Ploum Loveseat

With enduring designs like the immensely plush, Pop art–inspired Togo lounge chair and sofa, Ligne Roset has become synonymous with radical luxury furniture. However, when Antoine Roset (1841–93) started the company in 1860 in the small French town of Oussiat, its focus was on wooden umbrella handles.

In 1892, Ligne Roset’s founder expanded with a property in Montagnieu where he set up a wood-processing factory, eventually expanding into manufacturing chairs. After his death, his wife, Marie-Victorine, took over before his son, Emile Roset, began leading the company in the 1910s.

It wasn’t until after World War II that Antoine’s grandson, Jean Roset, would recognize the need for furniture in settings like schools, hospitals and retirement homes and take inspiration from Scandinavian modern design for functional pieces made primarily from affordable beech.

Under Jean, Ligne Roset supplied quite a few European institutions with beautiful wood furnishings. In the 1970s, he shifted the company’s focus again, this time looking to domestic and residential markets. Around this time, Jean’s two sons, Pierre and Michel, joined the company.

Ligne Roset opened its first store in 1973 with one of the most popular collections being designer Michel Ducaroy’s Togo modular sofa and chairs — classics of contemporary French design that look like oversize bent pillows.

After the success of this initial designer collaboration, Ligne Roset brought on more guest designers over the following decades, including Didier Gomez, Pascal Mourgue, Peter Maly, Pierre Paulin, Inga Sempé and Ronan and Erwan Bouroullec. Paulin’s Elysée sofa and Pumpkin chair — designed in 1971 for Elysée Palace — are among the brand’s most popular pieces. In 1975, the company introduced its Cinna brand, known to collectors for the Sandra sofa designed by Annie Hiéronimus and other alluring seating.

Ligne Roset continues to be run by the Roset family who works on revolutionary furniture in partnership with a variety of collaborators. It has operated in Briord since 1973 where it produces its iconically sleek and innovative pieces.

Find new and vintage Ligne Roset sofas, lounge chairs, tables and other furniture 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.

Antique and vintage loveseats are functional and totally charming furniture in homes large and small these days. They first appeared in the 17th and 18th centuries, though they were not yet known by this endearing term.

These petite, two-seat sofas were originally intended to comfortably sit a woman clad in what were the era’s large and elaborate dresses — ornate hooped garments with copious folds of fabric, embroidery and lace. However, because the original seats featured just enough space for two, they quickly became popular for couples that were courting. Loveseats meant that the couples could engage in close conversation, but furniture makers ensured that there was enough space between sitters to prioritize modesty.

In the early days of loveseats, the furnishings were minimalist in appearance and could often be found in an s-shape, with the two sides facing each other. The spare seating was initially little more than a wooden bench, as loveseats weren’t yet upholstered or cushioned. Design of the seating evolved over time, and this wide chair was eventually padded and tufted for comfort. During the 1800s, loveseats were a luxurious addition to the homes of the wealthy, and even today, antique 19th-century loveseats are still quite alluring. In any lavishly decorated parlor of the Victorian era, you might find a pair of partygoers tucked into a particularly plush iteration of these cozy perches, one boasting arched crests of carved mahogany over its sculpted seats, with front cabriole legs resolving in paw feet.

In modern homes, loveseats — even antique Victorian loveseats — pair well with oversize sofas or are ideal replacements for sofas, particularly if you’re working on organizing and furnishing a smaller space. A loveseat is a stylish addition to a home library or a reading nook and can easily be situated at the foot of the bed in your bedroom. In the living room, you may wish to position your vintage loveseat and couch around a central focal point, such as a distinguishing architectural feature or a fireplace. But be sure to leave some walking room between your seating and any nearby coffee tables or side tables. Allow for around two feet for guests to pass between a couch and chair or loveseat and at least a foot between a loveseat and coffee table.

Find a wide variety of antique, new and vintage loveseats today on 1stDibs.