Vignelli Flatware

Massimo Vignelli and Lella Vignelli are legendary names in branding and were prolific creators of home furnishings, products and interiors. The duo’s modernist furniture collaborations, which span 50 years, have also left a profound mark on design and wider visual culture. Furniture created by the couple is often labeled as Massimo Vignelli’s alone, though he fought to have Lella recognized for her work, even throwing away magazines that neglected to give her due credit.

As Massimo wrote of their lifelong collaboration in his book Designed By: Lella Vignelli: “It is not holding a pencil with four hands that makes a partnership; it is sharing the creative act and exercising creative criticism which is reflected in the end result.”

After meeting in Italy, Lella (1934–2016) and Massimo began working together in 1961 and a decade later formed Vignelli Associates in New York. A self-described “information architect,” Massimo was committed to streamlining complex ideas into clear, visually arresting forms. (Witness the graphic identity that he cocreated with Bob Noorda for the New York City Transit Authority as well as his influential 1972 subway map.) The Vignellis’ most recognizable piece, for example, may be the Handkerchief chair, a stackable office chair made of compression-molded plastic that has the look of a cloth floating in air. It was created for Knoll in 1983 after they designed the brand’s logo.

Evidence of the couple’s influence can also be found in their Saratoga line (1964), the first collection of lacquered furniture, which helped herald in the trendy “glossy” look of the decade (and beyond). When the Vignellis created the Poltrona Frau Interview chair in 1988 for an Italian television station, it became widely sought after, “which goes to show you the power of the TV media,” the couple once said. Much like their elemental graphic designs, the Kono (1984) and Pisa tables (1985) — both created for Casigliani — cull the form of the table down to geometric shapes.

Many of the Vignellis’ designs are considered modern masterpieces and are included in the collection of the Museum of Modern Art in New York and other important institutions.

Find vintage Massimo Vignelli 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.

While it isn’t always top of mind for some, antique and vintage tableware can enhance even the most informal meal. It has been an intimate part of how we’ve interacted with our food for millennia.

Tableware has played a basic but important role in everyday life. Ancient Egyptians used spoons (which are classified as flatware) made of ivory and wood, while Greeks and Romans, who gathered for banquets involving big meals and entertainment, ate with forks and knives. At the beginning of the 17th century, however, forks were still uncommon in American homes. Over time, tableware has thankfully evolved and today includes increasingly valuable implements.

Tableware refers to the tools people use to set the table, including serving pieces, dinner plates and more. It encompasses everything from the intricate and elaborate to the austere and functional, yet are all what industrial product designer Jasper Morrison might call “Super Normal” — anonymous objects that are too useful to be considered banal.

There are four general categories of tableware — serveware, dinnerware, drinkware and, lastly, flatware, which is commonly referred to as silverware or cutlery. Serveware includes serving bowls, platters, gravy boats, casserole pans and ladles. Most tableware is practical, but it can also be decorative. And decorative objects count as tableware too. Even though they don’t fit squarely into one of the four categories, vases, statues and floral arrangements are traditional centerpieces.

Drinkware appropriately refers to the vessels we use for our beverages — mugs, cups and glasses. There is a good deal of variety that falls under this broad term. For example, your cheerful home bar or mid-century modern bar cart might be outfitted with a full range of vintage barware, which might include pilsner glasses and tumblers. Specialty cocktails are often served in these custom glasses, but they’re still a type of drinkware.

Every meal should be special — even if you’re using earthenware or stoneware for a casual lunch — but perhaps you’re hosting a dinner party to mark a specific event. The right high-quality tableware can bring a touch of luxury to your cuisine. Young couples, for example, traditionally add “fine china,” or porcelain, to their wedding registry as a commemoration of their union and likely wouldn’t turn down exquisite silver made by Tiffany & Co. or Georg Jensen.

It’s important to remember, however, that when you’re setting the dining room table to have fun with it. Just as you might mix and match your dining chairs, don’t be afraid to mix new and old or high and low with your tableware. On 1stDibs, find an extraordinary range of vintage and antique tableware to help elevate your meal as well as the mood and atmosphere of your entire dining room.