Key to the concept was the introduction of a shield or shell around the seat, enabling the passenger to feel private and cocooned, despite being in a very public, shared environment. The hard surface gives passengers a sense of protection, and helps to accentuate the softness and luxury of the chair inside. The shield also houses the functional elements of the chair: digital entertainment, tray table, chair controls and safety equipment, allowing the chair itself to be as free from buttons and interference as possible.
The chair converts into a completely flat bed by pulling the seat back forward – thanks to a newly developed mechanism. Unlike competing designs, the comfort of both the sitting and sleeping position is not compromised: both have perfect ergonomics. The seats are organised in a herringbone layout, each facing towards the aisle and into the cabin; rather like tables and chairs around a bar area, creating a communal atmosphere for passengers sitting upright. The chair can convert into two different seating positions, and for the first time in the industry, passengers can take off and land in either lounge or upright position. This is achieved through the use of an air bag, which again is a first in passenger aviation. Each passenger has an ottoman to seat a friend or colleague, for in flight beauty therapy treatments, or just to put feet on.
The chair brought Virgin into the remit of a design led brand, and was used to represent Virgin in its advertising campaign. It was subsequently licensed out to Air New Zealand, enabling Virgin to offset its development costs. During this period a number of competing airlines launched chairs based on PearsonLloyd’s design.