Kagan Chair With Foot Rest

​​A brand known to vintage mid-century modern furniture collectors everywhere, Directional Furniture opened its doors after American furniture designer Paul McCobb created the high-end Directional Modern line of sofas distributed by the New York–based Modernage Company.

In his pivotal introduction of postwar modernism to the mass market, the revered Massachusetts-born McCobb had established several lines, from the affordable and refined Planner Group for Winchendon to the swooping and unexpected arms of the Symmetric Group for Widdicomb, a Shaker-inspired collection that included a sofa and a lounge chair. Like all of McCobb’s designs, the Directional pieces for Modernage are defined by a sleek aesthetic in which the focus is on elegant functionality, frequently using fine materials such as brass and walnut. In 1949, in partnership with New York furniture salesman B.G. Mesberg, McCobb set up the Directional Furniture Company.

The pair’s first pieces were upholstered chairs, intended to harmonize with the modular Multiplex pieces designed by Martin Feinman. McCobb then designed an array of furniture including storage, dining, seating, desks and other pieces with details such as leather tops, wood finishes and Roman Travertine surfaces. While Directional stopped production of McCobb’s work in the early 1960s, it still released numerous pieces by leading designers manufactured by a variety of companies.

Designer Paul Evans led the factory for a time after joining in 1964. His provocative work for the company often reflected his understanding of materials from his early training as a silversmith, such as the popular Cityscape series — a milestone in brutalist design — with its blocky forms accented with brass and chrome. At his shop in Lambertville, New Jersey, he collaborated with a design team to clad furniture pieces in metallic surfaces, like the Argente line that began production in 1968 and involved an acetylene torch to give its aluminum material a textural quality. He also worked on the Sculpted Bronze series with hand-formed resin shaped over plywood or steel that was then coated with atomized bronze.

Other Directional designers included Vladimir Kagan, who contributed biomorphic sofas and swivel chairs; Milo Baughman, who created tables and dressers inspired by Scandinavian modernism; and Jack Lenor Larsen, who covered sofas in dynamically patterned fabric.

Find authentic Directional Furniture seating, tables, case pieces and storage cabinets from top sellers around the world on 1stDibs.

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.

As the weather grows colder, our minds turn toward nesting and all things soft and cozy. In the wintry months especially, bouclé armchairs, sofas, lounge chairs and other bouclé furniture bring warmth and comfort to our spaces.

This soft fabric is characterized by an irregular pattern of looped threads that yield its rich texture and volume. The yarn from which bouclé fabric is made — the name is French for “buckled” or “curled” and refers to the yarn and the fabric — is made up of twisted fibers. It has been used in furniture to reproduce the look and coarse feel of traditional handwoven textiles since the 1800s. But it was architect and designer Eero Saarinen’s revered Womb chair, crafted for Knoll in the 1940s, that turned this cozy but breathable fabric into a staple of modern furniture design.

Bouclé fabric can be found in mid-century modern, Scandinavian modern and Hollywood Regency furniture styles on 1stDibs, and a range of designers and firms including Pierre Paulin, Christian Sorensen, Fritz Hansen — and, of course, Knoll — have produced covetable bouclé furnishings over the years.

Given that Florence Knoll — a revolutionary modernist designer and former protégé of Eero Saarinen's father, Eliel, at Cranbrook Academy of Art — hoped for "something I could curl up in" when she requested what would become the famous Womb chair (and series), could it have been upholstered in anything other than her company's trademark "Classic Bouclé"?

Find antique, new and vintage bouclé furniture on 1stDibs today.

Sit back, relax and get all of the ergonomic support you could ever need by introducing an alluring antique or vintage chaise longue in your living room or by your outdoor fire pit.

The chaise longue is an upholstered piece of furniture that was made popular in France in the early 16th century. This low reclining seat — a “long chair” in English — boasts an elongated form and low back that extends about half the length of the furnishing, affording the welcome opportunity for a sitter to put their feet up and relax. A comfortable common ground between sofas and daybeds, early iterations of chaise longues were discovered in Ancient Egypt and were later frequently used in both Greece and Rome.

In the late 1700s, the first chaise longues were imported to America, and English speakers have struggled with the name ever since. (In the United States, the term is frequently spelled “chaise lounge.”) So, how do you pronounce chaise longue? It sounds like “shayz lawng,” but limiting it to shayz is perfectly acceptable in the States.

Antique Victorian chaise longues and 19th-century chaise longues bring luxury and perhaps extravagance to your living space while mid-century modern chaise longues, designed by the likes of Adrian Pearsall, Vladimir Kagan or Milo Baughman, can alter an interior with dazzling geometric contours and richly varied textures.

On 1stDibs, find many kinds of chaise longues for your home — from sculptural works by Charlotte Perriand to plush and velvety Louis XVI pieces to minimalist contemporary versions to suit your understated decor.