The sculptor José Luis Sánchez still retains a pair of overalls that he was given while on a trip to Finland from Pi, the first wife of Timo Sarpaneva, who owned a company dedicated to the design of work clothes. He had met them, he and Tappio Wirkkala, years earlier in the 1954 Milan Triennale when José Luis was a young scholar responsible for the care of Ramón Vázquez Molezún’s Spanish Pavilion, while Sarpaneva was the star guest of his country’s pavilion. This stay in Milan was very fruitful for José Luis, who, in support of the romantic pretentions of Titta, the daughter of Gio Ponti, for the handsome Molezún, frequented the house-studio of the great architect, which at that time was also the headquarters of Domus magazine.
Back in Madrid, José Luis continued to work on his sculptures, often associated with buildings of the great architects of the time such as Lamela or Miguel Fisac. For one of these sculptures, a girl seated with a fan, the sculptor designed a chair consisting of a geometric structure made of iron. Very simple, round, almost an archetype in its reduction and which one can guess is unbearably uncomfortable for a back that was not stone. One day the telephone rang and his friend Titta ask if he had designed a chair that was publishable. Without thinking twice, José Luis sent a photo of that chair made for the stone sculpture, and shortly afterwards Domus published the “Sánchez chair”. As he told me mischievously, it was the only time they published something of his.