Capo

Cappellini

2011

Chair

Description

The first collaboration between Doshi Levien and Cappellini gave rise to Capo, an armchair defined by a slender yet enveloping form. Its shape and materiality were inspired by the image of a dapper gentleman in a well-cut suit and a felted hat – a sartorial attitude translated into furniture. As the name Capo suggests, the chair’s wide cantilevered arms and upturned lapel-like back subtly bestow a sense of authority on the sitter. The open embrace of the chair is welcoming, while once seated it amplifies your presence.

The thin, flexible edges of the shell create a sense of shelter without closing the form, reinforcing the chair’s light and open character. This interplay between crisp tailoring and soft curvature gives Capo a distinctive silhouette, while remaining visually refined.

Capo is available in several variations to suit different environments. Leather, faux leather, felt and Alcantara can upholster the entire armchair or be used in contrasting combinations on the front and back. These materials, combined with the clarity of the chair’s form, allow Capo to sit comfortably in both domestic and contract settings.

Credits
Portraits on blue Capo: Jonas Lindström
 Portrait of Nipa Doshi on red Capo: Alisa Connan
Capo
NIPA DOSHI AND JONATHAN LEVIEN WITH CAPO
(Fig 1)

NIPA DOSHI AND JONATHAN LEVIEN WITH CAPO

Nipa Doshi and Jonathan Levien bring myriad influences to bear in their work, combining sculptural forms, colour, tactility and warmth with geometry, precision and technology to produce what journalist Fiona McCarthy termed “design that communicates”.
CAPO HAS AN OPEN EMBRACE
CAPO HAS AN OPEN EMBRACE
CAPO HAS AN OPEN EMBRACE
CAPO HAS AN OPEN EMBRACE
(Fig 2)

CAPO HAS AN OPEN EMBRACE

The thin, flexible edges of Capo’s shell create a sense of shelter without closing the form, reinforcing the chair’s light and open character.
STUDIO PROTOTYPE
(Fig 6)

STUDIO PROTOTYPE

A fabricated wood frame provides the geometric foundation of the seat, from which cardboard surfaces are added to define the surfaces.
A CHAIR WITH PRESENCE
(Fig 7)

A CHAIR WITH PRESENCE

With its wide cantilevered arms and upturned, lapel-like back, Capo frames the sitter with a quiet sense of authority. The open embrace is welcoming, while once seated the form elevates your presence within the space.