Fiorucci Poster

Postmodern design was a short-lived movement that manifested itself chiefly in Italy and the United States in the early 1980s. The characteristics of vintage postmodern furniture and other postmodern objects and decor for the home included loud-patterned, usually plastic surfaces; strange proportions, vibrant colors and weird angles; and a vague-at-best relationship between form and function.

ORIGINS OF POSTMODERN FURNITURE DESIGN

• Emerges during the 1960s; popularity explodes during the ’80s
• A reaction to prevailing conventions of modernism by mainly American architects
• Architect Robert Venturi critiques modern architecture in his Complexity and Contradiction in Architecture (1966)
• Theorist Charles Jencks, who championed architecture filled with allusions and cultural references, writes The Language of Post-Modern Architecture (1977)
• Italian design collective the Memphis Group, also known as Memphis Milano, meets for the first time (1980) 
• Memphis collective debuts more than 50 objects and furnishings at Salone del Milano (1981)
• Interest in style declines, minimalism gains steam

CHARACTERISTICS OF POSTMODERN FURNITURE DESIGN

• Dizzying graphic patterns and an emphasis on loud, off-the-wall colors
• Use of plastic and laminates, glass, metal and marble; lacquered and painted wood 
• Unconventional proportions and abundant ornamentation
• Playful nods to Art Deco and Pop art

POSTMODERN FURNITURE DESIGNERS TO KNOW

• Ettore Sottsass
• Robert Venturi
• Alessandro Mendini
• Michele de Lucchi
• Michael Graves
• Nathalie du Pasquier

VINTAGE POSTMODERN FURNITURE ON 1STDIBS

Critics derided postmodern design as a grandstanding bid for attention and nothing of consequence. Decades later, the fact that postmodernism still has the power to provoke thoughts, along with other reactions, proves they were not entirely correct.

Postmodern design began as an architectural critique. Starting in the 1960s, a small cadre of mainly American architects began to argue that modernism, once high-minded and even noble in its goals, had become stale, stagnant and blandly corporate. Later, in Milan, a cohort of creators led by Ettore Sottsass and Alessandro Mendini — a onetime mentor to Sottsass and a key figure in the Italian Radical movement — brought the discussion to bear on design.

Sottsass, an industrial designer, philosopher and provocateur, gathered a core group of young designers into a collective in 1980 they called Memphis. Members of the Memphis Group,  which would come to include Martine Bedin, Michael Graves, Marco Zanini, Shiro Kuramata, Michele de Lucchi and Matteo Thun, saw design as a means of communication, and they wanted it to shout. That it did: The first Memphis collection appeared in 1981 in Milan and broke all the modernist taboos, embracing irony, kitsch, wild ornamentation and bad taste.

Memphis works remain icons of postmodernism: the Sottsass Casablanca bookcase, with its leopard-print plastic veneer; de Lucchi’s First chair, which has been described as having the look of an electronics component; Martine Bedin’s Super lamp: a pull-toy puppy on a power-cord leash. Even though it preceded the Memphis Group’s formal launch, Sottsass’s iconic Ultrafragola mirror — in its conspicuously curved plastic shell with radical pops of pink neon — proves striking in any space and embodies many of the collective’s postmodern ideals. 

After the initial Memphis show caused an uproar, the postmodern movement within furniture and interior design quickly took off in America. (Memphis fell out of fashion when the Reagan era gave way to cool 1990’s minimalism.) The architect Robert Venturi had by then already begun a series of plywood chairs for Knoll Inc., with beefy, exaggerated silhouettes of traditional styles such as Queen Anne and Chippendale. In 1982, the new firm Swid Powell enlisted a group of top American architects, including Frank Gehry, Richard Meier, Stanley Tigerman and Venturi to create postmodern tableware in silver, ceramic and glass.

On 1stDibs, the vintage postmodern furniture collection includes chairs, coffee tables, sofas, decorative objects, table lamps and more.

Add a welcome personal touch to your space and tie your distinctive interior scheme together by introducing antique and vintage posters to any and every room of your home.

In the late 19th century, following the advent of text-heavy posters printed from woodblocks for use in taverns and shop windows, hand-drawn poster art had become commonplace in regions such as France, England and the United States. Well-known illustrators were commissioned to produce decorative posters to advertise political campaigns, theatrical events, books, household goods and other items. Early poster artists used a printmaking technique called lithography, which sees drawings or paintings created on a stone (or metal) surface with an oil-based substance, such as a greasy crayon or tusche (an oily wash). The image is eventually affixed to the surface by means of a chemical reaction, and ink adheres to certain sections of the surface while non–image areas are made to repel the ink.

If you wanted a color lithograph in the early days, the number of stones prepared had to match the number of colors you commissioned for the poster. French painter Jules Chéret, widely known as the father of the modern poster, designed some of history's most popular lithographic posters that featured color. Today, Chéret’s art is highly collectible, along with original works by Czech painter and decorative artist Alphonse Mucha, whose posters advertising theatrical productions helped define Art Nouveau.

Over time, poster artists transitioned to more advanced techniques. Using silkscreens, woodblocks and photolithography, painters and illustrators printed larger quantities at a faster rate.

If you’ve finally tracked down that vintage movie poster, mid-century modern promotional travel poster or other work and you’re looking to find out if it is valuable, distinguishing between an original poster and a reproduction can be complicated. A professional appraiser can work with you on factors such as rarity, assessing the physical condition of your poster and authenticating your piece. For now, take care of your new acquisition because conserving posters is essential in helping them retain their value. A practical conservation method is to have the work mounted on archival, acid-free paper and thin artist’s canvas, then enclosing it in a sturdy frame. (And here is a primer on how to hang wall art, be it arranged gallery-style or otherwise.)

On 1stDibs, find all kinds of posters for your home today.