Uncomfortable Chair as Social Commentary
Shushana Khachatrian's design questions societal expectations of women.
1Discomfort as Design Essence
Armenian designer Shushana Khachatrian, founder and design director of STUDIO SHOO, intentionally removes comfort from 'The Woman’s Chair.' This design uses posture, instability, and restricted movement to reflect on women’s relationship with contemporary social structures. While the chair appears minimal and sharp at first glance, sitting on it offers an uncomfortable experience.
2Instability and Control
The chair rests on three stainless-steel legs, creating a subtle instability. The angled backrest prevents the sitter from reclining comfortably, keeping the body in an upright position. Khachatrian uses this posture as a metaphor for expectations of composure and restraint. The design questions the idea that women must behave in a certain way and occupy space with moderation.
3Mirror and Identity Perception
A mirror integrated into the chair’s backrest complicates the relationship between the sitter and the object. Instead of a stable portrait, it offers a partial image that shifts or disappears as the body moves. Khachatrian links this fleeting reflection to changing perceptions of identity and visibility, examining how one’s image can depend on position, perspective, and external expectations.
4Material Contrast
The chair creates a contrast between hard, reflective stainless steel and an optional satin cushion edged with delicate frills. The cushion adds softness and ornamentation to an otherwise severe structure. This textile element establishes an intentional tension between strength and vulnerability, rigidity and decoration. However, the addition of satin does not suddenly make the chair a comfortable place to relax.
5Production and Material Choice
The stainless-steel structure was produced by Armenian furniture manufacturer Canate, translating Khachatrian’s unconventional geometry into a functional object. Chosen for its durability, strength, and corrosion resistance, the material also gives the chair an uncompromising visual character: reflective enough to implicate its surroundings but physically hard enough to keep the sitter constantly aware of the object beneath them.
6Between Furniture and Sculpture
The Woman’s Chair operates somewhere between furniture and sculpture. Using the familiar typology of seating, it asks unfamiliar questions about who is permitted to feel comfortable, how bodies are expected to behave, and how much space they are encouraged to occupy. Khachatrian embeds these pressures into the mechanics of the chair itself. While it can technically be sat on, whether it wants you to relax is another matter entirely.
7Design’s Social Impact
Shushana Khachatrian’s design goes beyond being a piece of furniture to become a social commentary. The chair raises thought-provoking questions about women’s roles and societal expectations. It demonstrates that design can be not only aesthetic but also a powerful social tool.
8Conclusion and Significance
The Woman’s Chair places discomfort at the center of its design, questioning how women are subjected to societal expectations. This project proves that design is not limited to functionality and aesthetics but can also carry a strong social message. Khachatrian’s work shows that design can be used as a tool to address societal issues.