Otto Illulian

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.

Antique, new and vintage area rugs and carpets are a simple way to add warmth and style to any space. Area rugs can be seasonal or changed with other decorative objects to refresh an interior. Carpet piles materials can vary from wool and cotton to silk and synthetic fibers, and the purpose of a floor covering can range from reducing noise to offering a place to sit.

Vintage rugs can ground a space, and arranging furniture around them creates a measured focal point. Key furniture pieces can be placed on the rug or just the legs, such as with furniture like coffee tables in your living room.

So, how can you tell if a rug is high quality or vintage?

The three main components that determine the quality of a piece are the dyes, the wool and the number of knots per square inch. Ultimately, however, if you want to be sure the rug you’re buying is truly an antique, it is best to consult an expert.

If you want a creative design that stands out, area rugs or carpets can provide layers of color. Rugs and carpets reflect a global heritage of textiles and weaving, such as ornately patterned Persian and Indian designs. Visually striking Chinese rugs can add a delicate touch of color, while modern rugs make a statement with their geometric patterns.

Turkish rugs, with their ruby reds and misted blues, their entwined botanical designs and rhythmic geometries, are as beloved today as they were in the 13th century. The West’s current infatuation with Moroccan and North African tribal rugs stretches to the mid-20th century, when modern furniture designers embraced bold geometric patterns and even bolder palettes as counterpoints to form-follows-function interiors. Alvar Aalto, Frank Lloyd Wright and Le Corbusier were among the designers who used these rustic, natural rugs to offset austere interiors.

If you properly maintain your antique and vintage rugs, they will last for many years. When you’re thinking about how to clean a rug, it is important to keep in mind that your vacuum is not too harsh for your favorite floor covering. Frequent vacuuming is in fact necessary to remove everyday dirt that otherwise wears down the pile. Omri Schwartz of Nazmiyal does, however, stipulate that “it’s best to use an ordinary suction vacuum without bristles, as the bristles can damage the rug’s pile.” Rotating the carpet every couple of years is also recommended — it ensures that the rug gets even foot traffic.

On 1stDibs, find a vintage rug or carpet to add a layer of beauty and function to your room.