Tom rose to prominence in the mid 1980s as “the talented untrained designer with a line in welded salvage furniture". He set up ‘Space’ as a creative think-tank and shop front for himself and other young designers. By the late 1980s, he was working for the Italian giant Cappellini for whom he designed the Iconic ‘S’ chair. In the 1990s, he became a household name with ‘Jack’, his polythylene "sitting, stacking, lighting thing" designed for his own company ‘Eurolounge’. In 1998 Tom was appointed head of design by Habitat and later became Creative Director until 2008. He was the public face of a collective team responsible for rejuvenating the Habitat brand. In 2002 Dixon established his own brand under the name ‘Tom Dixon’. The company is based in Portobello, London. In 2004 Proventus, the Swedish-based private investment company, teamed up with Tom Dixon to establish Design Research, a design and product development holding company. The Tom Dixon brand launches new collections of lighting and furniture bi-annually at the Milan international furniture fair and at London Design Festival. In 2012 the company launched its first accessories range at Maison et Objet, Paris. The company’s products are sold internationally in 65 countries. In 2007 Dixon launched Design Research Studio, an interior and architectural design studio. High profile projects include Restaurant at The Royal Academy in London, Jamie Oliver’s London restaurant, Barbecoa as well as Shoreditch House. Most recently Design Research Studio announced their first ever hotel project, redesigning the iconic Thames-side Sea Containers House in collaboration with US hotel giant Morgans Hotel Group due for completion summer 2014.
Geometric mesh-form chair designed by Tom Dixon and manufactured by iconic Italian furniture company Cappelini in 1992. The choice of silhouette, echoing classical high-backed & winged chairs, compares and contrasts with the industrial and future-facing mode of production. Making firm a shape from empty space, the interlocking steel wire “pylons” providing a rigid and supportive surface in remarkably slight use of material — the result typical of Dixon’s style which first arose as the designer learned to weld and self-issue works in the early to mid-1980s around a wave of post-punk and D.I.Y. influence. Pylon armchair, Italy, 1990s; Enameled steel; Unmarked; 55 1/2" x 26" x 21" Provenance: The Sullivan Estate Sale, LAMA, December 14, 2008