In 1966, Piero Ambrogio Busnelli cofounded C&B Italia, a modern Italian furniture manufacturer, with Cesare Cassina in northern Milan. From the outset, Busnelli and Cassina set about recruiting the most talented modernists in Italy to conceive of creative furnishings manufactured in modern ways. In the early 1970s, the company split, with Cassina founding his own eponymous firm and Busnelli taking leadership of what became B&B Italia.

For decades, Busnelli cultivated relationships with the world’s best design talent, resulting in furniture pieces that remain iconic today — be they Gaetano Pesce’s outwardly curvaceous Up seating (made for C&B, reintroduced by B&B) or tables from industrial designer Paolo Piva, each more sophisticated than the next in their geometrically complex steel-tube bases. B&B Italia earned four prestigious Compasso d’Oro design awards: in 1979 for Mario Bellini’s Le Bambole, in 1984 for the Sisamo wardrobe system by Studio Kairos, in 1987 for Antonio Citterio’s modular Sity sofa and, in 1989, the first award given to a manufacturing company itself.

Other notable names who designed for B&B Italia over the course of its 54-year history include Patricia Urquiola, Naoto Fukasawa, Zaha Hadid, Ettore Sottsass and Vincent Van Duysen, to name a very few. And while these names bring star power to the B&B brand, in many cases, it was B&B Italia who helped usher in their celebrity, fostering a wave of design talent on the world stage.

The company’s forward-thinking vision manifested in its own headquarters, too: In 1972, B&B Italia tapped architects Renzo Piano and Richard Rogers to design a steel-framed, postmodern-style home for the brand, whose crisscrossing metal exoskeleton is reminiscent of the pair’s Centre Pompidou in Paris, which was built at roughly the same time. Now, B&B Italia manages a contract division and outdoor section as well as its residential arm, and it also controls production for Maxalto, a brand spun out with furniture designs by Antonio Citterio.

At 1stDibs, find a range of vintage B&B Italia furniture — including sofas, cocktail tables and more.

A Close Look at post-modern Furniture

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

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.

Finding the Right day-beds for You

An antique or vintage daybed is a practical solution for furnishing any modest-sized bedroom or guest room and can even be a versatile option for the reading nook in your living room.

Daybeds, which traditionally comprise a simple three-sided frame and twin-size mattress or boxy foam cushion, have a long history that dates back at least to the early Greeks and Romans. The spare construction and multipurpose nature of these multifunctional marvels — they’re not loveseats, sofas or chaise longues, but each share some commonalities — have over time rendered them an easy and often essential piece of seating.

All manner of daybeds have materialized over the years. There are ornate, unconventional versions created in the Louis XV, Art Deco and Empire styles, while popular mid-century modern iterations include the Barcelona daybed, designed by Ludwig Mies van der Rohe and Lilly Reich, as well as the Nelson daybed, which architect George Nelson created for Herman Miller in the 1940s. But you don’t have to limit yourself to one of the classics.

Variations on the daybed have been developed all over the world, and contemporary examples come in all shapes, upholstery options and sizes. (They’re no longer limited to twin size.) No matter what style you choose, this luxury furnishing ensures that you don’t have to wait until nighttime to start dreaming.

On 1stDibs, find a cozy collection of antique, new and vintage daybeds today.