George Smith & Tom Dixon Wingback Chair Review - Furniture Haul

In the world of design, few names command as much attention as Tom Dixon. Synonymous with innovative, often industrial-inspired lighting and furniture, Dixon has built a reputation on challenging conventions. So, when it was announced that he would be collaborating with George Smith in 2008, the venerable British upholstery house celebrated for its traditional, handcrafted furniture, the design world took note. 

The fruit of this unexpected partnership, unveiled during the London Design Festival in 2008, is the Wingback Chair: a piece that masterfully bridges the gap between centuries-old craft and contemporary sensibility. It is not merely a chair; it is a statement on the enduring value of craftsmanship in a disposable age.

The launch itself was a masterstroke of experiential marketing, perfectly setting the stage for the product. Rather than presenting the finished chairs in a sterile gallery setting, Dixon and Smith transformed a Knightsbridge ballroom into a live, working upholstery factory. Visitors were granted a rare and privileged glimpse into the soul of the object, watching teams of skilled artisans—cutters, seamstresses, upholsterers—bring the chairs to life from the ground up. This transparent display was a powerful declaration of intent. It shouted that the value of the Wingback Chair lies not just in its final form, but in the painstaking, human-centric process of its creation.

This process is where the chair’s true story begins. Employing techniques honed over generations, each frame is handcrafted from sustainable wood, ensuring a foundation that is both ecologically responsible and incredibly durable. The photographs from the exhibition tell this story eloquently: the raw, skeletal frame; the careful placement of springs within the seat to provide responsive support; the meticulous hand-sewing of the fabric to the chair’s back. Every step is a testament to a philosophy that prioritizes longevity over trend, and substance over style. This is heirloom-quality construction, designed to be passed down, not thrown out.

The commitment to traditional comfort is equally thorough. The chair is filled with a blend of cotton and feather, a classic combination that promises to mould to the sitter over time, developing a personalized comfort that memory foam could never replicate. This focus on a deep, enveloping sense of relaxation is a hallmark of George Smith’s expertise, and it grounds the chair firmly in a tradition of luxurious, domestic comfort.

Yet, for all its historical reverence, this is unmistakably a Tom Dixon product. The contemporary edge is delivered through the materiality and the palette. The chair is upholstered in a sumptuous mohair velvet, a fabric choice that is at once decadent and modern. Mohair possesses a unique depth of colour and a resilient, lustrous pile that plays beautifully with light, changing character throughout the day. With availability in twelve distinct colours, from bold, dramatic hues to subtle, neutral tones, Dixon ensures the Wingback can be a vibrant centrepiece or a sophisticated, quiet complement to any interior. This extensive range allows the customer to personalize a piece of classic furniture, making it feel fresh and uniquely theirs.

Visually, the chair is a study in balanced proportions. The wings are pronounced enough to offer a sense of privacy and warmth—a key feature of the original wingback design intended to shield occupants from drafts—but their scale feels refined, not overpowering. The legs, neatly sprayed in a finish that complements the upholstery, provide a lightweight visual counterpoint to the chair’s substantial body, preventing it from appearing too heavy or cumbersome. The companion two-seater sofa version extends this elegant silhouette, offering the same crafted comfort for two.

Sitting in the George Smith Wingback is an experience in itself. It is the antithesis of a rigid, formal armchair. The high back and enveloping wings create a comforting cocoon, a personal retreat within a room. The initial firmness of the hand-tied springs and high-quality fill gives way to a supportive, cloud-like embrace. It is a chair that invites you to curl up with a book, to linger over a coffee, or to simply sit and be comfortable in the purest sense of the word.

Of course, such dedicated craftsmanship and premium materials command a significant investment. The Tom Dixon George Smith Wingback Chair is not a mass-market product; it is a piece of modern furniture art. Its value is inherent in its sustainable materials, its generational construction, and the countless hours of skilled labour that define it.

In a clever nod to the realities of design appreciation, Tom Dixon’s announcement of a sample sale concurrent with the festival offered a tantalising opportunity for a wider audience to acquire a piece of this legacy.

Overall, the Tom Dixon George Smith Wingback Chair is a triumphant synthesis of past and present. It successfully marries George Smith’s unparalleled mastery of traditional upholstery with Tom Dixon’s sharp contemporary vision. It is more than just a beautiful object; it is a powerful argument for slow design, for the beauty of human skill, and for the creation of furniture that is built to last a lifetime. It doesn’t simply fill a space in a room; it embodies a philosophy, making it one of the most thoughtful and compelling pieces of furniture to emerge in recent years.