"Silvershade" Candlestick by Ettore Sottsass for Swid Powell

The New York City–based tableware company Swid Powell produced some of the most distinctive china and silver of the 1980s in collaboration with international architects and designers. It enjoyed renewed attention in 2007, when the Yale University Art Gallery mounted the exhibition “The Architect’s Table: Swid Powell and Postmodern Design,” celebrating the donation to its collection of the company’s papers.

Swid Powell was established in 1982 by Nan Swid and Addie Powell, who met while working at the modernist furniture company Knoll. Their idea was to translate the aesthetics of postmodern design from the skyscraper to the dining table, and they brought into their preliminary discussions nine prominent architects. Among these were Philip Johnson, Stanley Tigerman and Richard Meier, all of whom expressed enthusiasm about making their designs accessible beyond the small group with the funds to commission buildings from them.

The first Swid Powell collection was launched in 1984, accompanied by a bold, graphic print campaign in keeping with the era’s advertising trends. The company’s best-known collaboration was with Robert Venturi’s Philadelphia-based firm, Venturi, Scott Brown and Associates, whose patterns — particularly the floral design Grandmother inspired by a tablecloth Venturi saw at the home of a colleague's grandmother — adorned Swid Powell porcelain as well as furniture and clothing.

The firm also partnered with architect Richard Meier, whose geometric designs were inspired in part by those of Josef Hoffmann and Charles Rennie Mackintosh. Swid Powell also worked with Arata Isosaki, Ettore Sottsass, Zaha Hadid and George Sowden, creating products that incorporated the bright, saturated colors and popular and historical references, like Classical columns, that animated postmodern design in the 1980s. The Chicago Blue china pattern designed for Swid Powell by the firm Gwathmey Siegel references the distinctive patterns of Frank Lloyd Wright’s leaded glass windows. As you will see in the examples below, Swid Powell continued to produce fine, fashionable homewares throughout the decade and beyond.

An architect, industrial designer, philosopher and provocateur, Ettore Sottsass led a revolution in the aesthetics and technology of modern design in the late 20th century.

Sottsass was the oldest member of the Memphis Group — a design collective, formed in Milan in 1980, whose irreverent, spirited members included Alessandro Mendini, Michele de Lucchi, Michael Graves and Shiro Kuramata. All had grown disillusioned by the staid, black-and-brown “corporatized” modernism that had become endemic in the 1970s. Memphis (the name stemmed from the title of a Bob Dylan song) countered with bold, brash, colorful, yet quirkily minimal designs for furniture, glassware, ceramics and metalwork. They mocked high-status by building furniture with inexpensive materials such as plastic laminates, decorated to resemble exotic finishes such as animal skins. Their work was both functional and — as intended — shocking. Even as it preceded the Memphis Group's formal launch, Sottsass's iconic Ultrafragola mirror — in its conspicuously curved plastic shell and radical pops of pink neon — embodies many of the collective's postmodern ideals.

Sottsass's most-recognized designs appeared in the first Memphis collection, issued in 1981 — notably the multihued, angular Carlton room divider and Casablanca bookcase. As pieces on 1stDibs demonstrate, however, Sottsass is at his most imaginative and expressive in smaller, secondary furnishings such as lamps and chandeliers, and in table pieces and glassware that have playful and sculptural qualities.

It was as an artist that Ettore Sottsass was celebrated in his life, in exhibitions at the Los Angeles County Museum of Art, in 2006, and the Philadelphia Museum of Art a year later. Even then Sottsass’s work prompted critical debate. And for a man whose greatest pleasure was in astonishing, delighting and ruffling feathers, perhaps there was no greater accolade. That the work remains so revolutionary and bold — that it breaks with convention so sharply it will never be considered mainstream — is a testament to his genius.