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• Anemon Pouf

  Neoprene rarely enters the conversation of domestic objects. COVO changes that with the Anemon Pouf, weaving a cord more familiar to wetsuits and athletic gear into something warm, rhythmic, and quietly playful. Each piece is made by hand. The woven structure exploits neoprene's natural elasticity a

• Roxy Maxi Cushion

  The ROXY Maxi Cushion by COVO occupies the space between sculpture and seating. Hand-woven from 25mm polypropylene braid, it carries a dense, tactile weight that reads as geological from a distance and surprisingly soft up close. Its form is deliberately ambiguous: rock-like in silhouette, moldable

• Cilindro Pouf

  The Cilindro pouf by COVO begins with an unlikely material: 4mm rubber yarn, typically associated with industrial use. Braided by hand, it becomes something else entirely, a taut, tactile object with a softness that contradicts its origins. At ø50cm and 40cm tall, the cylindrical form is deliberate

• Robusto Pouf

  Rubber is not a material one typically associates with domestic comfort. COVO's Robusto Pouf argues otherwise. Hand-braided from 12mm rubber yarn, this 50 x 50 x 50 cm square pouf converts an industrial raw material into an object of genuine tactile warmth, its tightly woven surface yielding with an

• Birds on Wire

  Every morning, the same scene: a wire strung with birds, seen from below, against the sky. For the designer behind Birds on Wire, that daily commute through New York City became an act of looking, and eventually, an act of making. A photograph of that familiar urban sight was abstracted and translat

• Series 7™ Chair 3107

  Arne Jacobsen conceived the Series 7™ in 1955 as a refinement of his earlier Ant Chair, pushing the moulded veneer shell to a new formal precision. The four-legged 3107 is the chair that emerged from that pursuit and never left. The shell is formed from layers of wood veneer, cold-pressed into a sin

• Ikeru™ Vase

  Ikebana, the Japanese art of flower arrangement, treats each stem as a considered gesture rather than part of a mass. The Ikeru Vase Low by Fritz Hansen translates that philosophy into object form, using a series of metal flutes to hold individual flowers in deliberate separation, allowing each bloo

• China Chair™

  Hans J. Wegner drew his first sketches for the China Chair in 1944, looking to the seated posture of Ming dynasty furniture as a structural and philosophical point of departure. The result was not imitation but translation: Wegner distilled centuries of Chinese joinery into a Danish vernacular, one

• Egg™ Foot Stool - 3127

  In 1958, Arne Jacobsen designed the Egg for the lobby and reception areas of the Royal Hotel in Copenhagen, one of the most complete interior commissions of the twentieth century. The foot stool, model 3127, was part of that original vision: a companion piece conceived alongside the chair, not added

• Ant™ Chair, 4 Legs - 3101

  In 1952, Arne Jacobsen set out to solve a practical problem: a lightweight, stackable chair for the canteen of the Novo pharmaceutical factory outside Copenhagen. What emerged was the Ant, a single shell of moulded veneer pressed into an organic form that reads, from above, as the silhouette of its

• Egg™ Chair - 3316

  Arne Jacobsen conceived the Egg™ in 1958 as part of a complete interior commission for the Royal Hotel in Copenhagen. The brief demanded furniture that could define a public space without sacrificing intimacy, and the answer was a form that envelops rather than simply supports. The shell is sculpted

• Swan™ Chair

  Arne Jacobsen conceived the Swan in 1958 as part of a complete interior commission for the SAS Royal Hotel in Copenhagen, one of the most ambitious design projects of the postwar era. Every surface, every object in that building answered to Jacobsen's singular vision, and the Swan was among its defi