Armchair by Ico Parisi, Gio Ponti, Gianfranco Frattini

Domenico “Ico” Parisi was one half of a prolific postwar design duo he comprised with his wife, Luisa. Their furniture designs are known for running the stylistic gamut, with celebrated mid-century modern pieces ranging from elegantly skeletal — like dramatic ebonized dining chairs — to plush and shapely, like the iconic 1951 Egg chair, in a plethora of materials.

The son of an art teacher father, Ico Parisi was exposed to art at an early age. Born in 1916 in the Sicilian capital of Palermo, he and his family moved to Como in 1925. There, the young Parisi would begin to develop his interest in architecture and design. After earning a degree as a building inspector in 1936 and working as a civil engineer, Parisi took on an apprenticeship in the studio of Giuseppe Terragni, the modernist, fascist Italian architect, pioneer of the Rationalist movement and creator of the iconic Casa del Fascio.

While working for Terragni, Parisi crossed paths with such contemporary design talents as Lucio Fontana, Bruno Munari and Pietro Lingeri, though he briefly moved away from design and architecture to explore photography and film. His artistic work would soon be interrupted, however, by the outbreak of World War II, during which he served at the front before returning to Como in 1943. There, he resumed work as a designer and architect, founding two architecture groups: the Alta Quota and the Gruppo Como.

Through his creative circles, Parisi met Luisa Aiani, a former student of the prolific architect and furniture designer Gio Ponti, who was affiliated with the Alta Quota. They married in 1947 and founded the studio La Ruota — a cross between a design firm and an intellectual salon — in Como shortly thereafter. In 1950, Parisi finally completed his architectural schooling, studying under the nationalist architect Alberto Sartoris at the Athenaeum Architecture School in Lausanne, Switzerland. He and Aiani began several decades of sophisticated output, designing curved sofas upholstered in yellow velvet and armchairs with slender mahogany frames for enduring Italian manufacturers such as Cassina and others.

Much like Charles and Ray Eames in America, the Parisis worked as a team and relied on experimentation in style and material for many of their designs. Ico Parisi died in Como in 1996.

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An architect, furniture and industrial designer and editor, Gio Ponti was arguably the most influential figure in 20th-century Italian modernism.

Ponti designed thousands of furnishings and products — from cabinets, mirrors and chairs to ceramics and coffeemakers — and his buildings, including the brawny Pirelli Tower (1956) in his native Milan, and the castle-like Denver Art Museum (1971), were erected in 14 countries. Through Domus, the magazine he founded in 1928, Ponti brought attention to virtually every significant movement and creator in the spheres of modern art and design.

The questing intelligence Ponti brought to Domus is reflected in his work: as protean as he was prolific, Ponti’s style can’t be pegged to a specific genre.

In the 1920s, as artistic director for the Tuscan porcelain maker Richard Ginori, he fused old and new; his ceramic forms were modern, but decorated with motifs from Roman antiquity. In pre-war Italy, modernist design was encouraged, and after the conflict, Ponti — along with designers such as Carlo Mollino, Franco Albini, Marco Zanuso — found a receptive audience for their novel, idiosyncratic work. Ponti’s typical furniture forms from the period, such as the wedge-shaped Distex chair, are simple, gently angular, and colorful; equally elegant and functional. In the 1960s and ’70s, Ponti’s style evolved again as he explored biomorphic shapes, and embraced the expressive, experimental designs of Ettore Sottsass Jr., Joe Colombo and others.

Ponti's signature furniture piece — the one by which he is represented in the collections of the Museum of Modern Art in New York, Germany’s Vitra Design Museum and elsewhere — is the sleek Superleggera chair, produced by Cassina starting in 1957. (The name translates as “superlightweight” — advertisements featured a model lifting it with one finger.)

Ponti had a playful side, best shown in a collaboration he began in the late 1940s with the graphic artist Piero Fornasetti. Ponti furnishings were decorated with bright finishes and Fornasetti's whimsical lithographic transfer prints of things such as butterflies, birds or flowers; the Montreal Museum of Fine Arts possesses a 1950 secretary from their Architetturra series, which feature case pieces covered in images of building interiors and facades. The grandest project Ponti and Fornasetti undertook, however, lies on the floor of the Atlantic Ocean: the interiors of the luxury liner Andrea Doria, which sank in 1956.

Widely praised retrospectives at the Queens Museum of Art in 2001 and at the Design Museum London in 2002 sparked a renewed interest in Ponti among modern design aficionados. (Marco Romanelli’s monograph, which was written for the London show, offers a fine overview of Ponti’s work.) Today, a wide array of Ponti’s designs are snapped up by savvy collectors who want to give their homes a touch of Italian panache and effortless chic.

Find a range of vintage Gio Ponti desks, dining chairs, coffee tables and other furniture on 1stDibs.