‘Contemporary African design is in a remarkable place right now,’ says Mehdi Dakhli. Through his furniture, the designer, creative consultant, and curator aims to celebrate North African culture. ‘For me, it’s a way of honouring a history that deserves greater recognition’, he explains. Operating across Paris, London, and Tokyo, Dakhli has built an impressive portfolio of work that blends Tunisian heritage with modern art. His latest creation, the 'Muravey Chair,' reflects this approach, while carefully honouring his African roots.
The Muravey Chair is a reinterpretation of Dakhli’s earlier ‘Sidi Bou’ design, crafted from aluminium and Nero Marquina marble. Its striking skeletal backrest draws inspiration from Wassily Kandinsky’s abstract expressionist painting ‘Loses im Rot’. The Russian artist’s visit to Tunisia significantly impacted his creative journey, prompting him to experiment more with geometry, form, and abstraction. Dakhli seeks to highlight this influence through the shape of the Muravey Chair. ‘My Tunisian heritage is a fundamental part of who I am, and I take great pride in it.’
Made from wood, the Muravey Chair is a clever departure from Dakhli’s previous projects like the ‘Tana Lamp’ and ‘Almadies Console’, which employ materials such as metal, marble, and concrete. ‘The chair is crafted from Wenge, a dense, hardwood native to Gabon and Cameroon, and upholstered in 100% wool fabric sourced from Holland,’ explains Dakhli. ‘Wood is a material I deeply appreciate. Beyond its aesthetic appeal, it is a natural material that offers durability and timelessness.’
Standing on three intricately sculpted legs, each hand-carved element contributes to the chair’s unique design. ‘The backrest blends horizontally inside the seat, transitioning into the rear leg, providing the chair stability’ explains Dakhli. Meanwhile, the delicately stitched seat’s form mimics the shape of an ant’s abdomen, with its legs gracefully emerging from each side.
‘I love creating moments of uncertainty and curiosity, like when people encounter my chair and aren’t sure if they can sit on it’ says Dakhli. ‘They question its strength and comfort, and I find great satisfaction in witnessing their relief when they discover it’s both sturdy and comfortable.’
Tana Lamp
Almadies Console
Taking its name from the Russian word for ‘ant,’ The Muravey Chair is also a nod to the iconic 'Ant Chair' by Arne Jacobsen. The Danish architect’s design was created in 1952 for pharmaceutical company Novo Nordisk. As a diabetic himself, Dakhli was moved by this. ‘Few people know that this chair was originally designed for Novo Nordisk, the company that produces the insulin I rely on daily.’
Through projects like the Muravey Chair, Dakhli aims to create work that is accessible but also has deeper meanings for those who take the time to interrogate it further. ‘While design is fundamentally about aesthetics and functionality, I always strive to go beyond that, adding depth and narrative to make it truly compelling’ says the designer.
The Muravey Chair reflects Dakhli’s commitment to celebrating North Africa through contemporary design. By merging Tunisian culture with innovative craftsmanship, the chair not only honours his heritage but is helping to bring African design to the global stage.
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