Ilé-Ilà introduces The Àdùnní Chair
In a celebration of African modernism, Ilé-Ilà (House of Lines) has recently launched The Àdùnní Chair. “Adunni”, Yoruba for “daughter of the sweet one”, alludes to traditional African aesthetics and minimalist elegance as exemplified in the chair.
Much careful thought has been given to the choice of materials for The Àdùnní Chair. The frame is fashioned from teak wood found in Nigeria, and it is upholstered in two styles of the indigenous Yoruba textile Asò-oké. The front bears Asò-oké Gboro-gidi (solid) and behind is Asò-oké Onja-wú ati iho (perforated), both hand-loomed in Nigeria.
The Àdùnní Chair is available in seven vibrant colours; pupa féré (pink), osàn (orange), pón (yellow), pupa (red), elésè àlùkò (purple), ewé (green) and búlúù (blue). Each accompanied by a matching foot stool, The Àdùnní Chair is indeed a celebration of African art and culture through art.
Chidinma Ekile, the Muse
To formally launch The Àdùnní Chair, a photoshoot was staged with Nigerian singer and songwriter, Chidinma Ekile as muse. Ekile rose to stardom in 2010 after winning the third season of Project Fame West Africa.
Themed ‘This is us – AFRICA’, an advertising campaign was developed by a team of creatives led by Oladotun Ojuolape Kayode as creative director, Emmanuel Oyeleke as fashion photographer, Jane Michael Ekanem as the stylist who translated the 1920’s theme into seven unique looks, Gift Ekhile and Oriaba Wakana as hair stylist and makeup artist respectively, and Oladayo Odunaro as cinematographer and editor, with music provided by SMirK.
Ilé-Ilà, a Yoruba phrase for House of Lines, is a lifestyle furniture line designed and handmade in Lagos, Nigeria. The brand focuses on period-conscious furniture with contemporary African content. Leading Nigerian architect Tosin Oshinowo founded Ilé-Ilà. She is well known for the design and execution of the Maryland Mall Lagos, a commercial piece of architecture that captures the rapid development of the Sub-Saharan region.
Oshinowo’s natural flair for product design is easily recognisable in The Àdùnní Chair. She is particularly interested in the functionality of chairs, and places them within a Nigerian-African identity context. Unlike her minimalist approach to architecture, which often employs mute colours, Tosin Oshinowo’s furniture design aesthetic is a bright explosion of colours.
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