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Description
Yemen Silver Bead Necklace - Finished NecklaceThis amazing necklace of 6 large Yemen silver beads, each one signed by the artist, and 7 smaller spacer beads. The beads on this necklace are extremely well matched. Each bead is hand made and comprised of many tiny silver elements that have been hand applied to each bead, with an equator around the middle and longitudnal lines up and down. These beads were made by Jewish silver smiths living in Yemen before World War II. These beads are beautiful
This amazing necklace of 6 large Yemen silver beads, each one signed by the artist, and 7 smaller spacer beads. The beads on this necklace are extremely well matched. Each bead is hand-made and comprised of many tiny silver elements that have been hand applied to each bead, with an equator around the middle and longitudnal lines up and down. These beads were made by Jewish silver smiths living in Yemen before World War II. These beads are beautiful gems -- all bear the signature of the artist -- and have a lovely patina.
The beads are in excellent shape and are very solid (note that the extra weight does add to the price). The beads are strung on a silver chain with a clasp in the back. The larger beads measure approximately 30 mm in diameter and the smaller spacer beads (which are also quite beautiful) measure about 18 mm in diameter. The entire necklace measures 18 inches. The entire necklace weighs 147.2 grams.
The history of these amazing jewelry pieces is laid out best by our friends at Beadazzled:
Yemeni Silver Beads
Centuries-Old Craftsmanship
At the southern tip of the Arabian Desert, Yemen juts into the Gulf of Aden, which links the Red Sea and the Indian Ocean. For thousands of years, Yemen served as a crossroads of land and sea routes between Africa, Asia, and Europe, for the movement of goods and peoples and the diffusion of technology, art, religion, and ideas. This cross-cultural contact left its mark on Yemeni jewelry, which incorporates a great variety of motifs with varied meanings. Historically, the finest work was crafted by Jewish silversmiths, largely for Muslim clients, not only in Yemen but throughout the Middle East. They used precious materials from distant sources and metalworking techniques that go back to ancient Egypt and Mesopotamia.
Legend says that Jewish traders first settled in Yemen in the 10th century BC, after King Solomon sent ships south to fabled Ophir in pursuit of trade, and the Queen of Sheba returned the visit, traveling to Jerusalem via camel caravan, bearing gold, gemstones, and those prized Yemeni products, frankincense and myrrh. In time, Jews came to flourish as craftsmen in Yemen, excelling as gold- and silversmiths until the mid-20th century. Then, in 1949-50, virtually all the Jews in Yemen left for Israel. Before departing, however, Jewish smiths trained their Arab counterparts, who strive to carry on the proud legacy of Yemeni craftsmanship. While it is difficult to determine the origin and dates of much Middle Eastern jewelry, Yemeni pieces are distinguished by their quality, and to this day, the finest are praised as “Jewish work.”
Forms and Functions
Besides enhancing a woman’s beauty, traditional Yemeni jewelry reflects her cultural environment. It shows what ethnic or religious group she belongs to, whether her husband is poor or prosperous, which town or village she is from or whether she is a nomadic Bedouin. The uses of traditional jewelry afford insights into the patterns of traditional life. Personal ornaments play a role in the age-old rituals of securing a spouse, celebrating a marriage, welcoming a birth, protecting against evil, and praising God.
Marriage contracts were customarily sealed with bridewealth, mainly silver jewelry. Provided by the groom, it becomes the wife’s property, ensuring her economic security. From time to time she may add to it with a gift from her husband, by making household economies, or by using the proceeds from the sale of a rug she has woven to acquire more jewelry. In time of need, a woman may sell some of her jewelry.
The most spectacular array of jewelry was traditionally worn by Jewish brides of Sana’a, the capital of Yemen. Swathed in gold brocade, the young bride, who may not have even reached puberty, was so weighted with jewelry she could scarcely move. Rings encircled her fingers, bracelets encased her arms, and strands of huge gilt silver beads, called dugag, enveloped her body from neck to waist, which was enclosed in a silver belt hung with bells; ropes of pearls and gold pendants hung from her temples; an elaborate bib necklace, called a labbeh,wreathed her chin; and crowning all was a high tiara framed in fresh flowers and layered with shimmering white pearls, precious red coral, black beads, and gold filigree dangles. Called tishluk lu’lu’, this towering headdress gave its name to the entire ensemble. Other festive occasions when a woman displayed pieces from her jewelry collection included the henna painting ceremony before the wedding and the Sabbath when she first received visitors after childbirth.
