Specifications
Furniture—menu.as
Product Type
Lounge Chair
Environment
Indoor
Dimensions (cm / in)
H: 90,6 cm / 35,7"
W: 71,3 cm / 28,1"
D: 66,9 cm / 26,3"
SH: 30 cm / 11,8"
Colours
Shell: According to Upholsery
Base: Natural Oak or Dark Stained Oak
Knitting Chair
Designed by Ib Kofod-Larsen in 1951 and re-launched by MENU in 2018, the Knitting Chair is now
reimagined in new upholstery fabrics, bringing with it the opportunity to customise the classic
design to suit modern sensibilities. The rst classic furniture design produced by MENU, the chair’s
characteristic cutaway elbows and curved, conical back oer optimal sitting comfort. Handmade
in Sweden by skilled craftspeople, the Knitting Chair’s distinctive triangular silhouette, cutaway
sides and low pitch bring personality to any room.
Dened by an exposed, triangular construction, a gently curved seat and back ideally pitched
for relaxation, and distinctive cut-outs for resting the elbows when reading, Ib Kofod-Larsen’s
Knitting Chair is a masterful example of proportion and unexpected, sculptural form. Beautiful
from every angle, the lounge chair is easy to t into any room layout. Despite the chair’s enveloping
comfort, it has a relatively small footprint, making it a match for both compact and more spacious
interiors. Since its re-launch by MENU in 2018, bringing the sophisticated, inventive design to
a new generation of design connoisseurs, its enveloping comfort has been synonymous with
inventive design. Now updated with a range of new upholstery fabrics, the lounge chair enters a
new chapter in its history with all the hallmarks of great craftsmanship.
About the Designer
Danish-born architect and furniture designer Ib Kofod-Larsen (1921–2003) earned his architec-
ture degree from the Royal Danish Academy in Copenhagen, opening his own studio in Copen-
hagen in 1948. A prominent gure in Danish Modernism alongside such masters as Kaare Klint,
Hans J. Wegner, Børge Mogensen, Finn Juhl and Nanna Ditzel, Kofod-Larsen viewed Scandinavian
design not as a regional phenomenon but as part of international modernism. He enjoyed great
success internationally, becoming the best-selling Danish architect in the US in the 50s, working
with furniture manufacturers in Germany, Sweden, Japan, the US and the UK, and exhibiting