What are you reminded of when you see Wittman's re-issue of designer/architect Edward Tuttle's storied sofa series, so humbly christened as the "Edwards" collection? Or perhaps more to the point, what are you reminded of when you touch same?

Edwards Collection. Designed by Edward Tuttle.

The play of the senses matters here, because for me, these pieces are all about texture. Yes, the deep inset upholstered buttons and/or rigid-foam black leather have been done before, perhaps most notably in Kiesler's infamous Party Lounge (and, yes, for those of you out there paying attention, I promise I'll eventually write a review in which I don't mention Kiesler), and most recently in Robert Stadler's Seuss-esque "Pools and Pouf!," but never with as much unstated elegance as Tuttle.

In the way it challenged traditional notions about a piece's utility-indeed, about its very identity-Kiesler's piece was a tremendous trendsetter in its day. To the contrary, Tuttle's "Edwards" takes a more suble tack, both embracing convention and casting a bit of doubt. The duality is owed in part to "the tension between inside and outside created by the exquisite workmanship of the deep-buttoned upholstery on the interior and the smooth external surfaces." Ah, the juxtaposition of opposites, between inside and outside, smooth and contoured, linear and curved-each of which established the dialogue that made (makes) this collection a classic. And on that score, what is a classic? Difficult to say, certainly, but maybe what the Justice from Jackson, MI said about pornography is apropos here: "It's hard to define, but I know it when I see it."

Inching the argument along, I'd suggest that a hallmark of a classic is that it transcends certain boundaries, breaks down certain genres. Thus, Edwards is refined as well as innovative; it hearkens both to an age of finely tailored suits (the buttons somehow always remind me of a classic double-breasted number) and trendy artist soirees. It moves with aplomb across eras and locales: I can see it in Rick's place in Casablanca as easily as Holly Golightly's pad in Breakfast at Tiffany's; in the trendy 70s living room of Goodfella's Henry Hill or the no-nonsense office space of the latest incarnation of "M" by the peerless Dame Judi Dench. In short, where Edwards goes, great style will follow.