Chair_One

Bombo - presented for the first time in 1996 - is an object which has since become part of the collective imagination as the contemporary stool par excellence.

The starting point of this project was a specific manufacturing method: cast iron. It is one of the oldest ways of using ferrous metals.

From 1978 onwards, the “Proust armchair” by Alessandro Mendinwas produced in many versions, using different colours, materials and dimensions, and was even made of ceramics and bronze.

Developed by Magis in 1990, and redesigned in 2003, XZ3 is an easy and essential, but equally versatile table.

Spun is not just a new seat, a new concept in seating and sitting.

The mule has for years been the emblem of our company: that mule has a name: Ettore (Hector), like the Homeric hero, the invincible warrior that only a demigod could defeat.

Sam Son is an easy armchair with a hint of a car toon character. Supported on four stilt legs, the armchair features a softly suspended seat shell between a giant,

Plato designed by Jasper Morrison is a rigorous, minimalist chair that is also versatile and sturdy, and well-suited for both indoor and outdoor settings.

When Magis started to work on this collection with Ronan & Erwan Bouroullec, the idea was to work with an ancient fabrication process and give it a new visual language.

Air-Chair is not just a plastic chair: it takes its name from the “air-moulding” technology that makes it possible to create highly resistant yet super-lightweight products out of polypropylene add

Surrounded by its refined, consistent light, which makes it suitable for any setting, Lost is a neutral lamp with a strong identity, whose distinctive feature is essentialism.

First made almost 10 years ago with the aim of creating an unconventional extending table, Big Will once again marks a new chapter in Magis' creativity.

Modular through and through: The new Costume sofa system from Stefan Diez is pragmatic, transformable and protects resources – it’s the easy-going companion we wish for today.

Sometimes normality can be the fruit of a lengthy process of study and refining.

The line between sculpture and design is very thin in Ron Arad’s work.