Simon Johns Solis Mirror

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.

Vintage and antique wall mirrors add depth and openness to a space — they can help create the illusion that a narrow hallway isn’t so narrow. But you don’t need hundreds of enormous arched French or Italian mirrors framed in gilded bronze to dress up your home (maybe just a few).

A few well-placed large wall mirrors and other types of mirrors can amplify lighting and help showcase the decorative and architectural features of your home. For the Palace of Versailles during the 17th century, French King Louis XIV ordered the construction of the Hall of Mirrors after spending millions of dollars importing expensive Venetian mirrors from the revered glass-blowing factories on the island of Murano. A mirror-manufacturing rivalry between Paris and Venice took shape, and soon, across from 17 large windows that open out over the adjacent Palace Gardens on one side of the Hall, more than 350 mirrors — large mirrors made of groupings of small panes — were installed, effectively bringing the radiant colors of the outdoors into the opulent corridor.

Wall mirrors for your living room can work miracles — pull your landscaping’s colors and textures indoors, Louis XIV–style, by covering the length of an interior wall across from your living-room windows with wall mirrors.

For a similar effect, surrounding your mid-century modern wall mirror with leafy air plants and fern floor plants can amplify the sense of serenity that greenery offers in your home. Choose wall mirror frame styles to match your home’s decor, or shop for a frameless, organically shaped mirror that’s cut or beveled for a clean yet distinctive showpiece. For a free-spirited Bohemian feel, create a cluster of mismatched antique wall mirrors — an arrangement of circular Art Deco wall mirrors, Rococo-style silver leaf mirrors and decorative oval Victorian mirrors could add spice to an otherwise unadorned dining-room wall.

Elsewhere, there’s nothing vain about buying a full-length mirror for your bedroom, bathroom or walk-in closet to help you perfect your look for the day. Another may be needed in your entryway for a last-minute ensemble inspection. In fact, a shimmering 18th-century hall of mirrors awaits visitors behind the steel door of Stephen Cavallo’s atelier in Manhattan.

“We like to see the look on people’s faces when they walk in,” says Cavallo.

Decorating your home and office with wall mirrors is an art form in and of itself — get started today with the variety of antique and vintage wall mirrors on 1stDibs.