Sottsass Murmansk

An architect, industrial designer, philosopher and provocateur, Ettore Sottsass led a revolution in the aesthetics and technology of modern design in the late 20th century.

Sottsass was the oldest member of the Memphis Group — a design collective, formed in Milan in 1980, whose irreverent, spirited members included Alessandro Mendini, Michele de Lucchi, Michael Graves and Shiro Kuramata. All had grown disillusioned by the staid, black-and-brown “corporatized” modernism that had become endemic in the 1970s. Memphis (the name stemmed from the title of a Bob Dylan song) countered with bold, brash, colorful, yet quirkily minimal designs for furniture, glassware, ceramics and metalwork. They mocked high-status by building furniture with inexpensive materials such as plastic laminates, decorated to resemble exotic finishes such as animal skins. Their work was both functional and — as intended — shocking. Even as it preceded the Memphis Group's formal launch, Sottsass's iconic Ultrafragola mirror — in its conspicuously curved plastic shell and radical pops of pink neon — embodies many of the collective's postmodern ideals.

Sottsass's most-recognized designs appeared in the first Memphis collection, issued in 1981 — notably the multihued, angular Carlton room divider and Casablanca bookcase. As pieces on 1stDibs demonstrate, however, Sottsass is at his most imaginative and expressive in smaller, secondary furnishings such as lamps and chandeliers, and in table pieces and glassware that have playful and sculptural qualities.

It was as an artist that Ettore Sottsass was celebrated in his life, in exhibitions at the Los Angeles County Museum of Art, in 2006, and the Philadelphia Museum of Art a year later. Even then Sottsass’s work prompted critical debate. And for a man whose greatest pleasure was in astonishing, delighting and ruffling feathers, perhaps there was no greater accolade. That the work remains so revolutionary and bold — that it breaks with convention so sharply it will never be considered mainstream — is a testament to his genius.

A hallmark of design in an entertainment space is the centerpiece. Its main function is to draw the eye to a specific place in the room and promote symmetry. In dining areas, antique, new or vintage centerpieces can bring the entire tablescape of fine fabrics and china together.

A sculptural Art Deco–inspired primrose yellow cake stand is an example of how a singular item can transform the table. The New York– and Los Angeles–based interior designer Alexandra Loew agrees, suggesting that one such 1930s-era Schneider Glass piece, for example, could add a cheerful jolt to any staid dining table. Julia Buckingham, ​​of the Chicago firm Buckingham Interiors + Design, defines her style as “modernique” and shares with 1stDibs a striking dining-room project for Design Industries Foundation Fighting AIDS: white multidimensional art for the walls, monochromatic fabric from Pierre Frey for the dining chairs and large vases that are inspired by antlers for centerpieces, which she created for Global Views..

Centerpieces can be functional to the environment or a conversation starter. Explore a wide variety of antique, new and vintage centerpieces on 1stDibs — there are options for any space in one’s home. And don’t forget, unique centerpiece options for your dining table can also include an antique soup tureen brightened with flowers, stemless drinkware and other glass with flower heads, decorative vases and vessels and more.