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Outlandish, whimsical and unique are only just a few words that can be used to describe the works of artist and furniture designer Mattia Bonetti. His imaginative pieces are marked by an unexpectedly successful marriage of peculiarity, sophistication and luxury. 

Born in 1952 in Lugano, Switzerland, Bonetti studied textile design at the Centro Scolastico per le Industrie Artistiche. In 1972, he moved to Paris, where he worked as a textile designer, stylist and photographer. As a photographer, Bonetti did shoots of miniature interiors — many of which he made himself. This eventually led to his developing a passion for furniture design. 

During the late 1970s, Bonetti’s fledgling career designing furniture skyrocketed after meeting French designer Elizabeth Garouste. Their first project together was designing the interiors of the restaurant Le Privilege and nightclub Le Palace in Paris, with both initiatives earning the pair critical acclaim for their artful blend of neo-Baroque style with prehistoric “Barbarian” elements. Bonetti and Garouste embarked on a design partnership that lasted more than 20 years before Bonetti decided to pursue a solo career in 2002.

Throughout the 2000s, Bonetti’s oeuvre has run the gamut, with the designer drawing inspiration from almost everywhere — UFOs, ancient Greece, children’s toys — nothing is off-limits. He uses an eclectic range of luxurious materials such as gold leaf, marble, rock crystal, acrylic, glass, fine woods and patinated bronze to create everything from side tables, wall mirrors and sofas to coffee tables, sideboards and armchairs. Bonetti assembles the materials in otherwise unlikely combinations. “I like to bring together materials that are very opposite,” he says. “The juxtaposition makes the character of each one strong.”

Bonetti’s reputation as a master of avant-garde design has yielded commissions for several notable projects. He has created pieces for the Metz Saint-Etienne Cathedral, partnered with decorator Jacques Grange for The Mark Hotel in New York City and designed interiors for the Hotel Cristal Champs Elysées in Paris.

Today, Bonetti’s works are held in the collections of many institutions such as the Victoria and Albert Museum, the Musée des Arts Décoratifs, the Centre Pompidou and Cooper Hewitt, Smithsonian Design Museum.

On 1stDibs, find a range of modern Mattia Bonetti tables, case pieces, storage cabinets and seating.

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.

Few pieces of furniture are celebrated for their functionality as much as their decorative attributes in the way that console tables are. While these furnishings are not as common in today’s interiors as their coffee-table and side-table counterparts, console tables are stylish home accents and have become more prevalent over the years.

The popularity of wood console tables took shape during the 17th and 18th centuries in French and Italian culture, and were exclusively featured in the palatial homes of the upper class. The era’s outwardly sculptural examples of these small structures were paired with mirrors or matching stools and had tabletops of marble. They were most often half-moon-shaped and stood on two scrolled giltwood legs, and because they weren’t wholly supported on their two legs rather than the traditional four, their flat-backed supports were intended to hug the wall behind them and were commonly joined by an ornate stretcher. The legs were affixed or bolted to the wall with architectural brackets called console brackets — hence, the name we know them by today — which gave the impression that they were freestanding furnishings. While console tables introduced a dose of drama in the foyer of any given aristocrat — an embodiment of Rococo-style furniture — the table actually occupied minimal floor space (an attractive feature in home furniture). As demand grew and console tables made their way to other countries, they gained recognition as versatile additions to any home.

Contemporary console tables comprise many different materials and are characterized today by varying shapes and design styles. It is typical to find them made of marble, walnut or oak and metal. While modern console tables commonly feature four legs, you can still find the two-legged variety, which is ideal for nestling behind the sofa. A narrow console table is a practical option if you need to save space — having outgrown their origins as purely ornamental, today’s console tables are home to treasured decorative objects, help fill empty foyers and, outfitted with drawers or a shelf, can provide a modest amount of storage as needed.

The rich collection of antique, new and vintage console tables on 1stDibs includes everything from 19th-century gems designed in the Empire style to unique rattan pieces and more.