Roche Bobois Preface

In 1974, Roche Bobois opened its first showroom in the United States on Madison Avenue in New York City. The celebrated luxury French furniture brand is now in 50 countries with more than 200 stores.

The Roche Bobois story has origins in 1950, when entrepreneur Jacques Roche converted an old Paris theater into two contemporary furniture boutiques so that his sons could help usher stunning Bauhaus-inspired work out of the shops and into French homes nearby. At another showroom called Au Beau Bois, also in the French capital city, the Chouchan family was simultaneously selling home furnishings. The families met later, when Philippe and François Roche convened with Patrick and Jean-Claude Chouchan at a furniture exhibition in Copenhagen in 1960 and afterward produced a catalog announcing their partnership.

Minimal and modernist Scandinavian design had gained prominence in the furniture industry by 1960, rendering designers such as Kaare Klint and Poul Henningsen marquee names — and Roche Bobois's principals had taken notice. Following a national advertising campaign in Elle magazine a year later, the Scandinavian furniture that the newly minted Roche Bobois was importing to Paris became a huge success. Early promotional material from the firm likely included the sleek modular wall units crafted in rosewood by Danish furniture maker Poul Cadovius. It didn’t take long for Roche Bobois to shift toward producing its own contemporary furniture line.

When the popularity of cable television took hold in more major American cities during the 1970s, sofas and other seating became integral to contemporary living-room decor. Roche Bobois’s newly launched Les Contemporains series positioned its own sofas front and center, and it also offered plush lounge chairs designed by Mario Bellini. Bold works from the company during the decade included Marc Berthier’s Pop Art–colored tubular metal desks and chairs — the latter covered with braided fabric — as well as one of Roche Bobois’s most enduring and well-known pieces, the Mah Jong sectional sofa created by sculptor, painter and designer Hans Hopfer. Anchored by few central elements, this modular lounge sofa can be combined or stacked, giving the buyer total freedom over its appearance and the ability to maximize comfort.

Since its inception, Roche Bobois has worked with many internationally renowned architects and designers on its collections, among them Paola Navone and Vladimir Kagan. Even fashion designers such as Missoni and Emanuel Ungaro have made contributions to the company’s lineup.

In 2010, Roche Bobois marked its 50-year anniversary by debuting a partnership with French fashion designer Jean Paul Gaultier. A decade later, Roche Bobois teamed up with Portuguese artist Joana Vasconcelos, who designed a collection of organically shaped sofas as well as vibrant, colorful accent pillows and rugs.

Roche Bobois’s offerings over the years have included everything from mid-century modern armchairs to Art Deco case pieces to sculptural outdoor cocktail tables framed in metal wire — shop these classics now 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.

Black leather, silk velvet cushions, breathable bouclé fabric — when shopping for antique, new or vintage sofas, today’s couch connoisseurs have much to choose from in terms of style and shape. But it wasn’t always thus. 

The sofa is typically defined as a long upholstered seat that features a back and arms and is intended for two or more people. While the term “couch” comes from the Old French couche, meaning to lie down, and sofa has Eastern origins, both are forms of divan, a Turkish word that means an elongated cushioned seat. No matter how you spell it, sofa just means comfort, at least it does today.

In the early days of sofa design, upholstery consisted of horsehair or dried moss. Sofas that originated in countries such as France during the 17th century were more integral to decor than they were to comfort. Like most Baroque furnishings from the region, they frequently comprised heavy, gilded mahogany frames and were upholstered in floral Beauvais tapestry. Today, options abound when it comes to style and material, with authentic leather offerings and classy steel settees. Plush, velvet chesterfields represent the platonic ideal of coziness. 

Vladimir Kagan’s iconic sofa designs, such as the Crescent and the Serpentine — which, like the sectional sofas of the 1960s created by furniture makers such as Harvey Probber, are quite popular among mid-century modern furniture enthusiasts — showcase the spectrum of style available to modern consumers. Those looking to make a statement can turn to Studio 65’s lip-shaped Bocca sofa, which was inspired by the work of Salvador Dalí. Elsewhere, the furniture of the 1970s evokes an era when experimentation ruled, or at least provided a reason to break the rules. Just about every area of society felt a sudden urge to be wayward, to push boundaries — and buttons. Vintage leather sofas of that decade are characterized by a rare blending of the showy and organic.

With so many options, it’s important to explore and find the perfect furniture for your space. Paying attention to the lines of the cushions as well as the flow from the backrest into the arms is crucial to identifying a cohesive new piece for your home or office.

Fortunately, with styles from every era — and even round sofas — there’s a luxurious piece for every space. Deck out your living room with an Art Deco lounge or go retro with a nostalgic '80s design. No matter your sitting vision, the right piece is waiting for you in the expansive collection of unique sofas on 1stDibs.