Emmanuelle rattan armchair

Kok Maison

1 015,00 €

Estimation de livraison Delivery estimated between Friday 16 August et Tuesday 20 August
ID : 6714
Natural rattan structure, wicker cord & rattan splint | Satin water-based varnish
W70 x l110 x H154 cm | Seat height : 42
Manufacturing Indonesia

Emmanuelle rattan armchair by Kok Maison

Passionate about weaving in vegetable fibers and artisanal know-how, the KOK Maison brand is a family business that brings together three generations. It has been able to adapt to new technologies and new demands, while retaining its traditional know-how and its desire to respect the environment.

Discover or rediscover here the famous Emmanuelle rattan armchair which became famous after the release of the film of the same name and which has been around for much longer. Historically, the so-called "Emmanuelle" armchair is a throne straight out of Polynesia, to be subsequently named in the Indian Ocean and then in Asia. For the record it is initially made with veins of palm leaves before become a rattan armchair. Even before Sylvia Kristel made this armchair famous, it had already had a great career in the cinema since in 1931 in "Safe in Hell", we find it in a dozen films and in episodes of Colombo Sometimes majestic, sometimes tiny, there are in fact Emmanuelle armchairs of all sizes, of all fabrications, all Emmanuelle armchairs can be recognized by their large flared backrest, and their "tam-tam" seat. Kok Maison decided to leave this magnificent rattan armchair its original majesty and not compromise on its measurements. On the contrary, they even enlarged the seat in order to make it more comfortable. The Polynesian princes who were initially enthroned. nt on it knew how to hold, and there was no need to add more. Even if the decorative aspect prevails over ergonomics with this style of armchair, it was important for Kok Maison to adapt to the new generations. Manufactured in Indonesia, the Emmanuelle armchair is now entirely made of rattan, with meticulousness and respect for traditions. This represents precise, rigorous and tedious work, within the reach of only a handful of elite craftsmen, which explains the very low output of these productions.

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