Huge silver spheres adorned with barley patterns were the most prominent feature of the wedding regalia of Jewish brides. These silver beads were popular among Muslim women, but ordinarily Jewish women didn’t wear them. They preferred jewelry with wheat designs. On her wedding day, however, the Jewish bride wore many strands of these beads, both plain and gilt silver—she was embellished all over with barley motifs. The use of these beads in the Jewish wedding ensemble enlisted the power of the “Other” for added protection of the bride during the perilous transition from girlhood to womanhood. Conversely, pregnant Muslim women often wore Jewish jewelry to ward off the evil eye and ensure a healthy child. In yet another example of cross-dressing, so to speak, the traditional finery of Yemeni Muslim brides included large cubical beads of amber; these beads were also sought after by Jewish mothers, who hung them round the necks of their children or sewed them to their clothing as amulets.
Bedouin and village women wear a great deal of jewelry while milking goats, weaving rugs, grinding grain, or kneading dough. Massive silver bracelets are always worn in pairs, sometimes five pairs or more. Although they look heavy, they are usually hollow and are relatively light. Anklets are also worn in pairs, while multiple rings adorn fingers and toes. Nose ornaments include large beaded hoops hung with dangles, long pendants inlaid with glass beads, and silver studs in the nostrils. Hoops hung with dangles also decorate ears; often multiple hoops are worn through the ears or suspended from a chain that passes over the head.
Protective ornaments have many forms and functions. Cylindrical or rectangular amulet cases are also sewn to children’s clothing, and a woman’s necklace may incorporate several such cases. The cylindrical cases are called hirz by Muslims and ktab (pl. kutub) by Jews. Some may be opened for the insertion of sacred verses from the Koran or Jewish scripture. Others are left empty and soldered shut. The cases themselves are believed to be invested with amuletic powers that not only can turn away malevolent forces but can attract benevolent ones. Similarly, reciting the 99 attributes of God while counting their 99 prayer beads, the Muslim faithful invoke divine protection as well as divine blessings. And as a woman moves through the bazaar, the tinkle of tiny bells and swish of silver dangles is protective as well as seductive, as is the aroma of scented jewelry intensified by body heat—sound, motion, and smell can repel mischief-making jinn and at the same time attract the glance of passing admirers.
Motifs and Meanings
Rich in symbolism, the opulent ornamentation of Yemeni jewelry echoes Islamic expression in other arts—the lush floral patterns of Persian rugs, the dazzling geometric designs of tile mosaics, the curving lines of calligraphy. Animal and human motifs are rare and highly stylized. A notable exception is the eye, which is widely used to counter the malevolent gaze of the evil eye and deflect it from the wearer. Reduced to its essence in the form of dots and circles, the eye often embellishes dark wood prayer beads in the form of silver piqué work or adorns a silver pendant as a luminous gemstone cabochon. The hand of Fatima also turns away evil, as do arrowlike triangles and swinging tassels. The sun, the moon, and the stars are Islamic astral motifs. The six-pointed Star of David is a mystical Jewish symbol.
Many motifs recall primeval forms of human adornment—seeds, fruit, leaves, flowers. These symbols of nature endure in Yemeni jewelry as stylized rosettes, foliage, grain, almonds, berries, and mangos. While their specific meanings are often unknown, these motifs are associated with general well-being. Grain and pomegranates, bursting with juicy seeds, are symbols of abundance and fertility. Wheat and barley are also linked to women’s daily task of grinding grain to make bread, the basic staple of the Yemeni diet. The Jewish preference for wheat motifs can be traced to the Bible, which tells that barley was used as fodder for Solomon’s horses. Jewish silversmiths were learned craftsmen who knew the significance of each motif—its magical attributes and connection to Koranic or Talmudic texts—and they matched their designs to their clients. Today much of this lore has been lost, and the meaning of many motifs lies buried in the collective unconscious.
