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Handmade for centuries, Scandinavian rugs have taken on many different forms and functions over time. While Scandinavian textiles are beautifully decorative, they are also incredibly practical.
Known for their harsh weather conditions and almost everlasting winters Scandinavian countries make sure that any textiles produced not only provide the necessary heat but are also decorative. Therefore they would often be used in the form of wall hangings, floor covers and even bedspreads.
The first rugs produced in Scandinavia were Ryas. For many years during the early Middle Ages, Scandinavians used rugs from the Byzantine Empire, but eventually, they started to make their own. This is when Ryas were first produced. Ryas are handwoven rugs with a thick shaggy long pile. Made by tying knots of fabric to produce a piled carpet, Scandinavians used them for everything, including carpets, bed covers, rugs, wall hangings and even coats! Their popularity soon spread across Northern Europe in the Middle Ages.
Popular among folk-artists, Rollakans are traditional flatweaves and could be found as bedspreads or on general display. These traditional flatweaves were first produced in the early 18th Century in Sweden. They often have a simple aesthetic with all over geometric patterns making them the perfect design feature for Scandinavian homes.
Made by weaving recycled cloth, Trasmattas or ‘rag rugs’ use discarded clothes, leftover scraps or clippings of fabric. Making these rugs is very environmentally friendly. Originating in Asia at the end of the 18th Century, these rugs have a short pile. Today they symbolise simple, country-style living but traditionally they primarily adorned affluent houses and were constituted a marker of status. Adding a touch of colour to many interiors today they make fantastic runners.
Scandinavian rugs are now not only fantastic for bringing a Scandinavian warmth to our homes but often they tell a great story too. Many of the historic rugs show the great history and culture of Scandinavia.
Ryas often featured designs that represented family trees and ties. They even produced wedding ryas which formed part of the marriage ceremony throughout the Middle Ages. Often these wedding ryas featured the initials of the bride and groom, the date of the wedding or a set of double hearts.
Rollakans can typically be categorised into twelve main shapes: the star, the rose, the octagon, the bird, the lily, the tree, the hourglass, the palmette, the human, the deer, the brook horse and the lightning. They will always have a folklore history to the pattern.
Today the most popular rugs are Trasmattas with their mesmerising patterns, colours, designs and textures. Still created in the present day, they are now created as a hobby rather than a necessity but the outcome is still as beautiful.
Lorfords has a large variety of Scandinavian rugs. Browse our full collection of rugs and carpets here.
Laura Muthesius and Nora Eisermann of Design Tales are inspired by nature. The Berlin duo shares their home and gives you their five top tips to create your very own Scandinavian interior.
With homes in Skåne and Berlin, Laura and Nora love to travel! Nora studied fashion design but is now working as a (food-)stylist, and Laura studied photography and currently working as a photographer. The duo shares their passion for food, good design and interiors over on their website and on their Instagram.
We talk to ‘Antiques Roadshow’ expert Chris Yeo about collecting Mid-Century glass. He says ‘dancing with light and alive with colour, Mid-Century glass makes a bold statement, just try not to get too hooked’.
When I tell people I work in antiques the question I’m invariably asked (after “When do you hope to get a real job?”) is “What do you collect?” and my answer is absolutely nothing. Although I’ve lived, eaten and breathed antiques since childhood the idea of amassing a collection of any one thing or group of things has never held any appeal. With one exception, that is.
Roughly twenty years ago, on a typical Saturday morning mooch around an antiques market (remember them?), I came across something that stopped me in my tracks. It was a glass vase, a sleek, weighty number in rich shades of blue and turquoise. It was love at first sight and, of course, I bought it. About a month later I bought another piece of glass, shortly followed by another and another – you get the picture.
For the next few years, I hoovered up every piece of studio glass I could find. It was a labour of love and an obsession which bordered on an addiction. Put a piece of studio glass in front of me and I would find it near impossible to ‘just say no’. I won’t be too hard on my younger self. There is, after all, something undeniably seductive about mid-century art glass: a perfect marriage of art, craft and design that melts the hearts of even the most ardent minimalists. Richly coloured and beautifully made, fine quality glass introduces just the right note of luxury, colour and sophistication into any interior.
The Europe that emerged from the Second World War was a grey and dismal place. War-time shortages and rationing of “luxury goods” meant that people had been starved of colour for years. There was a huge demand for anything bright, fresh and modern, especially among young people setting up home for the first time. Ceramics, textiles and wallpaper manufacturers all ramped up the colour quota but nowhere was this appetite for colour better nourished than amongst makers of studio glass. And, when it came to glass, no one understood colour better than the Italians.
