Exposition "S'asseoir", 1974, Musée de Grenoble 12 Posters in DIN A2, De Sede

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 de Sede piece lends a strong personality to the room it occupies. One of the world’s most respected furniture design houses, de Sede’s quality Swiss craftsmanship has its foundation in a long history of making expertly designed saddles. Founded in 1965 to build on a successful family-run saddler’s workshop in Klingnau, Switzerland, de Sede now is a leading manufacturer of leather goods and furniture, including sofas, chairs and beds.

At the core of de Sede’s philosophy is a reverence for the complexity and beauty of handcrafted furniture in an age when mass-produced objects are the norm. Over the years, the atelier has built a name for itself in its modular furniture pieces, which are made using the highest quality leather upholstery. The sleek, elegant pieces incorporate functionality with beauty. Amongst their best-selling designs is the DS-600 introduced in 1972. Also known as the Non Stop sofa, it is a sensually curved, snaking modular sofa whose individual pieces can be zipped together to create multiple variations and arcs.

De Sede has collaborated with some of the world's finest design minds, enhancing the prestige and individuality of their products. Designers like Santiago Calatrava, Antonella Scarpitta, Stephan Hürlemann, Gordon Guillaumier and Philippe Malouin have all created pieces with the atelier. Ubald Klug’s 1974 DS-1025, also known as the Terrazza sofa, is an enduring favorite with its cascading levels of leather. In 2017, de Sede expanded its product line to include high-quality leather handbags, which are as thoughtfully designed and beautifully crafted as its furniture. De Sede AG is now part of the Volare Group AG and continues to handcraft its fine furniture and other goods from its factory in Klingnau.

Find authentic de Sede seating, tables and decorative objects today on 1stDibs.