Materials and Techniques
Every large village once had a resident silversmith who made jewelry for all patrons. Some craftsmen traveled the surrounding desert to serve the nomadic Bedouin. But over time, silversmiths, like much of the population, migrated to the cities where they set up shop in the suq as both artisan and merchant, with clients all over the Middle East. The largest community of Yemeni smiths congregated in Sana’a, the capital, where several hundred Jews once worked in the silver suq. Their silver supply consisted in large part of recycled silver. In the Arab world, jewelry is not heirloomed, that is, a woman’s bridewealth is not passed down from generation to generation. Rather, when she dies her jewelry is sold to the smith, and the proceeds from such a sale can help a family purchase new jewelry for a new bride when the occasion arises. For his part, the smith puts the jewelry in a burn bag and melts it down as needed to replenish his silver supply.
Since the mid-1700s, the principal source of the silver used in Middle Eastern jewelry has traditionally been silver coins, preponderantly the Maria Theresa thaler, named for the Queen of Bohemia and Hungary. Because the thaler’s standards of weight and fineness were rigorously maintained, it became a standard of value that is widely used in Asia and Africa. After Maria Theresa died in 1780, coins bearing that date continued to be struck. About 200 million thalers were estimated to be in circulation in Yemen and Ethiopia in 1900. And to this day they continue to be struck and Yemeni smiths continue to draw on this huge pool of thaler, with its stable silver content of about 85%, to regulate the quality of their silver. Recently Middle Eastern smiths have accessed yet a third source of supply, silver ingots from China.
The clientele of the smiths is varied, and they vary their work accordingly, tailoring it to their customers’ resources as well as their tastes. Since Bedouins are generally poorer than farmers, Bedouin jewelry is generally made of lower grade silver than the jewelry of settled folk, and red glass, or sometimes jasper or carnelian, is used instead of coral. While the jewelry Yemeni smiths made for their Muslim peers was often similar to what they made for their fellow Jews, they tended to lavish more time and effort on Jewish pieces, crafting elaborate filigree elements, for example, instead of using easily made stamped parts. For pieces commissioned by high-ranking Muslim clients, Jewish jewelers worked in high karat gold instead of gilt silver or simply silver, and used pearls, Mediterranean coral, and high-quality gemstones.
The tools of the Yemeni silversmith’s trade have remained essentially the same over thousands of years of Middle Eastern metalworking. His basic toolkit is simple: a wooden block, a hammer and anvil, along with chisels to cut, awls to pierce, punches, stamps, and burnishers, as well as a blowpipe or bellows, a melting crucible, and molds of some sort.
Fundamental to his work is the fabrication of flat sheet, grains and shot, and wire. These are the basic elements from which he constructs his jewelry. He then turns to his vast repertoire of techniques to create rich surface ornamentation: hammering and annealing; casting and soldering; repoussé, chasing, and engraving; embossing, punching, and stamping; appliquéand openwork; granulation and filigree. Using a dapping block and a punch, the smith creates hemispheres from silver sheet. Then soldering two hemispheres together he creates beads which he subsequently decorates, using wirework and granulation. He also uses granules and shot as structural elements to reinforce joints of sheet or wire. In addition, he makes small cubical beads called tut entirely from shot soldered together. Using wire of various gauges, he makes chains, loops, links, and rings to assemble the various components.
Traditional Yemeni jewelry is made up of myriad components, rich in detail and decoration. Besides being used to link elements together and suspend pendants, chain is also used for decoration: short lengths serve as fringe, long lengths swing from headdresses, and delicate links are an integral ornamental feature of bib necklaces. Yemeni jewelry is also characterized by a profusion of pendants, plaques, bells, and dangles in many different shapes. As many as five or more amulet cases may be strung along with other components in a single necklace. Exotic coins are also prominently displayed—Ottoman, Arab, French, Indian, but especially Maria Theresa thaler. They are hung from necklaces either as simple pendants or embellished with dangles. Flat surfaces provide a perfect canvas for smiths who find empty space abhorrent, and pendants, caps, plaques, spacers, and triangular terminals are typically encrusted with abstract and vegetal ornamentation created by granulation, appliqué, and filigree.
