Vladimir Kagan Rock Star

The pioneers of modern furniture design in America in the mid-20th century all had their moments of flamboyance: Charles and Ray Eames produced the startling, biomorphic La Chaise; George Nelson’s firm created the Marshmallow sofa; Edward Wormley had his decadent Listen to Me chaise. But no designer of the day steadily offered works with more verve and dynamism than Vladimir Kagan. While others, it seems, designed with suburban households in mind, Kagan aimed to suit the tastes of young, sophisticated city-dwellers. With signature designs that feature sleekly curved frames and others that have dramatic out-thrust legs, Kagan made furniture sexy.

Kagan’s father was a Russian master cabinetmaker who took his family first to Germany (where Vladimir was born) and then to New York in 1938. After studying architecture at Columbia University, Kagan opened a design firm at age 22 and immediately made a splash with his long, low and sinuous Serpentine sofa. Furniture lines such as the Tri-symmetric group of glass-topped, three-legged tables and the vivacious Contours chairs soon followed.

Kagan’s choices of form and materials evolved through subsequent decades, embracing lucite, aluminum and burl-wood veneers. By the late 1960s, Kagan was designing austere, asymmetrical cabinets and his Omnibus group of modular sofas and chairs. For all his aesthetic élan, Kagan said that throughout his career, his touchstone was comfort. “A lot of modern furniture was not comfortable. And so comfort is: form follows function. The function was to make it comfortable,” he once commented. “I created what I called vessels for the human body.”

A diverse group of bodies have made themselves at home with Kagan designs. Among the famous names who commissioned and collected his designs are Marilyn Monroe, Gary Cooper, Andy Warhol, David Lynch, Angelina Jolie and Brad Pitt, and firms such as Gucci and Giorgio Armani. His work is in numerous museum collections, including those of the Victoria & Albert and the Metropolitan Museum of Art.

Because of its idiosyncrasy, Kagan’s work did not lend itself to mass-production. Kagan never signed on with any of the major furniture-making corporations, and examples of his designs are relatively rare. As you will see from the offerings on 1stDibs, even decades after their conception, Kagan pieces still command the eye, with their freshness, energy, sensuality and wit.

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

The phrase “rocking chair” didn’t find its way into the dictionary until the mid-18th century. While most of the sitting furniture that we use in our homes originated in either England or France, the iconic rocking chair is a quintessentially American piece of furniture.

A Philadelphia cabinetmaker’s bill for a proto-rocking chair issued in 1742, which identified the seat as a “Nurse Chair with rockers,” is the earliest surviving evidence of this design’s humble beginnings. The nurse chair was a low side chair intended for nursing women, so giving it a soothing rocking motion made sense. Rocking chairs, which saw a curved slat affixed to the chairs’ feet so that they could be literally rocked, quickly gained popularity across the United States, garnering a reputation as a seat that everyone could love. They offered casual comfort without the expensive fabrics and upholstery that put armchairs out of many families’ budgets.

Rocking chairs are unique in that they don’t just offer a place to rest — they offer an opportunity to reminisce. The presence of one of these classic pieces stirs up our penchant for nostalgia and has the power to transform a space. They easily introduce a simple country feel to the city or bring the peaceful rhythm of a porch swing into a sheltered sunroom. Although craftsmen took to painting and stenciling varieties of the chairs that emerged in New England during the 19th century, the most traditional rocking chairs are generally unadorned seats constructed with time-tested materials like wood and metal. As such, a minimalist vintage rocking chair can be ushered into any corner of your home without significantly disrupting your existing decor scheme or the room’s color palette.

In the decades since the first rocker, top designers have made the piece their own. Viennese chair maker Michael Thonet produced a series of rockers in the middle of the 19th century in which the different curved steam-bent wood parts were integrated into fluid, sinuous wholes. Mid-century modernists Charles and Ray Eames added wooden rockers to their famous plastic shell armchair, while Danish designer Frank Reenskaug opted for teak and polished beech, introducing pops of color with small cushions (a precursor to the bold works that would follow in the 1970s and 1980s).

No matter your personal style, let 1stDibs pair you with your perfect seat. Deck out your porch, patio or parlor — browse the vintage, new and antique rocking chairs in our vast collection today.