Italian design came of age in the post-war years with a welter of colourful designs in both glass and plastic, materials which share the same malleable qualities. The magical process of transforming a bubble of molten glass into a vessel or piece of sculpture is a test of skill and artistry but the Italians took up the challenge with gusto and, of course, style. Highly individualistic designers celebrated colour for its own sake, applying it in ever more bold and dramatic combinations. Italian glass is more properly Venetian glass. Venice has always been the heart of the Italian glassmaking industry with a history of glass-blowing unparalleled anywhere else in the world. From the thirteenth century onwards Venice had held a monopoly on glassmaking in Europe, and its products—often extravagantly coloured, enamelled, and gilded—were treasured luxuries. Originally, Venetian glass was made - as you would imagine - in Venice, but the workshops were moved to the small lagoon island of Murano in 1291, in part because their kilns constituted a fire hazard to the city, but also to keep the glassmaking process a secret by isolating the makers on their own well-guarded island.
Now, I think it’s fair to say that for many of us our idea of Murano glass will have been “coloured” by a trip to Venice. You’ll have done the circuit of St Marks, paid through the nose for a coffee and then, along with ten thousand others, you will have been funnelled off into the narrow alleyways that lead off the square. You shuffle along passed shop after shop – each one dedicated to relieving you of as much money as possible - crammed with all manner of gaudy clowns, fish, dolphins and more Mickey Mouse figures than even Disneyland would want - all sold under the banner “Murano”. If this has been your only encounter with Italian glass you’d be forgiven for wanting it to stay that way but there really is so much more to Murano.
From the 13th to the 18th century Murano glass was one of the wonders of the world with an unrivalled reputation for innovation, its glassmakers having developed, among other things, ways of incorporating threads of gold into their creations and techniques for the famous millefiori (multicoloured) and lattimo (milk) glass. Amongst the myriad workshops that make up the Murano glass industry the most highly regarded and arguably the best known is Venini.
The firm was founded in the early 1920s when an enterprising Milanese lawyer, Paolo Venini, established a new glass company on the island with a Venetian antiques dealer, Giacomo Cappelin. Their breakthrough innovation was to copy the French fashion industry’s tradition of appointing an artistic director to create new designs and then drive them forwards. This was a stroke of genius which instantly put Venini at the forefront of fashion. The firm collaborated with artists who transferred their skills from canvas to glass, combining bright vibrant colour with flair and confidence that’s the very essence of Italian style. As a strategy, it took glassmaking to new heights of excellence and kick-started the Italian studio glass movement.
By the early 1930s, Venini was attracting the cream of Italian designers including Carlo Scarpa, Gio Ponti and Tyra Lundgren. The post-war years were Murano’s most dazzling and creative period. With its bold palette, Italian glass of the 1950s and ‘60s is instantly recognisable. Shapes have an easy asymmetry and a looseness of form reminiscent of folded fabric. In fact, one of the most popular shapes was the ‘fazaletto’ or ‘folded-handkerchief’ vases first made by Venini in the 1940s.
With its vibrant colour combinations and top-quality design credentials, the Italians dominated the glass scene but they weren’t the only nation on the colour spectrum. In the UK the prestigious London-based firm of Whitefriars had been making glass since the 17th century and had a centuries-old reputation for restrained and elegant glassware but in the 1950s its fortunes changed when, like Venini, it engaged the services of an artistic director, Geoffrey Baxter (1912-95).
Baxter was a young graduate fresh from the Royal College of Art, at that time a powerhouse of ideas about art and design. At Whitefriars, Baxter took the forms of Scandinavian glass – thickly-walled, with curving organic shapes and highly sculptural vessels – but, unlike the Nordic versions which used either clear glass or subtle, muted shades – Baxter used bright, rich colours to create something youthful and very British. Colourful things were also coming from behind the Iron Curtain.
In Czechoslovakia, the glass industry was nationalised in 1948 and continued the centuries-old tradition of glassmaking in the Bohemian region. Bohemian glass had a reputation for excellence and the new Communist government did not deem glass to be an art form that was ideologically threatening, meaning that designers could work largely free of official control. This resulted in the creation of highly innovative modern designs that updated traditional methods of glassmaking and put Czech glass on par with the best that Italy had to offer.
