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Pli Side Table

Designed 2017

With the Pli Table series French designer Victoria Wilmotte brings objects of unusual crystalline elegance and astonishing geometry to living environments, dining rooms or entrance areas. The bends and folds that gave Pli its name almost make the stainless steel base look like an oversized finely polished precious stone. The four different color versions of the table result from the different duration of the surface treatment which provides the stainless steel with either a green, blue, bronze or black shimmer. The side table’s oval forms of the base and tabletop establish an attractive contrast with the facets of the base, which create a fascinating play with light friction and colour reflections in the room. The Pli Table can be used as a representative dining table for up to eight persons. In the entrée or foyer, galleries and stores the table can also be used as a spectacular eye-catcher. It is available with a glass panel fully color-lacquered on its bottom, or with a clear glass tabletop with just the contact surface resting on the stainless steel base color-lacquered on its bottom.

Side table, available in two heights. Base made of folded, high-gloss polished stainless steel sheet in different colours, tinted with a special method. Oval tabletop made of crystal glass, colour-lacquered, glossy or satin-finished. Gliders in black felt.

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Designer

Victoria Wilmotte was born in 1985 in Paris, where she studied interior design. She later earned her master’s degree in product design at the Royal College of Art in London. After graduating, she returned to her home town of Paris in 2008 and opened her first design studio, where she created designs for the Tools Gallery in Paris and works for her first solo show in 2009 in the Brussels Gallery Pierre Bergé et Associés. Victoria Wilmotte designed collections for a stone products manufacturer, for the online shop Made in Design, for Philips de Pury and Poliform, and repeatedly created individual designs for private customer projects.

Wilmotte’s design process can be compared to that of a sculptor: she weights volumes and empty spaces, removes the material until she finds a perfect angle or ideal curve, and polishes the surfaces to the point when they precisely achieve the structure, haptics and light refraction she seeks.

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