Balou Loveseat

Kenneth Cobonpue is a multi-award winning furniture designer and manufacturer from Cebu, Philippines. His passage to design began in 1987 while studying industrial design at Pratt Institute in New York.

While completing his studies, Cobonpue apprenticed for a leather and wood workshop near Florence, Italy. He went on to study furniture marketing and production at the Export-Akademie Baden-Württemberg in Reutlingen, Germany, under a private and state scholarship program, and subsequently worked in Bielefeld and Munich.

Cobonpue returned home to Cebu in 1996 to manage Interior Crafts of the Islands, Inc., a furniture design and manufacturing company founded by his mother, Betty Cobonpue, in 1972. Discovering that modern design could have a new face using natural fibers and materials, Cobonpue created pieces of functional art, offering an alternative to the Western definition of modern design. Today, the KENNETHCOBONPUE brand has become known globally for its unique designs and extensive roster of clientele, which includes Hollywood celebrities and royalty.

With his masterful way of integrating nature, traditional craft and innovative technologies in his work, designer and creative director Cobonpue has earned international awards and recognition for his creative, organic and expressive pieces. Working closely with some of the world’s leading designers — from household names to emerging talents — Cobonpue has been pushing the envelope for design in the Philippines and sharing his vision with a global audience.

Awards to Cobonpue’s credit include five Japan Good Design Awards, the grand prize at the Singapore International Design Competition, the DFA Design for Asia Award from the Hong Kong Design Centre, the American Society of Interior Design Top Pick selection and the French Coup de Coeur award. Several of Cobonpue’s designs were selected for several editions of the International Design Yearbook published in London and New York. Phaidon’s book, & Fork, underscores Cobonpue’s position as a leader of a new movement incorporating new technologies in crafts. In 2007, TIME magazine called him “rattan’s first virtuoso.” Cobonpue was named the Designer of the Year in the first edition of Maison&Objet Asia held in March 2014 in Singapore.

Cobonpue reveals new work each year in the design shows from Milan to New York, and he speaks regularly about Southeast Asian design all over the world. He has also appeared in European television and in countless international magazines and newspapers around the world. Various Cobonpue designs have also appeared in full-length feature films and television, such as Oceans 13 and CSI.

Find a collection of Kenneth Cobonpue furniture today on 1stDibs.

(Biography provided by Galerie Philia)

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

Antique and vintage loveseats are functional and totally charming furniture in homes large and small these days. They first appeared in the 17th and 18th centuries, though they were not yet known by this endearing term.

These petite, two-seat sofas were originally intended to comfortably sit a woman clad in what were the era’s large and elaborate dresses — ornate hooped garments with copious folds of fabric, embroidery and lace. However, because the original seats featured just enough space for two, they quickly became popular for couples that were courting. Loveseats meant that the couples could engage in close conversation, but furniture makers ensured that there was enough space between sitters to prioritize modesty.

In the early days of loveseats, the furnishings were minimalist in appearance and could often be found in an s-shape, with the two sides facing each other. The spare seating was initially little more than a wooden bench, as loveseats weren’t yet upholstered or cushioned. Design of the seating evolved over time, and this wide chair was eventually padded and tufted for comfort. During the 1800s, loveseats were a luxurious addition to the homes of the wealthy, and even today, antique 19th-century loveseats are still quite alluring. In any lavishly decorated parlor of the Victorian era, you might find a pair of partygoers tucked into a particularly plush iteration of these cozy perches, one boasting arched crests of carved mahogany over its sculpted seats, with front cabriole legs resolving in paw feet.

In modern homes, loveseats — even antique Victorian loveseats — pair well with oversize sofas or are ideal replacements for sofas, particularly if you’re working on organizing and furnishing a smaller space. A loveseat is a stylish addition to a home library or a reading nook and can easily be situated at the foot of the bed in your bedroom. In the living room, you may wish to position your vintage loveseat and couch around a central focal point, such as a distinguishing architectural feature or a fireplace. But be sure to leave some walking room between your seating and any nearby coffee tables or side tables. Allow for around two feet for guests to pass between a couch and chair or loveseat and at least a foot between a loveseat and coffee table.

Find a wide variety of antique, new and vintage loveseats today on 1stDibs.