Tubby Tube

Faye Toogood’s name is practically synonymous with her Roly Poly chair. With its chubby legs and bowl-like seat, the now-iconic piece epitomized the trend toward chunky forms that defined avant-garde furniture design in the 2010s. But the visionary British artist’s contributions go far beyond the chair and its similarly robust companion pieces, in disciplines ranging from textiles and ceramics to fashion and home interiors.

“I design holistically, with an overall vision across fashion, furniture and interiors,” she tells 1stDibs. “Furniture is something I return to over and over again and is a very strong part of this vision. I am interested in humans and the way they live — the spaces they inhabit, the clothes they wear, the objects they surround themselves with.”

After a childhood spent running free in the English countryside with nature as her playground, Toogood studied art history at Bristol University rather than attend art school. Her design approach is underpinned by contrast and understandably informed by art history, particularly the mid-20th-century modernism of such British artists as Barbara Hepworth and Alfred Wallis. “For me, it is about playing around with references and our associations, be that with materials or the precious and the raw, the masculine and the feminine,” she explains. “I’m able to use those contrasts to create friction.”

Toogood has exhibited at Phillips and the Victoria & Albert Museum in London, the Triennale in Milan and D Museum in Seoul. In addition, her works are in the permanent collections of institutions worldwide, including the Philadelphia Museum of Art; Dallas Museum of Art; Denver Art Museum; High Museum of Art, in Atlanta; Corning Museum of Glass, in New York; the National Gallery of Victoria, in Melbourne; and the Fabergé Museum in St. Petersburg.

Shop furniture designs from Faye Toogood today on 1stDibs.

The late 19th and early 20th centuries saw sweeping social change and major scientific advances — both of which contributed to a new aesthetic: modernism. Rejecting the rigidity of Victorian artistic conventions, modernists sought a new means of expression. References to the natural world and ornate classical embellishments gave way to the sleek simplicity of the Machine Age. Architect Philip Johnson characterized the hallmarks of modernism as “machine-like simplicity, smoothness or surface [and] avoidance of ornament.”

Early practitioners of modernist design include the De Stijl (“The Style”) group, founded in the Netherlands in 1917, and the Bauhaus School, founded two years later in Germany.

Followers of both groups produced sleek, spare designs — many of which became icons of daily life in the 20th century. The modernists rejected both natural and historical references and relied primarily on industrial materials such as metal, glass, plywood, and, later, plastics. While Bauhaus principals Marcel Breuer and Ludwig Mies van der Rohe created furniture from mass-produced, chrome-plated steel, American visionaries like Charles and Ray Eames worked in materials as novel as molded plywood and fiberglass. Today, Breuer’s Wassily chair, Mies van der Rohe’s Barcelona chair — crafted with his romantic partner, designer Lilly Reich — and the Eames lounge chair are emblems of progressive design and vintage originals are prized cornerstones of collections.

It’s difficult to overstate the influence that modernism continues to wield over designers and architects — and equally difficult to overstate how revolutionary it was when it first appeared a century ago. But because modernist furniture designs are so simple, they can blend in seamlessly with just about any type of décor. Don’t overlook them.