Following on from its 1950s heyday, studio glass is once again riding the crest of a wave of popularity. If you’ve never thought of having glass on display, think again: the allure of light playing on coloured glass can be just as compelling as a strikingly painted canvas. That said, some people remain a little nervous about living with glass – “It’ll get knocked over and smashed!” Truth is, most glass is more robust than you think and, so long as you’re not flinging it against the wall, it’s no less durable than pottery.
Striking forms and colours make the piece a work of art in its own right and a real talking point. Art glass, displayed as a single statement piece or grouped together, brings warmth and colour to an interior as effectively as any painting and can also be a good way of introducing an accent colour into a room scheme.
The sinuous, organic shapes and jewel-like hues so beloved of mid-century glass artists work as a counterpoint to the tailored interiors of today. Arranging collections of glass in groupings of similar colours and shapes create a strong visual impact.
Remember, when it comes to glass, less is always more, don’t clutter shelves and tabletops with pieces. Instead, give each one space to breathe. You’ll find your art glass a source of inspiration as well as beauty.
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Browse our collection of Mid-Century glass:
> Shop our Murano glass collection
> Shop glass and ceramics
"You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up." Tim Butcher and Lizzie Deshayes of Fromental have been creating bespoke wallcoverings for 16 years. We chatted to the inspiring duo ahead of the launch of their new sister company, Studio by Fromental.
Q: You can find Fromental wallcoverings in some very cool locations. What project are you proudest of?
I think it's got to be the lobby of The Goring Hotel. It was such a personal piece. The Goring has a wonderful balance of classicism and eccentricity and we hope we managed to capture that in the design. The wallcovering shows an Arcadian landscape peopled with walruses, banqueting pigs and other hidden creatures.
Q: It looks like you have been busy over lockdown. Tell us about the launch of your new brand Studio by Fromental and how it came about.
A: We believe that walls are surfaces for decoration and self-expression — art needn’t be framed. That being said, we understand that commissioning a truly bespoke wallcovering can be daunting, so wanted to use our skills and knowledge of the craft to create wallpapers that have a similar bold beauty but are easier to purchase and use.
Our intention for the new diffusion line is to empower more people to be brave with their walls and express themselves creatively.
Every element of a Fromental project is bespoke, whereas Studio designs are supplied as ‘ready to hang’ sets of four panels. Each design is based on an original, hand-painted artwork which is then hand-finished to order. This method honours Fromental’s craft and finesse and works beautifully with the papers and textured grounds we print on.
Q: Studio contains nine new designs, with 38 possible colourways, Where do you get the inspiration from?
A: As designers, we take our inspiration from all around us. We visit galleries and exhibitions and we have a deep love of the history of the decorative arts. This continual research into pattern and process informs all of our creations.
The debut collection for the brand is called 1st Edition. Each design within the collection has its own individual style - its own story to tell. We drew inspiration from a breadth of art forms, so two threads run through the collection. One is our ongoing exploration of stylised floral motifs, with a strong influence from Asian arts and culture. Another is experimenting with abstract architectural forms and texture.
Some examples to illustrate this:
‘Flock’ is a bold scale scene of cranes dancing across the room. Designed by Emma, this pattern is a modern take on the Rinpa School style.
Inspired by the leather inlaid bookbinding of Georges Cretté in the 1930s, Andrew composed the powerful architectural piece that is 'Deco Arches'. This arresting pattern recalls the era's modernist style, fine craftsmanship and use of rich materials.
'Edo Springs' is a painterly mix of delightful shades, which ensure that this abstract floral pattern is both balanced and bold. The design itself is a contemporary rendition of a classic Japanese screen with trailing flowers climbing the walls.
Q: Do you have a personal favourite in the new collection?
A: It is always difficult to choose a favourite, and this often changes over time depending on the spaces used and the architectural surroundings, but if we must -
Tim - 'Bamboo Lights.' There is an inherent challenge in designing something abstract and minimal because there is a deceptive simplicity to it which can easily slip into something very pedestrian. Andrew, who designed Bamboo Lights, has managed to create a design that is simple yet versatile, abstract but still has character, graphic but with a real sense of movement and flow. Our US team seem to particularly love it!
Lizzie - 'Coquilles.' I love the simplicity and elegance of this design. The shape and texture bring to mind wonderful Deco era tiles. Scale and proportions really attract me in wallpapers, and Coquilles is skilfully designed to balance both perfectly.
