The Easel occasional chair reimagines the act of sitting by drawing inspiration from ancient typologies found across cultures worldwide — a contemporary piece carrying the essence of something timeless and essential. Its minimal, almost understated presence makes its comfort surprisingly fulfilling, as its small size contrasts with the support it provides. More than just an occasional chair, the Easel invites a new perspective on seating itself.

Interview Shane Schneck

Welcome to the Midsummer Session.
Could you please introduce yourself and tell us what’s important to you, both as a person and as a designer?

My name is Shane Schneck. I’m currently based in Stockholm, though I was born in the United States. What’s important to me is creating original expressions that feel both meaningful and useful to people. When I design an object, its utility is paramount – it needs to function as an intuitive tool that enhances daily life.

You designed a project for Dante called the Easel. What were your intentions when you began?

I set out to explore a new way of sitting. We delved into historical typologies, like stargazing chairs and primitive stools found in cultures worldwide. My aim was to blend those influences into a new form of chair – one that reimagines the act of sitting while paying homage to its ancient roots.

The result, the Easel, reflects those ideas. It’s a contemporary piece, yet it carries echoes of something timeless and essential. Its presence is minimal, almost understated, which can make its comfort surprising. People often don’t equate its small size with how satisfying it is to use. I hope the Easel speaks for itself as a product, inviting people to think about sitting in a new way.

How do you know when a project is finished?

A project is finished when we’ve said enough without saying too much. It’s about striking a balance where the object can stand on its own and communicate its purpose intuitively. At that point, it’s ready to live independently in the world.

Can you recall the age when you first understood the concept of possession – what belongs to you versus what doesn’t?

I think it was quite early, maybe around 9 or 10 years old. That’s when I began to grasp the boundaries of ownership.

How much property do you need in order not to be afraid of the future? Or do you find that fear tends to increase with the amount of property?

Fear definitely increases with the amount of property. I’d prefer to own less, honestly. There’s a sense of freedom in having only what you truly need.

Is there a sum that could outweigh your possessions?

Absolutely. The sum of love, the sum of friendship, the sum of clean air and clean water – those things are far more valuable than material possessions.

If you could become one of your objects, which one would you choose?

I’d choose the Easel. It represents an essential object that’s highly functional, nomadic, and stripped down to the essence of sitting. It’s an object I’m deeply connected to.

What is your connection to Dante – Goods and Bads?

My connection with Dante is rooted in a long-standing friendship. Christophe and I met 16 years ago in Milan while working in Piero Lissoni’s studio. Though he was there for only a short time, we quickly formed a bond and have stayed friends ever since. That’s what makes this collaboration special – it’s built on a foundation of friendship.

How do you perceive Dante – Goods and Bads as a company?

I see Dante as embodying an eclectic and alternative vision of the world. Through its material choices and forms, it reimagines how we perceive everyday products. Dante consistently presents objects that challenge typologies in joyful and unexpected ways. To me, this company represents a fresh and distinctive voice in an industry often marked by uniformity.

Shane, thank you so much for sharing your thoughts.

Thank you for having me. It’s been a pleasure.