At this year’s NYCxDesign, New York-based designer Kouros Maghsoudi unveiled the Hug Chair—an unapologetically sensual piece that defies conventional design standards. With its sculptural arms and suggestive proportions, the chair embodies what the designer calls “a pedestal for sexiness” and a statement on the expressive liberty of American design.
A chair that invites indulgence
Presented during an exhibition co-hosted by Dezeen at Spring Studios in Tribeca, the Hug Chair immediately drew attention for its bold physical presence and the philosophy driving its creation. The chair is low to the ground, supported by thin metal legs that contrast with its plush, bulbous cylindrical arms. Upholstered in supple Italian leather, the seat itself is a flat cushion that invites users to drape themselves across it—lounging, sprawling, or reclining however they wish.
Beneath the leather upholstery lies an internal frame made from FSC-certified wood, emphasizing Maghsoudi’s commitment to sustainability while ensuring the piece remains sturdy and durable. The metal legs are removable, offering versatility in handling and transport.
This chair follows earlier pieces in Maghsoudi’s Hug collection, which explore themes of intimacy, comfort and hedonism in design. One standout is the Hug Bed, designed explicitly to accommodate a variety of sexual positions. The Hug Chair, though less overt in its eroticism, carries a similar spirit of liberation and bodily exploration. “It’s open to the user,” Maghsoudi told Dezeen. “There are no rules or directions for how to sit or interact with it. It’s about freedom—letting people discover their own relationship with the furniture.” The design encourages tactile engagement, allowing users to feel empowered and comfortable in multiple postures.
A sculptural ode to American audacity
Maghsoudi’s work blurs the boundaries between furniture and art. His pieces frequently serve dual purposes—as functional objects and as sculptural installations. During exhibitions, he often stages them with models reclining or draped across his creations, echoing the style of fashion photography and emphasizing the sensual, performative qualities of his designs.
At the NYCxDesign event, visitors responded with a similar openness. Few chose to sit upright in the Hug Chair; instead, they embraced its informal, inviting nature by lounging, posing, and relaxing in ways that defied traditional seating etiquette. “The aspect ratio and scale are very sexual,” Maghsoudi noted. “But this isn’t about pushing people toward sex per se. It’s about hedonism and how that translates to design—embracing pleasure, comfort, and freedom of movement.”
This approach stands in deliberate contrast to more rigid, rule-bound European design traditions. “American design is lawless and in your face,” he explained. “We don’t follow the prescribed rules you see in Milan or Paris. Instead, we shatter those constraints.” Maghsoudi’s unapologetically bold aesthetic challenges the primacy of traditional design while celebrating the expressive diversity found in American creativity.
Rejecting the rules of design weeks
Maghsoudi also challenges industry norms beyond his design language. Unlike many designers who launch entire collections each season to align with fashion-like cycles, he prefers a slower, more thoughtful approach. His Hug series has evolved over several years, with each piece deepening his exploration of the central theme rather than chasing the pressure to produce new works at breakneck speed. “I don’t care for the de facto laws of design weeks,” he admitted. “I don’t feel the need to do full collections just because that’s expected. This chair gave me the chance to really work with leather and further develop the hug motif in a meaningful way.”
Crafted locally in New York, the Hug Chair and its companion pieces support artisans and fabricators in the city, underscoring Maghsoudi’s commitment to community and sustainability. This local grounding adds another layer of meaning to the collection, marrying the raw, expressive spirit of American design with responsible production. “It’s about making beautiful things that also create jobs and support our neighbors,” he said. “That’s as important as the design itself.”
More than just a seat
At the exhibition, the Hug Chair was displayed alongside the Hug Bed, where an actress performed a slow, theatrical sleep for the duration of the evening. The intimate setting was framed by bottles of Olga vodka, a sponsor of the event, blending performance, product showcase, and immersive experience.
The blurring of boundaries—between furniture, art, and human interaction—is core to Maghsoudi’s vision. His pieces invite not just use, but engagement on multiple sensory and emotional levels. While some might see the Hug Chair as provocative or confrontational, Maghsoudi views it as a celebration of sensuality without apology. “It’s a pedestal for sexiness,” he said. “It’s not just about sitting. It’s about feeling—feeling comfortable, confident, and free in your body.”
His work reminds us that furniture can be more than utilitarian objects; they can be expressions of identity, emotion, and culture. In this way, the Hug Chair stands as a bold statement of hedonism, liberation, and the joyful excesses of American design.
Additional context
The Hug Chair was one highlight among many during NYCxDesign 2025. The event featured standout pieces like a new furniture collection by Henry Julier for USM at the Shelter fair in Chelsea, and material trend explorations that reflected shifting priorities toward sustainability and tactility.
In a design world increasingly shaped by global influences and digital production, Maghsoudi’s tactile, unapologetic furniture offers a timely reminder of the power of physical presence and emotional resonance in design.