Q: How was Fromental born?
A: We launched Fromental in 2005 with the simple aim to make the world’s most beautiful wallcoverings. Our more audacious aim was to create the defining decorative arts of our time. Lizzie was and is an accomplished craftsman and she had developed a series of designs that offered a 21st Century slant to traditional scenic papers. I had been working with classical chinoiserie papers for several years and was working closely with artists in China. We established our own studio and Fromental began.
Our artists are trained in the traditional skills and styles of Chinese painting, paper-craft and embroidery. We were the first to introduce traditional embroidery into wallcoverings, fusing two ancient crafts for a new medium. Over the years we have worked to move beyond the forms of traditional figurative styles to create more conceptual designs.
One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and the prismatic play of light are unique in the history of wall surfaces.
Q: How do you see your brand evolving, both now and in the future?
A: We have never considered ourselves followers of trends or followed traditional launch cycles. Our philosophy has always been to launch a design when we feel it is relevant. We are restless and simply want to continue our exploration of materials, techniques and patterns to always produce something new and surprising.
We work very closely with the designers who use our wallcoverings and this establishes a creative relationship. This has naturally lead to collaborations. We love the creative energy generated by these projects, where both parties learn from each other. So, we definitely envisage more of those.
One of our most satisfying collaborations was with Lalique. The Hirondelles pattern incorporates iconic crystals into the painted and embroidered silk. The three-dimensional embellishments and prismatic play of light are unique in the history of wall surfaces. To be able to work closely with such a decorative design icon was incredibly inspiring. It was fascinating to learn more about René Lalique the man, and to work side by side with the generations of craftsmen behind their production. It was clear that René Lalique combined art and industry through relentless creativity – that was a real inspiration for what we want to achieve through Fromental.
Q: Your designs are bold and vivacious. Why are colour and texture important in an interior?
A: At best an interior is an expression of our own unique personality. To me, colour, texture and pattern are the languages of that expression. Combing these elements can create further resonance and energy between the elements. This can amplify and add nuance to the language. When you create an interior that expresses this personality and mood, it becomes a great gift that reflects back this mood when you need it. You create an interior as an expression of joy, then when you are in need of joy you can immerse yourself in the interior to lift you back up.
New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that.
Q: Each bespoke Fromental design is handmade at great lengths. Why are these long and laborious processes worthwhile?
A: Our clients are looking to create unique interiors. Not only do we want to produce something you won't see anywhere else, but also something with a very personal story. Working with these hand-made processes means that we are free from the usual constraints of production and this enables such a bespoke design service.
We have become known for our elaborate and hand-embroidered designs. Our artists spend up to 600 hours elegantly painting and stitching individual panels. I really do believe that when you have an item that has so much personal focus and attention, so much application of skill, the material is imbued with the quality of the craftsmanship in a way that is palpable. There are no shortcuts to achieving this.
Q: Wallcoverings were a staple of the 18th Century and were once considered 'out of fashion.' What do you think is driving their renewed popularity?
A: In our more recent history wallpapers did become unfashionable for a short time in the 90s, but these trends are cyclical. New trends emerge as a reaction to the oversaturation that went before. So, after any period of beige minimalism, people are keen to explore pattern and colour and wallpaper is a great way of doing that. Maybe starting with one wall but as people have become more confident, wallpaper has gone from strength to strength.
It is always important to remember that no ‘trend’ is ever all-encompassing. Designers with bold visions were using maximalist patterns during any period where the ‘norm’ was minimal.
The fact is that wallpapers are the perfect medium to put your own personal stamp into your interiors. There are few ways of creating such a strong statement in any interior than with the use of a strong wallpaper.
Q: Some of your most beautiful wallpapers are in the chinoiserie style, which we often see in our furniture and decorative antiques. How can chinoiserie work in today's homes?
A: Chinoiserie – that wonderful hybrid of European and Far East design – transcends fashion. It brings exoticism, colour, pattern and movement to a room of any size or style of architecture, which is why it has never been out of style. The themes found within chinoiserie designs, such as panoramic garden landscapes, ornate florals and delicately drawn birds, harness the restorative power of nature. These themes resonate strongly today with our sense of wellbeing.
Chinoiserie wallpapers are often used on all four walls, which creates that wonderful immersive feeling. It is also a versatile canvas – you can add contrasting elements for an ultra-modern interior or complementary furniture and accessories for a more classic look.
Q: What is your favourite room in the home? Why?
