Michele De Lucchi Horizon Bed

To many people, postmodern design is synonymous with the Memphis Group. This Italian collaborative created the most radical and attention-getting designs of the period, upending most of the accepted standards of how furniture should look.

The Memphis story begins in 1980, when Ettore Sottsass, then a beacon of Italian postmodernism, tapped a coterie of younger designers to develop a collection for the Milan Furniture Fair the next year, determined that all the new furniture they were then seeing was boring. Their mission: Boldly reject the stark minimalism of the 1970s and shatter the rules of form and function. (Sottsass’s Ultrafragola mirror, designed in 1970, embodied many of what would become the collective’s postmodern ideals.)

The group decided to design, produce and market their own collection, one that wouldn’t be restricted by concerns like functionality and so-called good taste. Its debut, at Milan’s 1981 Salone del Mobile, drew thousands of viewers and caused a major stir in design circles.

So as a record of Bob Dylan’s “Stuck Inside of Mobile” played on repeat, they took their name from the song, devised their marketing strategy and plotted the postmodern look that would come to define the decade of excess — primary colors, blown-up proportions, playful nods to Art Deco and Pop art. A high-low mix of materials also helped define Memphis, as evidenced by Javier Mariscal’s pastel serving trays, which feature laminate veneer — a material previously used only in kitchens — as well as Shiro Kuramata’s Nara and Kyoto tables made from colored glass-infused terrazzo.

An image of Sottsass posing with his collaborators in a conversation pit shaped like a boxing ring appeared in magazines all over the world, and Karl Lagerfield furnished his Monte Carlo penthouse entirely in Memphis furniture. Meanwhile, members like Andrea Branzi, Aldo Cibic, Michele de Lucchi, Nathalie du Pasquier, Kuramata, Paola Navone, Peter Shire, George Sowden, Sottsass and his wife, journalist Barbara Radice, went on to enjoy fruitful careers.

Some people think of the Milan-based collective as the design equivalent to Patrick Nagel’s kitschy screenprints, but for others Memphis represents what made the early 1980s so great: freedom of expression, dizzying patterns and off-the-wall colors.

Eventually, the Reagan era gave way to cool 1990s minimalism, and Memphis fell out of fashion. Sottsass left the group in 1985, and by 1987, it had disbanded. Yet decades later, Memphis is back and can be traced to today’s most exciting designers.

“As someone who was born in the 1980s, Memphis at times feels like the grown-up, artsy version of the toys I used to play with,” says Shaun Kasperbauer, cofounder of the Brooklyn studio Souda. “It feels a little nostalgic, but at the same time it seems like an aesthetic that’s perfectly suited to an internet age — loud, colorful and utilizing forms that are graphic and often a little unexpected.”

Find a collection of vintage Memphis Group seating, tables, decorative objects and other furniture on 1stDibs.

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.

We find relaxation and solace in our bedrooms, which are often the most cherished rooms of a home. Your antique, new or vintage bed and bed frame are integral to this oasis of personal comfort.

Beds and bed frames have long been an important part of the sanctuary that is the bedroom. For the upper class in countries such as England, the massive, costly beds of the 16th and 17th centuries were decorative and of the poster variety. Some were characterized by large painted wooden headboards, often made of oak, that featured ornate carvings and richly colored curtains affixed to each of the two or four posts — think of today’s sumptuous upholstered headboards as a distant cousin to these luxurious furnishings. The heavy fabric curtains were drawn across a fringed canopy to close out the sunlight that might’ve warmed your grandiose and opulent bedchambers. This feature could also offer privacy as desired, because, as we all know, a bedroom is for more than just sleeping. 

Coiled springs didn’t make their way into mattresses until the 1800s, which likely made for a far more comfortable night’s sleep for many. Bed frames of cast iron and brass were introduced during the mid- to late-19th century. Later, the 20th century brought with it marvelous innovations for slumberland, among them daybeds from the likes of George Nelson and Ludwig Mies van der Rohe and Lilly Reich as well as convertible sofa beds.

Today, you will find a range of beds geared toward your individual personality and preferred style of decor. When shopping for a bed and bed frame, keep in mind that you’ve got options. Sizes range from twin to California king. At 76 inches wide and 80 inches long, a king-size bed is roughly 16 inches wider than a queen-size mattress, and your bed frame will likely add two to five inches to each side. (The California king bed is 84 inches long.)

From dramatic bedroom designs to uncomplicated, minimalist approaches, the bedroom has evolved into the haven that it should be: a peaceful place of respite, where we begin and end every day. Take the time to create your very own oasis — you deserve it. Rest easy with an expansive collection of antique, new and vintage beds and bed frames available on 1stDibs.