Lira E Liuto Dining Chairs

Milan-born architect and designer Mario Bellini just may be the closest thing to a modern-day Renaissance man: His creative output spans genres, from electronics to furniture to architecture to cars, comprising iconic designs in each. Vintage Mario Bellini sofas, dining chairs and other seating pieces are widely coveted, and the designer has been the recipient of multiple prestigious Compasso d’Oro awards. More than 20 of his works are in the permanent collection of the Museum of Modern Art.

Born in 1935, Bellini studied architecture at the Polytechnic University of Milan before founding his own firm in his native city in the early 1960s. He soon branched out beyond architecture, however, first for the tech manufacturer Olivetti, where he served as chief industrial design consultant from 1963 to 1991. During that time, Bellini oversaw the design of some of Olivetti’s most popular typewriters.

His penchant for electronic design didn’t stop there: Bellini also designed cameras for Fuji, televisions for Brionvega and a slew of audio devices for Yamaha, then served as design consultant for Renault and devised the interior of the 1980 Lancia Trevi for Fiat. Meanwhile, his architecture work spans continents, including such modern gems as the Museum of Islamic Arts at the Louvre, the National Gallery of Victoria extension in Melbourne, the Dubai Creek Complex and the Milan Convention Centre in his hometown.

And then there’s the furniture: Over the last 70 years, Bellini has designed office furniture for Vitra; lamps for Artemide, Erco and FLOS; porcelain for Rosenthal and long-admired sofas and other seating for Kartell, Natuzzi, B&B Italia, Cassina and more.

His oft-imitated 1977 Cab chair for Cassina, comprising 16 individual pieces of saddle leather that create a “skin” over a minimal metal frame, remains one of the manufacturer’s best sellers today. His pudgy-legged, round tables for Cassina foreshadow Faye Toogood’s widely loved Roly Poly line. His postmodern Summa armchairs for Kartell, as well as his elegant Chiara floor lamp, still lure collectors on vintage furniture websites.

Bellini’s most famous contribution to furniture design, though, may be his 1970 Camaleonda sofa for B&B Italia (then C&B Italia). An entrant to the 1972 MoMA show “Italy: The New Domestic Landscape,” the seat takes its name from the Italian words for chameleon and wave. Its bulbous, modular form makes it infinitely flexible. The sofa was a runaway hit at the show and, once discontinued, remained so popular among vintage dealers that B&B Italia reissued it in 2020 with all recycled materials and interchangeable seat covers. “Of all the objects I have designed, Camaleonda is perhaps the best in terms of its sense of freedom,” Bellini said.

Browse an expansive collection of vintage Mario Bellini furniture — including dining tables, armchairs, mid-century sofas and more — today 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.

No matter what your dream dining experience looks like, there is a wide-ranging variety of vintage, new and antique dining room chairs on 1stDibs. Find upholstered dining room chairs, wood dining room chairs and more to outfit any space designated for a good meal, be it in your home or in the great outdoors.

In the early 18th century, most dining room tables and other furniture was designed to look masculine. In America, dining rooms weren’t even much of a concept until the late 1700s, when a space set aside specifically for dining became a part of the construction of homes for the wealthy. Dining room chairs of the era were likely made of walnut or oak. In Europe, neoclassical dining chairs emerged during the 1750s owing to nostalgia for classical antiquity, while the curving chair crests of Queen Anne furniture in the United States preceded the artistically bold seat backs that characterized the Chippendale chairs that followed. If there weren't enough dining chairs at suppertime in the American colonies, men were prioritized and women stood.

In the dining rooms of today, however, there is enough space for everyone to have a seat at the table. Modern styles introduce innovative design choices that play with shape and style. Icons of mid-century modern dining room chairs are plentiful: With its distinctive bentwood back, there is the DCW dining chair by Charles and Ray Eames, while Hans Wegner's timeless classic, the Wishbone chair, remains relevant and elegant decades after its debut. Stefano Giovannoni's White Rabbit dining chairs, in their lovable polyethylene biomorphism, reinvent what dining can look like.

Today's wide range of dining room chairs also means that they can now be styled in different ways, bringing functionality and fun to any sumptuous dining space. No longer do tables have to be accompanied by a matching set of seats. Skillfully mixing and matching colors and designs allows you to showcase your personality without sacrificing the cohesion of a given space.

By furnishing your dining room with cozy chairs — vintage, antique or otherwise — family time can extend far beyond mealtime. The plush upholstery of Victorian-style dining room chairs is perfect for game nights that stretch from dinner to midnight snack. Outdoor tables and dining chairs can also present an excellent opportunity for bonding and eating — what goes better with a delicious meal than fresh air, anyway?

Whether you prefer your chairs streamlined and stackable or ornate and one of a kind, the offerings on 1stDibs will elevate your mealtime and beyond.