Michael Anastassiades is no stranger to the 3daysofdesign festival. This year he also had another good reason to participate - the debut of his new furniture for Danish design brand, Fritz Hansen. It concerns a chair and a table in different versions. A process that has taken three years to materialise from idea to reality. Historically, a line runs backwards from this new chair through Poul Kjærholm to Kaare Klint, who took his inspiration from chairs from antiquity. For example, the Klismos chair, which is depicted on ancient Greek vases. Read on to hear all about his creative process.

"I sketch all the time, I observe, I look at things. I analyse existing products that I admire, study them extensively and try to understand what it is about these pieces that makes them speak to me. I go through this analysis in a rigorous, systematic way, almost like therapy, it becomes so embedded that when you later are about to sketch a chair, these different studies are inside you or your subconscious. The instinct and the process of arriving at the result is almost spontaneous. My approach is very simple in the way I look at things, there is a lot of clarity in shapes and forms and why they need to be there, they are very considered and geometric, primal in a way. Sketching is the only thing I do. I don't use CAD. I tend to go from sketch to modelling and ideally to 1:1 scale, which you can do with a chair because it is not so large. That interpretation of the sketch into a physical model is crucial for me, my approach is very hands–on, very much about the feeling that you get in the moment when you encounter the actual physical object. Eventually you have a model that you can use to understand how you make a real chair that you can sit on. It's comfortable, the proportions are correct, it doesn't feel too intimidating, all these things work in a constant process of refinement."

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"Basically, it was important for me to identify three levels: the floor, the seat and the armrest, which also functions as the upper part of the backrest. In addition, I consciously refer to other designers—especially Poul Kjærholm, whom I admire. He worked mostly in metal, but I consciously wanted to create a chair entirely in wood. I met Fritz Hansen and presented my own proposal for what I thought would be an ideal chair for them. From there, the process began, which took about three years. It was a good thing because it gave room for reflection. I am very happy with the result—the workmanship, the quality and the details are really fine. It usually results in better design when the idea comes from the designer rather than from a brief that a company has made. I prefer to draw something that I then have to find a home for. My idea for this chair arose quite spontaneously, but it is based on many years of observations. I wanted it to express purity, honesty and materiality. When I presented the proposal to Fritz Hansen, it was the start of a series of workshops with both cabinetmakers and the creative director. It was quite fun that during the meetings we adjusted the chair, where the cabinetmaker went directly to the machine, cut, adjusted and reassembled. Their knowledge has been crucial to the result."

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