部，usage scene and bracket details ©梵几

冰山沙发
Iceberg Sofa

材料：实木+布面软包
尺寸：L/W247 P/D117 H86
木料：黑胡桃
面料： kvadrat fiord2 721 冰蓝 ice blue

Material: Solid wood; upholstered in cloth
Size: L / W247 P / D117 H86
Timber: Black Walnut
Fabric: Kvadrat fiord2 721 ice blue

冰山沙发的灵感源自于冰川，是一个有关于时间的故事。沙发轮廓分明的座面、靠背、扶手讲述着冰川的形成，异形曲线的实木底座代表着冰川的流逝，每个体块都是不同的造型，各自独立，又互相咬合，形成一个动态的生命体。“给时光以生命，给生命以平等”，冰川之下，人与动物是命运的共同体，人类要珍惜与自然相处的时光。

The Iceberg Sofa is inspired by glaciers and is a story about time. The sofa’s well-defined seat surface, backrest and armrests tell about the formation of the glacier and the solid wood base with special-shaped curves represents the disappearing of the glacier. Different in shape, independent blocks interlock with each other to form a dynamic assemblage. “Give life to time and give equality to life.” Under the glacier, human beings and animals are a community of common destiny. Human beings should cherish the time with nature.

1. 环保角度
Environmental protection

冰山沙发是梵几2020年九月即将发布的高端线中的重磅设计。作为梵几山脊线山沙发创作的延续，其创作灵感来源于大自然的冰山。梵几自品牌成立以来一直强调自然、人和家具之间的关系，设计元素也多以自然为主。这次采用冰山元素，是梵几对自然的敬畏和对环境保护的思考与审视。近些年我们看到很多新闻，由于全球气候变暖，南北极的气温高达20度，冰川融化。企鹅、北极熊等珍稀动物，生存环境遭到严重破坏，处在濒临灭绝的边缘。同时，永久冻土的消融，也意味着来自远古的病毒即将释放，这威胁着所有动物和人类的生存。借此，梵几作为一个家具设计品牌，想通过设计唤醒更多人对于环境保护的认知，记录这个时代真正与人文价值息息相关的产物。

The Iceberg Sofa is a continuation of the Mountain Sofa of the Fnji Crest Line. It is inspired by the natural iceberg. Since its establishment, Fnji has always attached great importance to the relationship between nature, people and furniture, and has based most designs on nature. The adoption of the iceberg element this time shows Fnji’s awe of nature and its thinking and review of environmental protection, about which we have seen a lot of news in recent years. Due to global warming, temperatures in the north and south poles have reached 20 degrees, and glaciers have melted. Rare animals such as penguins and polar bears have suffered severe damage to their living environment and are on the verge of extinction. At the same time, the melting of permafrost also means that the ancient viruses are about to be released, which threatens the survival of all animals and human beings. In view of this, Fnji as a furniture design brand wants to awaken more people’s awareness of environmental protection through design and hopes to voice together with socially responsible brands like Kvadrat and to record the products of this era that are closely related to humanitarian values.

2. 冰山理论角度
“Iceberg Theory”

海明威有一个著名的“冰山理论”，他说：“冰山之雄伟壮观，是因为它有八分之一在水上面。”而其余的八分之七，就让读者依照个人经验和想象力自行补充。在心理学中，“冰山”也是一个人自我的隐喻: 大家看到露出来的，其实只是表面很少的一部分。一个品牌亦是一个自我生命体――我们创造，呈现，而冰山之下，还蕴藏着更大一部分的内在世界。更加丰富的精神与潜意识藏在深层，不为人所见。暗潜在水面之下更大的山体，如果你去揭开它，将会看到生命中的渴望、期待与信念，看到真正的自我，也看见真实的梵几。冰冻三尺，非一日之寒。要形成如此巨大的冰山，过往的每一天都为此徐徐注入了内涵与力量。我们很高兴冰山沙发在梵几十周年时推出，它像是一个由时间累积而形成的象征。

