Memphis Coasters

Artist and designer Georges Briard (1917–2005) — a name that has for more than a century been a marker of spectacular and stylish vintage glassware, serveware and other household objects — was born Jascha Brojdo in Russian Ukraine.

Brojdo grew up in Poland and moved to the United States in the 1930s, studying art at the University of Chicago and the Art Institute of Chicago before serving in the U.S. Army during World War II. After the war, he began hand-painting metal serving trays while working for Max Wille of M. Wille Company, where Wille suggested changing his name to distinguish his commercial work from his fine art.

As Georges Briard, Brojdo created award-winning designs for items including glasses, trays, coffeepots and dishes in materials like glass, ceramics, metal and wood; he even created gold-plated serveware. His serveware was especially popular from the 1950s to ’70s. It was produced by companies including Culver, Pfaltzgraff and Mdina Glass and sold at high-end department stores like Neiman Marcus and Bonwit Teller. His designs have a signature opulence, evoking the mid-century modern aesthetic of his time as well as borrowing elements from Art Nouveau and Venetian styles, while the quirky, playful barware pieces he produced featured peacock feathers, skulls and tennis balls.

With colorful, intricate patterns and motifs such as butterflies, Christmas trees and Piet Mondrian-esque geometric abstractions, Georges Briard glasses and dishes were found in the homes of the most fashionable hosts of the mid-century. Today, they are highly prized by collectors.

Find a collection of Georges Briard vintage bar glasses, serving trays and other goods 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.

Arguably the world’s most ubiquitous man-made material, plastic has impacted nearly every industry. In contemporary spaces, new and vintage plastic furniture is quite popular and its use pairs well with a range of design styles.

From the Italian lighting artisans at Fontana Arte to venturesome Scandinavian modernists such as Verner Panton, who created groundbreaking interiors as much as he did seating — see his revolutionary Panton chair — to contemporary multidisciplinary artists like Faye Toogood, furniture designers have been pushing the boundaries of plastic forever.

When The Graduate's Mr. McGuire proclaimed, “There’s a great future in plastics,” it was more than a laugh line. The iconic quote is an allusion both to society’s reliance on and its love affair with plastic. Before the material became an integral part of our lives — used in everything from clothing to storage to beauty and beyond — people relied on earthly elements for manufacturing, a process as time-consuming as it was costly.

Soon after American inventor John Wesley Hyatt created celluloid, which could mimic luxury products like tortoiseshell and ivory, production hit fever pitch, and the floodgates opened for others to explore plastic’s full potential. The material altered the history of design — mid-century modern legends Charles and Ray Eames, Joe Colombo and Eero Saarinen regularly experimented with plastics in the development of tables and chairs, and today plastic furnishings and decorative objects are seen as often indoors as they are outside.

Find vintage plastic lounge chairs, outdoor furniture, lighting and more on 1stDibs.

Whether it’s streamlined or sophisticated, a bar area is always a welcoming feature in any home interior. A cheery well-made drink with friends and family has the potential to yield some unforgettable moments alongside those that aren’t easily remembered. And the only way to conjure that exemplary cordial is by putting the proper antique, new or vintage barware to work.

Essential barware equipment ranges from sterling-silver barspoons for mixing your cocktails in tall collins glasses to jiggers, shakers and strainers that allow you to whip up martinis and old-fashioneds.

From a design standpoint, some barware, such as our array of Art Deco glass whiskey sets or mid-century modern silver-banded tumblers crafted by Dorothy Thorpe, can help position your bar as a bold and attractive centerpiece to a room. At the very least, a carefully curated collection of barware can elevate with subtlety the bar’s nearby fixtures, as a handcrafted crystal decanter might do for your vintage 1960s bar cart.

As cocktail hour draws near, find inspiration in our gorgeous gallery of home bars in locales ranging from London to New York to San Francisco, and browse the exquisite selection of antique, new and vintage barware and glassware on 1stDibs.