Albert Pyne

Schumacher is an esteemed American textile company known for its fine pillows, wallpaper and carpets. The family-owned business is still managed by its founder’s descendants. While committed to its history and traditions, the brand has evolved to maintain its vaulted status for more than 130 years.

Schumacher was established in 1889 in New York by Frederic Schumacher, who was born in France and moved to America that same year. By 1898, the Gilded Age elite were patrons of the company’s exquisite imported European fabrics. Schumacher became one of the first to produce luxury textiles in America and its fabrics began appearing in upscale properties like the Waldorf-Astoria hotel.

Schumacher grew in prestige in the early 20th century due to its partnerships with top designers such as Josef Frank and Dorothy Draper. Its textiles graced the White House and captured the attention of leading decorators, including Edith Wharton and Elsie de Wolfe.

In the 1920s, Schumacher was a favorite at Mar-a-Lago estates and Newport’s ritzy summer cottages. In the 1930s, French fashion designer Paul Poiret helped usher in the company’s Art Deco era. Schumacher textiles could be found on the sets of Hollywood films, most notably the Hydrangea Drape wallpaper in Gone with the Wind.

After World War II, Schumacher began a decades-long partnership with designer Vera Neumann, whose scarves were worn by the likes of Marilyn Monroe and Grace Kelly. In 1955, legendary architect Frank Lloyd Wright developed a textile line with Schumacher. Known as the Taliesin line, it was the first commercial venture of the architect’s career.

In 2011, Andrew and Stephen Puschel became the fifth generation of Schumacher’s descendants to join the family business. The company continues to exemplify a spirit of innovation by partnering with exciting modern designers like Miles Redd, Mary McDonald, David Kaihoi, Veere Grenney and David Oliver. Under the creative direction of Dara Caponigro, Schumacher has also partnered with the biannual luxury interiors magazine Cabana.

On 1stDibs, find Schumacher textiles, wall decorations, rugs and more.

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.