Hemingway once proposed a famous “Iceberg Theory” that says: “it is the 1/8 of the iceberg emerging above the sea that makes it magnificent.” The remaining 7/8 of iceberg should be made up by the personal experience and imagination of the reader. It can be regarded as a simple art. In other words, we delete every unimportant element to make it simple, which outperforms those complicated designs. It either requires elaboration with details nor asks for one hundred percent since 1/8 is a perfect representation. “Iceberg” is a metaphor of the self in psychology: the part exposing to audiences is actually a tiny part of the object. A brand is also a life form —we make creation and presentation, but a bigger inner world is concealed under the iceberg. A more wonderful spiritual world and subconsciousness are hidden in the depth that are invisible. If you reveal the bigger iceberg under the dark water, you will see the desire, expectation and faith of life, you will see the true self and the real Fnji.

用仿生学的手法提取冰川亿万年风霜天工而成的自然形态，转译为沙发的立体块面设计。每个体块都形似雕塑，360度呈现不同的观感；六个独立的体块经过咬合和碰撞组合成一个兼顾独特造型与舒适功能的冰山沙发。实木底座拟似冰川融化而来的冰水。线条冷硬的外形与羊毛面料柔软的触感，极具承托力的人性化设计，打造了冰山沙发层次丰富的坐感。这是梵几对于更加有机不规则形态的尝试，满足基本功能的同时，突破沙发的固有形态和传统概念。

We imitate the natural form of glaciers created by wind and frost in billions of years and applies it to the design of sofa blocks through bionics methods. The blocks are shaped like sculptures and provide different looks from different perspectives. Six independent blocks collide and interlock with each other to form the Iceberg Sofa that is both uniquely-shaped and comfortable. The solid wood base imitates the ice water from melting glaciers. The solemn lines, the wool fabric with soft touch, and the humanization design with strong support create rich feelings when one is sitting on the sofa. This is Fnji’s attempt for more irregular shapes: while keeping the basic functions, we challenge the traditional form and concept of sofa.

异形的体块设计带来了工艺上的极大挑战，回归最原始的方式，内部骨架与表面海绵均拆分成各个面单独加工，再拼合，整个过程需要对工艺精准的把握和运用。精选Kvadrat Fiord多用途的羊毛面料，由混纺纱线搭配未染色纱线编制而成，在表面形成珍珠般小圆点的视觉效果，光影之下营造冰山沙发的立体感。

The special-shaped block design brings great technical challenges. We return to the most primitive method and separately process the internal skeleton and the surface sponge for each surface and then assemble them. The entire process requires accurate grasp and application of techniques. We select the multi-purpose wool fabric of Kvadrat Fiord made of blended yarns and undyed yarns. The visual effect of pearl-like dots on the surface creates the three-dimensional effect of the Iceberg Sofa.

海星椅
Starfish Chair

灵感来源于设计师在日本观察到的雨后自然生长的蘑菇，在后续设计过程中也结合海星的形状特点。三围的由高到低再到高，有一个形状的变化，梵几第一把全皮的椅子，坐面、扶手、靠背都是皮的，整块皮料延伸到腿部，扶手外张，薄而纤细，坐面厚实，带有一定的软度，坐感非常舒适。皮的变化和细节都处理的很好，意大利的皮dani，皮的手感和很多高级汽车的内饰一致。背部高，对背部有支撑，坐面宽大，可供盘腿而坐，设计感强，单椅成景，易于搭配，成为空间中的焦点，与国王圆桌搭配，彰显气场。

The design is inspired by the mushrooms that grow naturally after the rain observed by the designer when he was in Japan, and he also ncorporated the shape of the starfish in the subsequent design. From high, low to high, there is a change in shape. It is the first full-leather chair of Fnji Furniture, the sitting surface, armrests and backrest are all made of leather. The whole piece of leather extends to the legs and the armrests extend outside, thin and slender. The sitting surface is thick, with a certain degree of softness, which it is very comfortable to sit on. The leather changes and details are handled very well. The Italian leather dani has the same feel as the interiors of many high-end cars. The backrest is high and can support the back of the user. The sitting surface is wide, allowing the user to sit cross-legged. With a strong sense of design, the chair is a scene by itself and easy to match any furniture. It becomes the focal point in the space, especially when it matches with the king’s Round Table, presenting a strong aura.