Pearls from the Persian Gulf and gemstone beads, especially red-orange carnelian from India, are occasionally used in Yemeni jewelry. But coral of various colors, most notably precious red coral from the Mediterranean, has always been the material of choice to complement the silversmith’s work. In addition, red is a symbol of beauty and youth and is believed to have protective powers. Coral beads are often interspersed with another distinctive Yemini bead, a solid silver octagonal bead the size of a pea, called mithamminah. Coral pieces are also set in bezels on amulet cases or plaques. Today precious coral has grown scarce and become expensive, however, and red glass beads and cabochons are often used instead. Other exotic materials that Middle Eastern jewelers have had access to since times of the Silk Road include amber from the Baltic, ivory from Africa, gold, and gemstones. Among the more humble materials they sometimes use in jewelry are cowrie shells, faux amber, and scented beads made of local plant materials, such as myrhh and cloves.
Traditional Jewelry Today
In the rapidly evolving Middle East, much has changed in the six decades since the Jewish smiths left Yemen. Traditional silver jewelry is disappearing, as is the traditional world in which it was created and used. The demand is now for gold. Upscale urban dwellers’ desire for gold is usually satisfied by contemporary jewelry made in Italy. while rural folk’s lust for glitter lures them to cheap costume jewelry. And although some of the traditional wedding finery is worn on special occasions, for the marriage ceremony, the bride usually wears a modern white wedding gown.
Because Yemeni families do not heirloom a deceased woman’s bridewealth but sell it to smiths who recycle the silver, examples of traditional silver jewelry more than a generation old are rare. In large urban suqs, however, a few elderly silversmiths remain. Masters of their craft, they continue to use traditional techniques to produce traditional designs in the face of modernity, mass production, and a dwindling clientele. And if a knowledgeable collector or dealer is lucky he may find a good piece in stock, or better yet, she may be allowed to rummage through the burn bag and save a treasure or two from the fire.
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4.1 ★★★★★
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★★★★★ 5
A Testament to Comfort: Herman Miller Embody Ergonomic Office Chair Review
Color: Charcoal Rhythm, Color: Charcoal Rhythm
Our latest addition to the office is the Herman Miller Embody Ergonomic Office Chair, marking our third acquisition of this exceptional piece. Despite a less-than-ideal experience with the third-party seller from whom this particular chair was purchased, our review focuses solely on the product's merits, independent of the seller's service and packaging practices. It's worth noting that this chair arrived with a broken wheel and a compromised seat extension control, attributed to the seller's unconventional packaging method and the sale of used items at discounted rates. Additionally, there appeared to be discrepancies in the fabric, suggesting it might not be the original equipment manufacturer's (OEM) material.
Setting aside the seller-related issues, the Herman Miller Embody Chair itself continues to be an unparalleled choice for ergonomic seating. The investment in such a chair may initially seem daunting, yet the benefits it offers to one's back, legs, and overall body are undeniable. For those of us who spend the majority of our day seated, the Embody Chair has proven to be transformative, significantly enhancing comfort and support during long hours of work.
The chair's exceptional adjustability, ease of use, and comfort are its standout features. It offers a range of adjustments that cater to personal comfort preferences, ensuring optimal support and posture alignment. The ease with which these adjustments can be made allows users to fine-tune their seating experience to their exact needs, highlighting the chair's user-friendly design.
In conclusion, despite the challenges presented by our experience with the third-party seller, the Herman Miller Embody Ergonomic Office Chair itself remains highly recommended. Its impact on improving posture and providing unparalleled support during extended periods of sitting justifies the investment. This chair isn't just a piece of office furniture; it's a proactive investment in one's health and well-being, offering a preventive solution to potential ergonomic-related health issues. For those who prioritize comfort and ergonomic support in their workspace, the Embody Chair is an excellent choice.
