Jasper Morrison Universal

In 1946, at the start of a postwar boom in Europe, Enrico Cappellini opened the doors to a small furniture studio in the Italian town of Carugo. But it wasn’t until his son joined the company nearly three decades later that Cappellini became a powerhouse fixture on the global design stage. Today Cappellini is one of the world’s foremost manufacturers of innovative chairs, tables and decorative objects.

Giulio Cappellini joined the family company in 1977 and, with his appointment, ushered in a stage of boundary-pushing modernism and prolific creativity at Cappellini. With a dual background in architecture and business management, Giulio was well equipped to steer the brand into both innovative design and economic growth in a rapidly globalizing economy.

The second-generation leader’s first major success came in 1981, with the launch of Sistemi, a modular, hyperfunctional storage system that would come to symbolize the chic functionality of Cappellini. That was quickly followed by a collaboration with renowned Japanese designer Shiro Kuramata for the Progetti Compiuti collection, a line that brought unexpected playfulness to the simple framework of a black-and-white cabinet and remains an iconic collectible today.

That first collaboration opened the doors to a prolific output of partnerships, with Cappellini tapping such star designers as Jasper Morrison, Marcel Wanders, Tom Dixon, Ronan and Erwan Bouroullec and Nendo for collections over the ensuing decades that spanned a range of materials and styles. Speaking to this range, Marc Newson’s plumply curvaceous 1988 Embryo chair, Jasper Morrison’s slightly arachnoid 1987 Thinking Man’s chair and Tom Dixon’s sculptural 1991 S-chair — each quite stylistically unique — remain some of the company’s most recognizable pieces, with the latter in the permanent collection of the Museum of Modern Art.

Cappellini, now headquartered in Milan, continues to partner with guest designers across furniture, storage and lighting solutions, though many of its 1970s and ’80s designs remain its most coveted today.

Find vintage Cappellini furniture on 1stDibs.

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.

Mid-century modern credenzas descend from the Renaissance-era sideboard, once used to serve and store food and dishware. The clean-lined, low-profile version prized today emerged from Italian and Scandinavian design in the mid-20th century, defined by tapered legs and warm walnut or teak veneers.

Styles to Know

Mid-century modern credenzas are one of the most searched storage silhouettes on 1stDibs. Sliding-door and open-shelf configurations serve different needs: books and displayed objects suit open shelving, while electronics and linens are better behind doors. A matching mid-century modern dresser extends the look to the bedroom, or an apothecary cabinet offers more drawer storage in a smaller footprint.

How to Choose the Right Vintage Credenza

Hardware and veneer condition vary considerably from piece to piece, so listing photographs deserve a close look; our guide to case pieces covers what else to look for in construction. Every credenza comes from a vetted 1stDibs seller, with era, designer and condition on record, and the 1stDibs Promise stands behind every purchase.