A: Tim - my favourite room is one I do not have. But I think imaginary rooms are important. In Bleak House Mr Jarndyce introduces his ‘Growlery’; “When I am out of humour, I come and Growl here… When I am deceived or disappointed, and the wind is easterly, I take refuge here”. I shall have my own Growlery one day and I know exactly how I shall decorate it.
Lizzie - The studio. In the words of Virginia Wolf, it is a room of one's own.
When selecting colour and pattern you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result.
Q: We're all feeling very familiar with our own homes after the last year. How can people escape a design rut?
A: In our experience, the familiarity of their four walls has inspired people to change their décor. In the last year, we have had time to focus on that in a way that is seldom possible.
Events and venues we would normally frequent for our cultural fixes and inspiration have been closed. However, in this void, the design community has stepped up with talks programmes and virtual presentations. So, in fact, the interested consumer has had more inspiration at their fingertips.
Of course, book your tickets once the galleries, museums and exhibitions re-open. We know we will be!
Q: Your designs are wonderfully decorative - would you say you both have a maximalist approach to interiors?
A: We do love the more is more approach to decorating! We feel that, when selecting colour and pattern, you need to make choices that are bolder than you may immediately feel comfortable with so that you are not underwhelmed by the result. However, we would not describe our own homes as maximalist. Yes, every surface is filled with textures and pattern but we have created a space which is not overly layered. There is a richness to the result but I would say it is somehow more naturalistic. Even the patterns have a quality akin to organic materials rather than bold graphics.
Q: We have loved working with Fromental in the past. If you could pair one piece from our website with one of your new designs, what would they be?
A: A few choices!
I love smokework and think this cabinet would be beautiful with Coquilles in Lettered olive.
https://www.lorfordsantiques.com/american-18th-century-painted-chest-on-stand-cb0910096
This fabulous Scandinavian cupboard with Edo Springs in Celadon rose. This definitely appeals to the maximalist in me …!
https://www.lorfordsantiques.com/scandinavian-cupboard-bk2510801
We also love this Amalfi headboard by Lorfords Contemporary with our Rocaille design in col Belvedere.
https://www.lorfordsantiques.com/the-amalfi-studded#
Read all of our Q&As on L-Shaped.
As Valentine’s Day approaches, we unpack some of the history behind courtship, betrothal, and marriage. The spontaneity of romance has been lost to the current era of social distancing, but a measured approach to courtship was the norm for centuries. At its heart was one very practical consideration: the dowry.
As obvious as it seems today, the notion of marrying for love is a fairly new development. Writings on ‘the art of love’ date back to ancient Rome, but love was a distinct matter from marriage for a long time. If anything, families encouraged the couple to work towards an emotional connection once they had married. Husbands expected loyalty from their wives, whilst they would often pursue romantic relationships outside of marriage.
The latest drama to capture the nation's attention, Bridgerton, revolves around the ‘marriage market’ in Regency England. The series lays bare the financial considerations that dictated courtship. This contrived dance is familiar to us from Jane Austen’s novels, and the fact that the author herself chose not to marry is significant. In an 1814 letter to her niece, she states: ‘nothing can be compared to the misery of being bound without Love. If his deficiencies of manner strike you more than all his good quality, give him up at once.’ Austen tries to save her niece from the fate many women faced at the time, including her fictional characters.
"The great virtue of parents is a great dowry." So said Horace, a Latin lyric poet and satirist living in ancient Rome in the 1st Century BC. His observation was accurate for its time; the best thing parents could provide for their daughter was financial backing. Britannica defines the dowry as, 'the money, goods, or estate that a woman brings to her husband or his family in marriage.' This package distinguished a potential bride from the rest and increased her chances of marrying into a high-status family.
For society's elites, marriage revolved around combining status and influence, and the dowry involved a large-scale transaction. It was, in essence, a practical safety net. When the dowry included properties, territories, and vast sums of money, the bride’s family needed to safeguard their assets. If relations soured between man and wife, the husband had to repay his wife's dowry so that her finances were left intact.
The unfortunate tale of King Louis VII illustrates the dowry's significance. When the French King married Eleanor of Aquitane, she provided the territory of Aquitane as part of her dowry. The relationship failed and the pair divorced in 1152. Eleanor moved on swiftly and married Henry Plantagenet, Duke of Normandy, just two months later. Plantagenet received Aquitane from Eleanor and went on to become King of England. Poor King Louis VII suddenly faced a formidable foreign power.
