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

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.

Finding the Right Tapestry for You

Whether you hang them behind your bed as a dazzling alternative to a headboard or over the sofa as a large-scale focal point in the living room, vintage tapestries can introduce an array of textures and colors to any space in your home.

Woven wall hangings haven’t consistently enjoyed the popularity or earned the highbrow status that other types of wall decorations have over the years, at least not since the 1970s, which was somewhat of a heyday for tapestries. Today, however, these tactile works of art are seeing a renaissance, as modern weavers are forging new paths in the medium while the demand for antique and vintage tapestries continues to grow.

“We are drawn to texture in environments, and we see tapestries as a subtle layer of soft ornament,” says Lauren Larson of the New York design duo Material Lust. Indeed, and a lot of opportunity comes along when decorating with this distinctive brand of soft ornament.

Think of wall hangings as paintings created by hand with fabric instead of oil or watercolors. If you’re not simply securing your treasure to a wall with nails, pushpins or Velcro, tapestries can be stretched over a frame, used to create a canopy in a cozy living-room corner, hung from a rod or placed inside a shadowbox. And because this kind of textile art is hundreds of years old, options abound with respect to subjects and designs.

For richly detailed depictions of landscapes and garden scenes, look to antique Chinese tapestries and Japanese tapestries. Aubusson tapestries are ornate wall hangings manufactured in central France that are also characterized by romantic portrayals of nature. For weavers of mid-century modern tapestries, as well as those working in textile arts today, the styles and subject matter are too numerous to mention, with artists exploring experimental shapes, bold colors and provocative abstract designs.

Antique, new and vintage tapestries can make a room feel warm and welcoming — find yours on 1stDibs now.