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Reviewed in the United States on February 10, 2024
★★★★★ 2
Like one of the other reviews has stated
Like one of the other reviews has stated, I, too, really wanted to like this chair, and I would have much rather enjoyed using it, than have losing $300 to send this chair back to the company that I purchased it from--(I have to pay for shipping both ways, plus a 10% restocking fee). Furthermore, I now have to begin the process again, for looking for yet another office chair that does not actually cause me physical discomfort and pain to use.
To begin this review, I want to state that I have never in my life experienced any sort of back injury, and in general, I never experience back pain. I am a healthy person in my 20's, my body frame is 6 feet tall and weighs 160 lbs, and I wear a size 38 suit jacket. I am a graduate student that spends each day sitting, doing reading and researching online, and I really need a proper ergonomic chair in which to do that each day.
I also want to mention, that unlike some people who have probably purchased this chair without trying it out first at an actual Herman Miller retail store, I actually did make two different trips out of my way to a Herman Miller retailer to test this chair out for about an hour each time, before decided to purchase it.
Having stated all of that, I will explain some of the reasons for which I rate this chair 2 stars out of 5 stars.
The chair caused me discomfort and pain:
1. Ultimately, the single chief reason for which I am choosing to return this chair, is that I cannot sit in it for extended periods of time, without experiencing pain and/or flaring in my back.
2. Aside from that discomfort, the chief reason for which I simply cannot use this chair for extended periods of time, is that it is extremely hard to find a sitting position on this chair that is not actually uncomfortable; the way in which the lower and middle portions of this chair are designed confuses me, as those portions of the chair's letter "H" shaped components are unable to be adjusted, which is very significant, due to the fact that the lower and middle portions of the back of this chair can really cause a lot of discomfort.
3. Problems using the setting for this chair:
What is probably the most greatly annoying part of using this chair, is the fact that it is so hard to find a single setting that works, and once one finds a setting that works, it changes and then changes again; and there are no memory settings, so each time one tries to revert back to a previous setting that actually worked, one has to go through trial and error steps that are time consuming and frustrating.
4. The back portion of the chair:
The lower back portion of this chair is not adjustable, and it really does press into my back as though it were an elbow. Of course there are ways to adjust the back of the chair so that such an experience can be altered, but when I make such adjustments, the chair is not improved, and only remains equally, if not more uncomfortable in different ways.
An example of how discernable the lack of comfort in this chair is, occurred when I had one of my family members, who has spent lots of time searching for a proper office chair for himself, sit in my Embody chair, and he noticed within seconds that the chair was not very comfortable.
5. Why didn't I discover these aspects of the chair when I tried it in the store?:
You might be wondering, how is it that I did not discover such uncomfortable qualities to this chair when I tried it out in the store. That question leads me to my biggest piece of advice to anyone considering purchasing this chair: It is imperative that you try this chair out for very extended periods of time before deciding to make this your new chair--that is of course, unless you don't mind spending between $1200 and $1650 for a chair that might not be useable. As for myself, I am lucky enough to be able to return this item, but it is going to cost me $300 to do so. It takes time to really discover the potential that this chair has for discomfort, as well as comfort, so don't expect to really know what this chair is all about from a basic trial of it.
6. Amount of time that I used this chair:
Since purchasing this chair I have sat in it for up to 10 and 12 hours a day, totaling well over 150 hours, and unfortunately I have concluded that I simply cannot be an owner of a Herman Miller Embody chair.
7. Some of the positive qualities of the chair:
Having stated all of that, I will in fairness, explain in my estimation what some of the positive qualities of this chair are.
8. Craftsmanship:
The chair is clearly crafted well and manufactured well, with good quality parts and fabric; the chair is weighs 65 pounds, and it feels solid. Furthermore, the casters that come standard with the chair, work very well--they roll well, and quietly. The arm pads of the chair work well, but I wish that they actually went a little higher than they do; I found my posture being adversely affected by having to rest my arms too low, and for a chair that seeks to be a "one size fits all ergonomic chair," I think it is an oversight to not make the arm pads go higher for people that are taller and have longer arms. Another positive quality about the chair is that it reclines extremely well; with this chair, one is able to really get a full recline, and remain in that position for as long as one feels comfortable, without feeling as though the chair is going to tip over, due to its very substantial weight.
