Hermes Midtown

Joseph Hilton McConnico was a designer and artist who was born in Memphis, Tennessee and lived and worked in Paris from 1965. McConnico was a self-taught fashion designer. He officially launched his first atelier at 16 years old and discovered Paris after winning a challenge organized by the magazine Vogue, a city where he moved two years later. After working in fashion for such designers as Ted Lapidus and Yves St. Laurent, he was a set designer & art director for more than 20 films, including the cult classic Diva.

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.

Good antique rugs and vintage rugs have made their way into homes across the globe, becoming fixtures used for comfort, prayer and self-expression, so choosing the right area rug is officially a universal endeavor.

In modern usage, “carpet” typically denotes a wall-to-wall floor cushioning that is fixed to the floor. Rugs, on the other hand, are designed to cover a specific area and can easily be moved to new locations. However, the terms are interchangeable in many parts of the world, and, in the end, it won’t matter what you decide to call it.

It’s well known that a timeless Persian rug or vintage Turkish rug can warm any interior, but there are lots of other styles of antique rugs to choose from when you're endeavoring to introduce fresh colors and textures to a bedroom or living room.

Moroccan Berber rugs are not all about pattern. In fact, some of the most striking examples are nearly monochrome. But what these rugs lack in complexity, they make up for in brilliant color and subtle variation. Moroccan-style interiors can be mesmerizing — a sitting room of this type might feature a Moroccan rug, carved wooden screens and a tapestry hung behind the sofa.

Handwoven kilim rugs, known for their wealth of rich colors and unique weaving tradition, are pileless: Whereas the Beni Ourain rugs of Morocco can be described as dense with a thick surface or pile, an authentic kilim rug is thin and flat. (The term “kilim” is Turkish in origin, but this type of textile artistry is practiced all across the Balkans, throughout the Arab world and elsewhere.) 

When it comes to eye-catching floor coverings, the distinctive “medallion” pattern of Oushak rugs has two types of rounded shapes alternating against a rich red or blue background created with natural dyes, while the elaborate “star” pattern involves large eight-pointed shapes in diagonal rows alternating with diamonds.  

If you’re looking for something unexpected, find a runner rug that pops in your hallway or on your stairs. Dig for dazzling geometric patterns in our inventory of mid-century modern rugs and carpets, which includes works designed by the likes of Swedish textile masters Märta Måås-Fjetterström, Marianne Richter and other artisans. 

Carpets and rugs have been around for thousands of years. Prehistoric humans turned to animal skin, wool and fur to craft simple fabrics to soften hard terrain. A 2016 study suggests that "cave lions" were hunted for exactly this purpose, and that decorating your cave with their pelts may have conferred strength and prestige. Although many of these early textiles are still in existence, tracing their precise origins is difficult. Carpets quickly became such a valuable trade commodity that the weavings could easily travel far from their places of origin. 

The oldest known carpet was found in southern Siberia. (It may have traveled there from Persepolis in Iran.) For the flat-weave floor rugs crafted by Native Americans, cotton was the primary material before sheep’s wool was introduced in the 16th century. In Europe, carpet-making was fundamental to folk art, and Asian carpets imported to European countries were at one time considered a precious luxury and not intended to remain permanently on the floor. 

With the variety of area rugs and carpets rolled out for you on 1stDibs — a collection that includes traditional, modern, minimalist rugs and other coverings of all kinds — things will be looking up whenever you’re looking down.