Ceramic Cone Set Design Ettore Sottsass by Franco Pozzi for Pierre Cardin, 1969

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.

Best known for creating groundbreaking fashion designs from the 1950s onward, Pierre Cardin enjoyed great success in other design fields, most notably furniture. Cardin’s chairs, cabinets, tables and other pieces share many of the keynotes of his clothing designs. They are simple, geometric, elegant and cool.

Cardin was born in a village near Venice, Italy, and raised in central France. Always interested in fashion, he left home at age 17 to train with a Vichy tailor. After the end of World War II, Cardin moved to Paris and worked for a succession of couture houses, before taking a job with Christian Dior in 1946. Cardin went solo in 1950, and quickly won attention for his novel style. Unlike Dior’s famous New Look, Cardin’s clothes de-emphasized a woman’s curves; his breakthrough pieces like the Bubble dress had, instead, a sculptural quality. In the following decade, Cardin introduced bright tunic dresses and shifts, marketed as the Space Age look and accessorized with vinyl hats and visors.

In the 1970s Cardin expanded his design work into furniture, jewelry and automobiles. (Later, licensing agreements would put Cardin’s name on goods ranging from perfume to sunglasses.) Cardin’s furniture pieces — inspired, perhaps, by the rediscovery of Art Deco design in that decade — feature simple, symmetrical forms, lacquer and figured veneer finishes, and accents in metals such as aluminum and brass.

Whether you are looking for a vintage cocktail dress or a chest of drawers to keep it in, as you will see on 1stDibs, Pierre Cardin offers an option in either that is timelessly chic.