The long-held role of the dowry created dowry chests of all shapes, sizes, and designs. The allure of antiques is undoubtedly tied up in the personal histories they represent, and we are lucky that many of these boxes survive. These 'hope chests,' as they were also known, are a wonderful example of this. The boxes were designed to carry the bride's goods to her marital home. Some mothers would start prepping this box as soon as they had a daughter, to slowly build upon as the years went by. This might include silverware, jewellery, blankets and linens, kitchen items, and baby goods. The contents reflect the idea that a wife’s desirability came from her ability to run a household.
It was not all doom and gloom, and dowry chests were not without sentimental meaning. Much like wedding presents today, they were a way of helping a young couple set up their new household. To keep the contents sweet-smelling, cedar was the timber of choice for these coffers and it was widely available.
For the bride's family, sending their daughter off to her next chapter, these chests were a form of good wishes. For example, couples were commonly provided with linens and other cloth for use in case of troubled times. Because these often stayed rolled up in the chest and never used, an abundance of antique linens survives today.
So, the contents of these chests varied in value and significance depending on the parties involved. Nonetheless, the notion of providing a dowry chest of some sort was a given for most, and the practice was widespread. Examples survive from Central Europe, Asia, and Africa. Syrian chests inlaid with mother-of-pearl and raised up on bracket supports are particularly stunning examples.
Poorer families would not be handing over huge sums of money and acres of land, but they often still sent a dowry box. Indeed, the folk art tradition produced many charming marriage coffers. Local craftsmen often used pine due to its affordability and availability, and then painted them. The decorative painted designs which marked the occasion are what makes these boxes so magical.
The iconography painted onto dowry chests is full of symbolism. Sometimes this would include the initials of the betrothed, and/ or a date. On this charming 18th Century Scandinavian box, one set of initials and a date commemorate the nuptials. Goldfinches, doves, and orioles were popular for their connotations with fertility and prosperity.
Dowry chests speak to a long history of marriage and betrothal. To own one is to bring a piece of personal history and character into your home. Smaller folk art style pieces make for whimsical and highly decorative accents in the home. Larger blanket caddies and monumental dowry chests are fantastic statement pieces for storing today’s blankets and linens.
To explore antiques relating to love and marriage, visit our lookbook 'Under Lock and Key.'
'Work from home.’ It’s the phrase that has defined the last ten months or so of our lives. Whether or not home has always been the natural habitat for your work, many have rushed to transform part of their house into a workspace. The Lorfords collection is full of unique pieces that will bring your dream Mid Century Modern home office to life.
Studies show that the more personal control we have over our office space, the happier we are. The ability to get creative with our workspace and have our favourite furnishings close at hand is a silver lining of the current circumstances.
One of the biggest challenges of staying at home has been drawing a line between work time and our personal lives. This gives you all the more reason to invest in your office space and create an environment you want to spend all day in, before returning to those parts of your home that you associate with relaxing.
Calm, uncluttered surroundings encourage efficiency and productivity. This can be difficult to achieve at home, but by dedicating a space for work you are halfway there, and Mid Century Modern design will do the rest.
It can be easy to feel as though you are ‘playing office’ whilst working from home, so it’s important to get creative with your space and invest in it. Stylish and useful furniture is conducive to your productivity, as well as your happiness.
Media and popular culture have made Mid Century design an object of fascination. From the smooth teak and glass of the Mad Men office to the contemporary prints and low chairs of Miranda Priestley’s office in The Devil Wears Prada, the understated glamour of a Mid Century Modern office is well-known.
The post-war period was a new age of prosperity, and many migrated to urban and suburban areas. After the horrors of war, there was a desire for more human, organic and natural design. Inspiration was sought from America and Scandinavia, and designers eagerly embraced new materials like plywood and plastic. Manufacturers had machinery and mass production at their disposal, so luckily many fantastic pieces survive today.
Furnishing newly built homes and smaller living spaces saw design take on new priorities, and functionality was a top priority. Designers didn’t skimp on style, however, and the iconic designs they brought to life have timeless appeal.
Designers of the Mid Century Modern period wanted to make furniture accessible to everyone, not just the very wealthy. The contributors to this new democratic style were many, including Arne Jacobsen and Harry Bertoia. Ray and Charles Eames were the design power couple of their day, and it's their executive desk that graces Don Draper's office in Mad Men.
