Tadao Inouye

Pioneers of furniture designed especially for the outdoors, Brown Jordan channeled — in tables, lounge chairs and armchairs — the carefree postwar California spirit and helped create a new space in American life: the patio.

The outdoor furniture brand began to take shape in 1945, when Robert Brown, an industrial designer, and Hubert Jordan met in Pasadena, California, and began collaborating on their first design, a traditional wrought-iron breakfast set they called Morning Glory. They offered it for sale via the upscale department store Bullock’s Wilshire. The store ran an ad about the new outdoor set, and, by the end of the day, it had sold out completely.

A few years later, in 1948, the duo followed up with a new, very different design: the Leisure collection, one of the first to combine aluminum with vinyl “lace.” The materials were newly available after the war and offered a mid-century silhouette that was also lightweight and specifically designed for outdoor use. Some of Brown Jordan’s most singular pieces arose from another postwar material: Copper piping salvaged from ships that had sunk at Pearl Harbor was used to create sculptural, curvilinear outdoor furnishings as part of the Walter Lamb Bronze collection, which was first launched in the 1940s.

The Tamiami collection, by Brown Jordan in-house designer Hall Bradley, followed in the 1950s, with streamlined aluminum frames and vinyl seats and backs woven in a diagonal pattern. The line quickly became popular not only in California but across the country and on the East Coast, prompting an expansion from the original two colorways to a wider assortment of of-the-moment hues.

Brown Jordan’s offerings gained recognition as both innovations and symbols of a new kind of leisure. Tadao Inouye’s Kantan lounge chair, launched in 1956, was chosen by the Department of Commerce to be exhibited at the 1959 Industrial World’s Fair in Tokyo. In 1968, it was featured in the Cooper Hewitt’s “Please Be Seated” exhibit.

Bright colorways, metallics, pastels, powder coating and weather-ready materials became some of Brown Jordan’s hallmarks, heralding durable, design-forward furniture that helped create the modern idea of outdoor living.

Find a collection of vintage Brown Jordan furniture today on 1stDibs.

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

• Emerged during the mid-20th century 
• Informed by European modernism, Bauhaus, International style, Scandinavian modernism and Frank Lloyd Wright’s architecture
• A heyday of innovation in postwar America 
• Experimentation with new ideas, new materials and new forms flourished in Scandinavia, Italy, the former Czechoslovakia and elsewhere in Europe

CHARACTERISTICS OF MID-CENTURY MODERN FURNITURE DESIGN

• Simplicity, organic forms, clean lines  
• A blend of neutral and bold Pop art colors 
• Use of natural and man-made materials — alluring woods such as teak, rosewood and oak; steel, fiberglass and molded plywood 
• Light-filled spaces with colorful upholstery 
• Glass walls and an emphasis on the outdoors 
• Promotion of functionality

MID-CENTURY MODERN FURNITURE DESIGNERS TO KNOW

• Charles and Ray Eames
• Eero Saarinen
• Milo Baughman
• Florence Knoll
• Harry Bertoia 
• Isamu Noguchi 
• George Nelson 
• Danish modernists Hans Wegner and Arne Jacobsen, whose emphasis on natural materials and craftsmanship influenced American designers and vice versa

ICONIC MID-CENTURY MODERN FURNITURE DESIGNS

• Eames lounge chair
• Nelson daybed
• Florence Knoll sofa
• Egg chair
• Womb chair
• Noguchi coffee table
• Barcelona chair

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 legendary 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.

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.