9. Aesthetic:
The chair has an exceptional aesthetic as well. Although, if you do decide to purchase this chair, I highly recommend the "Black on Black" color, and do not recommend purchasing the white colored chair. I was one of the many people who initially planned to buy one of the bright white chairs,because the do look really cool, but before I purchased my chair, I read another reviewer state that they regretted buying the white chair, as its brightness served to overwhelm the spaces in which they used it. I ultimately concurred with their recommendation and was glad that I decided to buy the black chair. The white chair looks great, but over time, it is way too much; too bright, too white, too colorful, etc.
Before purchasing this chair I looked at every YouTube review video of the Embody chair that I could, to see what they were saying, and it really does seem as though the main reason that is given for purchasing this chair, is that it ostensibly has such a novel and beautiful aesthetic to it--which may be true, but in my estimation, it is not a good enough reason to spend between $1200 - $1650 on a chair that ultimately might have to be returned. When paying that kind of premium money, you're going to need a chair that you can use a lot.
10. Conclusion:
I am disappointed that I will be sending this chair back to the company from whom I purchased it. This chair is not your ordinary office chair: it is unique in its objective to mimic the human spine, and it really should be experienced for very extended periods of time, before being purchased. This is a very heavy chair -- 65 pounds -- to be returning, and that combined with the cost of returning it, is why it is not in one's best interest to purchase this chair unless one plans to keep it. Even if you decide to return this chair within the 30 day time frame that is allowed, you will be charged for both ways of shipping, and in my case, a 10% restocking fee (totalling $300).
Here is something interesting to keep in mind: At Herman Miller, the employees are allowed to use whatever Herman Miller chair they choose. Yet, on the several (three) different occasions that I called Herman Miller, I learned that there are plenty of employees that choose to use chairs other than the Embody chair, which are a lot more low end, as their own personal office chair. The main reason that I decided to purchase the Embody chair over the Aeron chair, is because of the fact that the Embody chair is supposed to have incorporated all of the research, development, and money that went into designing the Aeron chair, in addition to all kinds of new cutting edge research and development. I therefore concluded that the Embody chair would surely be at least as good, if not better than the Aeron chair. Well, when ones holds the aforesaid idea in mind, it is very curious that there are plenty of Herman Miller employees that choose not to use the Embody chair as their own personal office chair, given the fact that they are encouraged to use whatever Herman Miller chair they prefer the most. Furthermore, it is also interesting that there are not more positive reviews of the Embody chair than the paltry handful of reviews that have been on Amazon since the chair was created approximately five or more years ago. If the Embody chair is Herman Miller's new flagship chair, than why after all of these years of being produced, have there not been more positive reviews of the chair on Amazon?
I do not doubt that this chair can be a phenomenal chair for some, if not many people. I can however, only offer my own perspective and experience with this chair. Just around each time that I thought I was finally getting to like this chair, I would then begin experiencing new forms of discomfort and/or pain from using it.
Message to Herman and Miller:
If any of the designers from the research and development teams from Herman Miller read this review, I want to give you some summarized recommendations:
1. Please try to fix the harshness of the lower lumbar portion of this chair, or at least design the chair so that the letter "H" portion of the lower lumbar area of the chair can be adjusted.
2. Please offer some sort of memory settings for the chair, so that it might be easier to go between settings without having to use trial and error, and lots of guess work for finding a comfortable chair setting.
3. Please consider making the arm pads go a little higher for taller people.
4. Please consider making this chair more comfortable to sit in--and by comfortable, I mean that it might be prudent to put more cushioning on this chair, which may not be as aesthetically pleasing as the current Embody chair model, but which could ultimately yield a much more inviting and rewarding sitting experience for Embody chair users. It really seems as though function in the Embody chair was compromised for the sake of the chair's novel, modern, futuristic aesthetic.
