Not everything in design can be neatly defined. The Gufram Sess, created by Nani Prina between 1968 and 1969, embodies this very ambiguity. At first sight it seems to resist classification: is it a lounge chair, a chaise longue, or a sculptural object? Its fluid lines and enigmatic proportions deliberately challenge conventions, echoing the radical spirit of late 1960s Italian design. Sess becomes an open question turned into furniture, a poetic provocation that continues to inspire designers and collectors alike.

Craftsmanship and Materiality

Made of soft polyurethane and upholstered in fabric, the Sess chair reveals the experimental approach typical of Gufram’s catalog. Its surface is hand-finished with artisanal precision, giving each piece subtle variations that underline its sculptural individuality. Far from static, the Sess is available in a wide spectrum of colours: black, grey, green, blue, red, orange, yellow, and white; allowing it to adapt to diverse interiors. This chromatic flexibility turns the Sess into a versatile presence: striking in monochrome spaces, playful in colourful environments, and always radical in essence.

Connections with Radical Icons

Sess is not an isolated creation but part of the broader constellation of Gufram’s radical experiments. It can be displayed alongside other collaborations such as Guido Drocco & Franco Mello x Gufram, Maurizio Cattelan & Pierpaolo Ferrari, or in dialogue with the surreal domestic sculptures of Ceretti, Derossi & Rosso. It also harmonizes with eclectic collections from Gufram’s most iconic pieces catalog, reinforcing its role as a connector between eras and styles. In each setting, the Sess adds mystery, humor, and conceptual depth, inviting viewers to rethink what seating can represent.

A Cultural Artifact

The Nani Prina's Sess remains one of the most fascinating products of Radical Italian Design. More than a polyurethane designer seat by Gufram, it is a manifesto of rebellion against the rigidity of functionalism. To own a Sess is to embrace a piece of cultural history that embodies the playful yet intellectual drive of the 1960s avant-garde. Its ambiguity, far from being a weakness, is its enduring strength: a timeless symbol of design’s power to transform uncertainty into beauty.