Hang-it-all

Charles e Ray Eames, 1953

OBJECT

The Hang-It-All is a coat rack designed in 1953 by Charles and Ray Eames, the couple who helped define twentieth-century design through innovative solutions and a playful approach to everyday objects. Their idea was to create something practical for keeping jackets, hats, or bags organized, while giving it a shape that was also pleasing to look at.

The Hang-It-All belongs to the body of work the Eameses dedicated to children’s design, alongside projects like the House of Cards, the Eames Coloring Toy, and the Eames Elephant. One motto of the famous design couple was “take pleasure seriously”, and objects intended for children were crafted with the same care as those for adults.

Ray Eames played a significant role in many of these projects, including the Hang-It-All, which was conceived for young users but without simplistic choices or trivial solutions. The Eameses believed that children could recognize the quality of good design as well as adults.

Eames Moulded Plastic Series, 1950
Eames Moulded Plastic Series, 1950. Image courtesy of Eames Office

Design and Materials

The Hang-It-All is defined by its grid structure, created by welding steel rods into a regular lattice, with wooden spheres distributed across it that serve as hooks. The overall effect is lively, shaped by a carefully planned arrangement of colors that produces a dynamic visual rhythm.

The choice of materials reflects the Eameses’ design philosophy, rooted in honest and functional solutions. The frame is made from steel wire, originally finished with white enamel or a rubberized coating, while the spheres are turned from solid maple or birch and then painted in bright colors.

There are fourteen spheres in total: eight larger ones occupy the upper row, while six smaller ones sit on the projecting hooks of the lower row. The spherical shape is not merely an aesthetic device but addresses specific functional needs. The Eameses had noticed how traditional pointed hooks could tear or distort fabrics, prompting them to use rounded knobs that could hold garments without causing damage.

ray eames
Ray Eames, Image Courtesy of Eames Office

The spacing between the spheres was also carefully calculated to allow multiple coat racks to be installed in sequence without visual breaks, creating a modular composition that could extend indefinitely.

Cultural Impact of Hang-it-All

Originally conceived as an accessory for children’s rooms, the Hang-It-All by Charles and Ray Eames is now recognized as an important piece of modern design heritage. Its influence can be seen both in its popularity with the wider public and in the care with which it is preserved by museums and collectors. Design critics and historians often cite it as a compelling example of the Eameses’ ability to unite function with a spirit of play.

The style of the Hang-It-All reflects the optimistic, forward-looking language typical of the postwar boom and is frequently described as an expression of mid-century modernism’s innovative spirit. Within the Eameses’ body of work, it is sometimes considered a smaller piece compared to more iconic projects like the Eames Lounge Chair and Ottoman, the Moulded Plastic Chair, the LCW Lounge Chair Wood, or the Case Study House. Yet it stands as a clear example of the belief that good design should extend even to the smallest objects of daily life.

Hang-it-all, design Charles and Ray Eames
Hang-it-all, design Charles and Ray Eames

The Hang-It-All has entered the permanent collections of some of the world’s leading design museums. It is held, among others, at the Museum of Modern Art (MoMA) in New York, the Brooklyn Museum, the Los Angeles County Museum of Art (LACMA), and the Vitra Design Museum in Germany.

MoMA, which has a long-standing relationship with the Eameses’ work, owns an original example produced in 1953 by Tigrett Enterprises. It was donated by collector George R. Kravis II and is now part of the museum’s Department of Architecture and Design. In 2018, MoMA displayed it on the first floor as a significant example of product design. The Brooklyn Museum also acquired a historic piece in 2001, exhibiting it in its decorative arts galleries as one of the masterpieces of 1950s design.

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