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Reviewed in the United States on March 12, 2016
★★★★★ 5
Well-packaged, quality materials, easy to assemble, very comfortable, great customer service
Color: Black Full Mesh, Style: Executive
When I received this package, I was surprised at how small/compact it was--hard to believe a high-back office chair could fit in that box! As I unpacked it, I was impressed by two things: first, how incredibly well it was packaged with an obvious intent to protect the components; second, how solid, heavy-duty, and high-quality those components were.
I got the box unpacked and read the instructions. They were simple and easy to understand, and included so many "here's a good tip" notes that it was obvious that a lot of thought and experience had gone into writing them. I found the chair simple to assemble and had it done in less than 15 minutes.
The chair was very adjustable. I was able to get the height to exactly what I wanted with no trouble at all. I was also able to adjust the height of the lumbar support, and to adjust how far it extended. There are a lot of adjustments you can make, the instructions lay that out quite thoroughly, too. As a result, the chair was very comfortable and helped me sit with a healthy posture.
I bought this chair because I had begun having an ache in my lower back, which I suspected was due to a chair I had been using for over 5 years. Within 3 days, the back pain was gone.
I was also very impressed with the customer service. Their manual mentions in multiple places things you can try if you have any issues, and always ends with "call us". Their team reached out to me after a few days to make sure I got the chair assembled with no issues and that it was comfortable. This was all part of the all-around quality of this purchase.
I'm very happy with this chair!
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Reviewed in the United States on June 5, 2026
★★★★★ 5
Comparable to Higher-End Chairs, Solid Build and Support Without the Premium Price
Color: Black Full Mesh, Style: Executive, Color: Black Full Mesh, Style: Executive
I’ve been using this chair for a bit now and it’s been a genuinely upgrade. The build quality stands out right away, it has real heft and doesn’t feel cheap or hollow. Everything fits together cleanly and once assembled it feels stable and planted. I’m over 6 ft and 200+ lbs and it handles that without any issue, no creaking or sense that it’s being pushed to its limits.
There’s enough space in the seat and back that you don’t feel boxed in. I added an extra ergonomic cushion and it still feels roomy, which isn’t always the case with chairs in this category. The adjustability helps a lot here, especially the lumbar support. Being able to move it up and down and also forward and back makes it easy to actually get it where you need it, instead of just accepting a fixed position. The armrests are also easy to dial in, especially if you’re switching between typing, reading, or leaning back a bit. The tilt range is useful, and the tilt tension is stronger than I expected. Even at my size it takes a bit of effort to lean back, which I see as a positive since it feels controlled and supportive rather than loose or overly easy to recline. The mesh is another strong point. It came in perfect condition, no snags, no loose threads, no rough edges anywhere. There weren’t any bits of untrimmed plastic on the frame either, which says a lot about the quality control. The mesh itself is taut with a bit of bounce, so it doesn’t sag but still has some give, which makes long sitting sessions more comfortable.
Assembly was straightforward and clearly thought through. The instructions are easy to follow, but what stood out were the built in redundancies that keep you from second guessing anything. There are multiple left and right indicators when installing the arms, a clear front facing marker for the gas lift, and the screws are labeled in the packaging so you’re not guessing which goes where. It’s one of the smoother assembly experiences I’ve had.
I also reached out to activate my warranty and had a very positive experience. I spoke with Alice who was very knowledgeable, quick, warm, and they went out of their way to help me with whatever I needed. When I inquired about the extra screw holes under the chair, she let me know that this was for a foot rest which was still in the production phase and unprompted offered to have one shipped to me when they were ready! There is an excellent team behind the product.
Overall: well built chair with good materials, thoughtful design choices, and good adjustability to make it work for different setups. It feels durable, comfortable over longer periods, and especially well suited if you need something that can handle a larger frame without sacrificing support.
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Reviewed in the United States on April 20, 2026
★★★★★ 5
Excellent chair/great support.
Color: Black Full Mesh, Style: Executive
Excellent, comfortable chair! I was surprised at how easy it was to assemble---but the directions were super clear and all the pieces and parts were labeled. Once I received the chair, I was also surprised with the email follow up from Alice at Molents. All this for a reasonably priced chair.
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Reviewed in the United States on April 1, 2026