If it weren’t for his honeymoon, American furniture designer Don S. Shoemaker might not have played any role in Mexican modernism of the mid-20th century.
Born in Nebraska in 1919, Shoemaker studied at the School of the Art Institute of Chicago during the 1930s. In the 1940s he got married, and he and his wife, Barbara, ventured to Mexico for their honeymoon. Enamored with the country, Shoemaker decided that Mexico should become the newlyweds' permanent home. They settled in a town called Santa Maria de Guido in Michoacán, where Shoemaker spent his days painting and growing rare plants.
Through horticulture, Shoemaker became inspired by Mexico’s tropical woods, such as cocobolo, a Mexican rosewood, and he decided to delve into furniture design. In the late 1950s, he started a small factory, producing hand-carved desks, armchairs, dining room tables, decorative boxes and bowls, and serveware. The popularity of Shoemaker’s furnishings grew throughout Mexico, and his small factory became the Señal S.A. company, employing more than 100 skilled artisans and carpenters.
Shoemaker’s handcrafted designs were essentially a mid-century modern interpretation of traditional Mexican household furnishings, and like Clara Porset — an unsung Cuban-born activist, writer and designer who drew on Mexican craft traditions in her concepts for furniture — he found inspiration in his adopted country. These influences can be seen in iconic Shoemaker originals like the Sling collection of seating, the Suspension stool and several of his table designs.
Shoemaker's furniture was exhibited in showrooms in several major Mexican cities and across the U.S., including Houston, Chicago, and Los Angeles. (And mid-century modernist ideas that traveled between Mexico and California didn’t make one-way trips — they bounced back and forth.)
After Shoemaker died in 1990, his son George took over Señal S.A. The company closed after George’s death in the early 2000s.
Shoemaker’s Mexican modern furnishings continue to be coveted by avid furniture collectors around the world. From 2016 to 2017, the Museum of Modern Art in Mexico City dedicated a retrospective exhibition to honoring his work.
On 1stDibs, discover a range of vintage Don S. Shoemaker desks, seating, decorative objects and serveware.
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
CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN
MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW
ICONIC MID-CENTURY MODERN FURNITURE DESIGNS
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 celebrated 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.
Generations turn over, and mid-century modern remains arguably the most popular style going. 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.
