Valet Stand Cedar
2010s Mexican Post-Modern Coat Racks and Stands
Marble, Brass, Iron
People Also Browsed
Late 20th Century Chinese Chinoiserie Paintings and Screens
Enamel
Mid-20th Century Italian Mid-Century Modern Chandeliers and Pendants
Metal
Vintage 1970s Italian Modern Chandeliers and Pendants
Metal
Antique 19th Century English Chinoiserie Secretaires
Brass
Late 20th Century Post-Modern Chandeliers and Pendants
Stainless Steel
2010s Italian Mid-Century Modern Table Lamps
Brass
Vintage 1970s American Chinoiserie Secretaires
Brass
Vintage 1970s Italian Mid-Century Modern Flush Mount
Metal
Mid-20th Century Italian Mid-Century Modern Dry Bars
Wood
Mid-20th Century Italian Mid-Century Modern Shelves
Metal
Vintage 1930s European Art Deco Floor Mirrors and Full-Length Mirrors
Glass, Burl
Antique Early 19th Century Chinese Chinoiserie Lacquer
Gold Leaf
Vintage 1960s American Mid-Century Modern Bookcases
Aluminum
Early 20th Century Moroccan Moorish Commodes and Chests of Drawers
Bone, Mother-of-Pearl, Hardwood
Antique 1880s British Secretaires
Brass
Vintage 1970s Italian Mid-Century Modern Sofas
Bamboo
A Close Look at Post-modern Furniture
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.
Finding the Right Coat-racks-stands for You
Your guests might have to endure all kinds of harsh climes to get to your housewarming party, so let’s make sure their trusty overcoats and umbrellas have a home. Shop the antique and vintage coat racks and stands on 1stDibs today.
Coat racks, umbrella stands, wall-mounted hooks for outerwear — they’ve long served a practical purpose. In the days of travel by horse or foot, a guest might arrive on your doorstep bedraggled, windblown and often dripping with rain. While transportation has thankfully improved since then, a coat rack in the entryway or foyer of your home is still the beacon it was back then: It says, “Come in, where it’s dry and warm. Hang up your coat and stay a while.”
Coat stands are among history’s fairly rudimentary ideas, so it’s difficult to point to the original inventor of this eternally functional fixture, but Thomas Jefferson was said to have fashioned one of his own at Monticello. Jefferson, who would’ve made a great interior designer, placed a long wooden pole in his closet that was adorned with spokes from which his coats and other garments could be hung. The simplicity of Jefferson’s coat-tree is echoed in designs from the 18th and 19th centuries.
The timeless convenience of a wooden coat rack has endured. While there are striking Art Deco coat stands made of oak and walnut that would meet your mudroom needs well, some of the product designers behind what we now call mid-century modern coat stands turned to materials other than wood, working frequently with plastic and chrome to create unconventional alternatives. Simpler and pared-down coat stands of the mid-20th century were occasionally so interesting in form that they could pass as minimalist sculptures when not in use. Some designers, such as Jacques Adnet, helped to redefine what these classic furnishings could look like, integrating saddle leather and brass and sometimes even horseshoes for his wall hooks and racks.
Although a coat rack is undoubtedly a practical investment, we know that fun comes along with functionality. There is plenty to explore in the collection of antique, vintage and contemporary coat racks and stands on 1stDibs, so go ahead — hang up your coat and stay a while.
- 1stDibs ExpertFebruary 17, 2023The purpose of a valet stand is to keep clothing and accessories within easy reach and free of wrinkles while you're dressing. These pieces of furniture get their name from the valet, a servant who assisted their employer with tasks like dressing and shaving. Find a variety of valet stands on 1stDibs.