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The Italian design giant Kartell transformed plastic from the stuff of humble household goods into a staple of luxury design in the 1960s. Founded in Milan by Italian chemical engineer Giulio Castelli (1920–2006) and his wife Anna Ferrieri (1918–2006), Kartell began as an industrial design firm, producing useful items like ski racks for automobiles and laboratory equipment designed to replace breakable glass with sturdy plastic. Even as companies like Olivetti and Vespa were making Italian design popular in the 1950s, typewriters and scooters were relatively costly, and Castelli and Ferrieri wanted to provide Italian consumers with affordable, stylish goods.

They launched a housewares division of Kartell in 1953, making lighting fixtures and kitchen tools and accessories from colorful molded plastic. Consumers in the postwar era were initially skeptical of plastic goods, but their affordability and infinite range of styles and hues eventually won devotees. Tupperware parties in the United States made plastic storage containers ubiquitous in postwar homes, and Kartell’s ingenious designs for juicers, dustpans, and dish racks conquered Europe. Kartell designer Gino Colombini was responsible for many of these early products, and his design for the KS 1146 Bucket won the Compasso d’Oro prize in 1955.

Buoyed by its success in the home goods market, Kartell introduced its Habitat division in 1963. Designers Marco Zanuso and Richard Sapper created the K1340 (later called the K 4999) children’s chair that year, and families enjoyed their bright colors and light weight, which made them easy for kids to pick up and move. In 1965, Joe Colombo (1924–78) created one of Kartell’s few pieces of non-plastic furniture, the 4801 chair, which sits low to the ground and comprised of just three curved pieces of plywood. (In 2012, Kartell reissued the chair in plastic.) Colombo followed up on the success of the 4801 with the iconic 4867 Universal Chair in 1967, which, like Verner Panton’s S chair, is made from a single piece of plastic. The colorful, stackable injection-molded chair was an instant classic. That same year, Kartell introduced Colombo’s KD27 table lamp. Ferrierei’s cylindrical 4966 Componibili storage module debuted in 1969.

Kartell achieved international recognition for its innovative work in 1972, when a landmark exhibition curated by Emilio Ambasz called “Italy: The New Domestic Landscape” opened at New York’s Museum of Modern Art. That show introduced American audiences to the work of designers such as Gaetano Pesce; Ettore Sottsass, founder of the Memphis Group; and the firms Archizoom and Superstudio (both firms were among Italy's Radical design groups) — all of whom were using wit, humor and unorthodox materials to create a bracingly original interior aesthetic.

Castelli and Ferrieri sold Kartell to Claudio Luti, their son-in-law, in 1988, and since then, Luti has expanded the company’s roster of designers.

Kartell produced Ron Arad’s Bookworm wall shelf in 1994, and Philippe Starck’s La Marie chair in 1998. More recently, Kartell has collaborated with the Japanese collective Nendo, Spanish architect Patricia Urquiola and glass designer Tokujin Yoshioka, among many others. Kartell classics can be found in museums around the world, including MoMA, the Victoria and Albert Museum and the Cooper Hewitt, Smithsonian Design Museum. In 1999, Claudio Luti established the Museo Kartell to tell the company’s story, through key objects from its innovative and colorful history.

Find vintage Kartell tables, seating, table lamps and other furniture on 1stDibs.

Arguably the world’s most ubiquitous man-made material, plastic has impacted nearly every industry. In contemporary spaces, new and vintage plastic furniture is quite popular and its use pairs well with a range of design styles.

From the Italian lighting artisans at Fontana Arte to venturesome Scandinavian modernists such as Verner Panton, who created groundbreaking interiors as much as he did seating — see his revolutionary Panton chair — to contemporary multidisciplinary artists like Faye Toogood, furniture designers have been pushing the boundaries of plastic forever.

When The Graduate's Mr. McGuire proclaimed, “There’s a great future in plastics,” it was more than a laugh line. The iconic quote is an allusion both to society’s reliance on and its love affair with plastic. Before the material became an integral part of our lives — used in everything from clothing to storage to beauty and beyond — people relied on earthly elements for manufacturing, a process as time-consuming as it was costly.

Soon after American inventor John Wesley Hyatt created celluloid, which could mimic luxury products like tortoiseshell and ivory, production hit fever pitch, and the floodgates opened for others to explore plastic’s full potential. The material altered the history of design — mid-century modern legends Charles and Ray Eames, Joe Colombo and Eero Saarinen regularly experimented with plastics in the development of tables and chairs, and today plastic furnishings and decorative objects are seen as often indoors as they are outside.

Find vintage plastic lounge chairs, outdoor furniture, lighting and more on 1stDibs.

An essential part of every office or home workstation, office chairs and desk chairs are critically important to your comfort and getting the job done.

Desk chairs have evolved over time. While writing the Declaration of Independence, Thomas Jefferson pined for a wider range of motion and introduced some improvements to his English-style Windsor chair, inventing the swivel chair along the way. So the next time you roll, recline or swivel at your vintage desk, remember: The third president of the United States had a lot to do with that functionality.

Changes in the availability of resources have also led to innovations in desk chair design. After World War II, for example, optimistic American designers made use of wartime materials in their efforts to create practical domestic goods.

Mid-century modernism is the name given to the broad postwar time period that prioritized thoughtful design. Journalist Cara Greenberg, who coined the term “mid-century modernism,” cites “ergonomic wisdom” as part of the reason for the longevity of the era’s furnishings, and when it comes to sitting in a desk chair for hours at a time, what could be more important than ergonomic support?

As mid-century modernism was marked by resourcefulness and boundless creativity — and produced designers who, in most cases, prioritized comfort and support — it follows that all mid-century chairs are not the same. Nowhere is this perhaps more evident than at Herman Miller. The legendary Michigan furniture manufacturer got its start in the office, with design director George Nelson enlisting the likes of Charles and Ray Eames to produce desk chairs and lounge chairs that are still celebrated today. Elsewhere at the time, the numerous pieces Florence Knoll created for Knoll’s office furniture line were envisioned as design solutions for the changing needs of residential and office spaces.

If you’re working remotely and streamlined seating isn’t your thing, don’t be afraid of making a statement with your office chair. Introduce a touch of drama to your video calls by way of 19th-century desk accessories and the alluring forms we typically associate with antique desk chairs designed in the Empire and Regency styles. For a minimalist touch, a spare, utilitarian Industrial-style office chair can work in any space but will fit in particularly well amid the exposed brick and steel architecture that characterizes a loft apartment.

An inspiring home office cleverly mixes materials and styles to create a welcoming place of productivity and comfort, and if you’re gathering with colleagues at your company HQ, an array of wood, leather and metal office chairs can help integrate disparate textures in a conference room or any other collaborative space. On 1stDibs, explore a diverse collection of office and desk chairs today.