Milo Baughman Upside Down U Ottoman

Milo Baughman was one of the most agile and adept modern American furniture designers of the late 20th century. A prolific lecturer and writer on the benefits of good design — he taught for years at Brigham Young University — Baughman (whose often-scrambled surname is pronounced BAWF-man) focused almost exclusively on residential furnishings, such as chairs, sofas and benches. He had a particular talent for lounge chairs, perhaps the most sociable piece of furniture.

Like his fellow adoptive Californians Charles and Ray Eames, Baughman’s furniture has a relaxed and breezy air. He was famously opposed to ostentatious and idiosyncratic designs that were made to excite attention. While many of his chair designs are enlivened by such effects as tufted upholstery, Baughman tended to let his materials carry the aesthetic weight, most often relying on seating and table frames made of sturdy and sleek flat-bar chromed metal, and chairs, tables and cabinets finished with highly-figured wood veneers.

Like his colleagues Karl Springer and the multifarious Pierre Cardin, Baughman’s designs are emblematic of the 1970s: sleek, sure and scintillating.

As you will see from the furniture presented on 1stDibs, Milo Baughman’s designs for the likes of Drexel Furniture, Glenn of California and — for five decades — Thayer Coggin are ably employed as either the heart of a décor or its focal point.

Organically shaped, clean-lined and elegantly simple are three terms that well describe vintage mid-century modern furniture. The style, which emerged primarily in the years following World War II, is characterized by pieces that were conceived and made in an energetic, optimistic spirit by creators who believed that good design was an essential part of good living.

ORIGINS OF MID-CENTURY MODERN FURNITURE DESIGN

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

VINTAGE MID-CENTURY MODERN FURNITURE ON 1STDIBS

The mid-century modern era saw leagues of postwar American architects and designers animated by new ideas and new technology. The lean, functionalist International-style architecture of Le Corbusier and Bauhaus eminences Ludwig Mies van der Rohe and Walter Gropius had been promoted in the United States during the 1930s by Philip Johnson and others. New building techniques, such as “post-and-beam” construction, allowed the International-style schemes to be realized on a small scale in open-plan houses with long walls of glass.

Materials developed for wartime use became available for domestic goods and were incorporated into mid-century modern furniture designs. Charles and Ray Eames and Eero Saarinen, who had experimented extensively with molded plywood, eagerly embraced fiberglass for pieces such as the La Chaise and the Womb chair, respectively. 

Architect, writer and designer George Nelson created with his team shades for the Bubble lamp using a new translucent polymer skin and, as design director at Herman Miller, recruited the Eameses, Alexander Girard and others for projects at the legendary Michigan furniture manufacturer. 

Harry Bertoia and Isamu Noguchi devised chairs and tables built of wire mesh and wire struts. Materials were repurposed too: The Danish-born designer Jens Risom created a line of chairs using surplus parachute straps for webbed seats and backrests.

The Risom lounge chair was among the first pieces of furniture commissioned and produced by legendary manufacturer Knoll, a chief influencer in the rise of modern design in the United States, thanks to the work of Florence Knoll, the pioneering architect and designer who made the firm a leader in its field. The seating that Knoll created for office spaces — as well as pieces designed by Florence initially for commercial clients — soon became desirable for the home.

As the demand for casual, uncluttered furnishings grew, more mid-century furniture designers caught the spirit.

Classically oriented creators such as Edward Wormley, house designer for Dunbar Inc., offered such pieces as the sinuous Listen to Me chaise; the British expatriate T.H. Robsjohn-Gibbings switched gears, creating items such as the tiered, biomorphic Mesa table. There were Young Turks such as Paul McCobb, who designed holistic groups of sleek, blond wood furniture, and Milo Baughman, who espoused a West Coast aesthetic in minimalist teak dining tables and lushly upholstered chairs and sofas with angular steel frames.

As the collection of vintage mid-century modern chairs, dressers, coffee tables and other furniture for the living room, dining room, bedroom and elsewhere on 1stDibs demonstrates, this period saw one of the most delightful and dramatic flowerings of creativity in design history.

As the weather grows colder, our minds turn toward nesting and all things soft and cozy. In the wintry months especially, bouclé armchairs, sofas, lounge chairs and other bouclé furniture bring warmth and comfort to our spaces.

This soft fabric is characterized by an irregular pattern of looped threads that yield its rich texture and volume. The yarn from which bouclé fabric is made — the name is French for “buckled” or “curled” and refers to the yarn and the fabric — is made up of twisted fibers. It has been used in furniture to reproduce the look and coarse feel of traditional handwoven textiles since the 1800s. But it was architect and designer Eero Saarinen’s revered Womb chair, crafted for Knoll in the 1940s, that turned this cozy but breathable fabric into a staple of modern furniture design.

Bouclé fabric can be found in mid-century modern, Scandinavian modern and Hollywood Regency furniture styles on 1stDibs, and a range of designers and firms including Pierre Paulin, Christian Sorensen, Fritz Hansen — and, of course, Knoll — have produced covetable bouclé furnishings over the years.

Given that Florence Knoll — a revolutionary modernist designer and former protégé of Eero Saarinen's father, Eliel, at Cranbrook Academy of Art — hoped for "something I could curl up in" when she requested what would become the famous Womb chair (and series), could it have been upholstered in anything other than her company's trademark "Classic Bouclé"?

Find antique, new and vintage bouclé furniture on 1stDibs today.

Antique and vintage footstools might add a dose of fun to your living room, but they’re also hard workers.

Even as they’ve morphed into objects with plenty of functions over time, the footstool has a royal past. In Ancient Egypt, a footstool was used to climb onto an elevated chair or placed under someone’s feet as he or she was seated in a temple or private residence. Footstools were also in use during the Ottoman Empire. In fact, the ottoman, an upholstered seat or small bench that initially had no back or arms, was the main seating furniture in a home. Ottomans were a way to merge floor seating with cushions and mats.

Poufs, which originated in France, are also thought of as convenient seating furniture as well as occasionally serving as a side table, if needed. (Although, a pouf is typically not as firm as an ottoman.)

Over the years, footstools have taken on varying purposes. They have been used as small portable chairs, for example.

During the 18th century, a footstool might have been long with a low profile, which rendered it perfect for fireside seating. Victorian footstools were small but not unassuming, as furniture makers of the era would upholster the pieces so that they paired with the nearby sofa or wingback chairs. Footstools have even become a storage solution at home, with designers outfitting them with compartments. Today, a footstool might be used to organize quilts and blankets or other textiles, especially if you’re trying to keep things uncluttered in a small apartment.

Footstools are now available in all sorts of provocative colors, upholstery and more. No one is going to put a velvet footstool out on the curb, right? When shopping for your own footstool, try to find one that meets the height of your sofa or other seating (or is a tad lower). It should also be sturdy but not a heavy, clunky piece that’s a chore to move around.

The footstool is both decorative and functional. Not unlike a good throw pillow, interior designers have found numerous uses for this versatile, vibrant furnishing. Find yours in the growing collection of antique and vintage footstools today on 1stDibs.