Phillip Jividen
2010s American Post-Modern Wall Mirrors
Brass
2010s American Post-Modern Wall Mirrors
Brass
2010s American Post-Modern Dining Room Tables
Marble
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2010s Mexican Modern Cabinets
Steel
2010s American Modern Table Lamps
Steel, Brass, Silver Leaf
21st Century and Contemporary Spanish Minimalist Side Tables
Marble, Travertine
21st Century and Contemporary Italian Mid-Century Modern Dining Room Tables
Travertine
2010s German Mid-Century Modern Chandeliers and Pendants
Brass
2010s American Modern Wall Lights and Sconces
Brass
21st Century and Contemporary Brazilian Modern Carts and Bar Carts
Steel
2010s Table Lamps
Iron
2010s North American Modern Side Chairs
Hardwood
21st Century and Contemporary English Dining Room Tables
Travertine, Marble, Steel
Mid-20th Century French Mid-Century Modern Beds and Bed Frames
Oak
21st Century and Contemporary Danish Mid-Century Modern Wall Mirrors
Brass
21st Century and Contemporary Portuguese Modern Coffee and Cocktail Tables
Marble
21st Century and Contemporary Italian Mid-Century Modern Dining Room Tables
Travertine
2010s Italian Mid-Century Modern Chaise Longues
Metal
21st Century and Contemporary Portuguese Modern Chairs
Leather, Fabric, Faux Leather, Wood
A Close Look at post-modern Furniture
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.
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