Far from dull, design in this period was full of juxtapositions. Designs were extremely varied, and you might struggle to spot what a marshmallow sofa and a teak sideboard have in common. However, there were certain principles that united these designers in their plight: fine craftsmanship, quality, and chic style.
The straight-lined silhouettes of Mid Century Modern furniture make it the perfect choice for an office. Manufacturers of the period, such as Herman Miller, focussed in on office furniture and produced desks, chairs, and savvy storage solutions. George Nelson was a key mover and shaker in Mid Century Modern design. His iconic Storagewall design captured attention far and wide and he is credited with designing the first L-Shaped desk.
There’s more to working life than a desk and a chair. Nobody wants to work amongst empty cups of tea and a teetering stack of paperwork, but many of us do. It may be a cliché, but it’s difficult to argue with the concept of ‘tidy desk, tidy mind.’
It's often unrealistic to reimagine a whole room of the home in one style, but a few key pieces will transform a space. Credenzas and sideboards were already furniture stalwarts, but they were revolutionised in this period. Fitting unobtrusively against the wall, they provide storage and a surface for display. Most importantly, a sideboard or low cabinet means you can keep stress-inducing clutter out of sight.
When it comes to designing an office space, the mood can tend towards the clinical. Mid Century Modern is the perfect antidote to monotony because designers reinterpreted basic furniture with innovation and creative flair. Designers made chairs that were lower and broader, often supported on splayed UFO-style legs. They made many office-style chairs, with reclining and swivel functions. You've got your pick when it comes to desk chairs and should indulge in a big upholstered armchair for when you need a break.
Lighting was the major triumph of Mid Century design, and designs are famous and sought-after today. From practical floor lamps to Sciolari's spectacular sputnik light, lighting is the ultimate flourish for a 20th Century home office. Maison Charles’ iconic palm standard lamps demonstrate how natural forms were embraced in this period, and they make a great statement in an office setting.
20th Century design was far from solely utilitarian. Designs from this period were full of creative flair, and this should be reflected in a Mid Century Modern office. This was the heyday of faux tortoiseshell, glass, contrasting woods, bright colour, and abstract art. Adorn a brass and glass coffee table with a lucite magazine holder, or fabulous colourful glasswork by Val Saint Lambert.
There’s no point in working in a space that won’t inspire creativity and progress. Surround yourself with fabulous contemporary art and sculpture that makes you feel content and calm. Colour and character are key to boosting your mood in a long working day. This was an age of bold and pioneering design, and by surrounding yourself with examples of it you encourage the same in your work endeavours.
Whatever your personal style, there is something to love in this spectacular period of design. Mid Century Modern pieces have the power to transform a space into the perfect home office. For further inspiration, have a browse of our lookbook: Office Envy.
Are you a minimalist or a maximalist at heart? Both approaches create stunning interiors, but this year we're making the case for a maximalist Christmas. It certainly hasn’t been an easy ride, so embrace the festive season in all its visual glory.
There is a good reason why many of us have fixated on what this season will entail this year, and what we can and can’t do. Whether you start Christmas planning in August or dread the whole affair, it’s one of life's consistencies. Although it’s a different festive season this year, the period still offers some guarantees and one of the best of these is bringing your home to life.
Christmas can feel prescribed in today's society, and we are compelled to follow all manner of conventions. But in fact, Christmas has transformed over the centuries and taken on many different guises- even the religious meaning came later than the first festive celebrations.
In medieval England Christmas didn’t revolve around just one day; it was a full twelve days of celebrating up until 'twelfth night' on January 6th. After a pretty miserable year, why not make this festive season last? Savvy decorating choices will see the cheer through into January so you can keep the winter blues at bay.
In a couple of days, the Earth will be tilted further away from the sun than at any other point in the year. The winter solstice is how Christmas celebrations began, in eager anticipation of the sun's return. The solstice may be the shortest and darkest day of the year, but it is also the beginning of a new chapter. This moment has special relevance this year, as we look forward to better times.
Whilst the solstice has been somewhat lost in Christmas celebrations today, it was quite crucial for the holiday’s development. The Roman festival of Saturnalia was a hedonistic spree of celebrations leading up to this event. Take note from the ancient Norsemen of Scandinavia, who celebrated ‘Yule’ from the solstice all the way through January, while the yule log burned to symbolise the return of light.
Queen Victoria’s reputation does not immediately bring to mind joyous festivities. But in fact, it was the innovations of the Victorians that led to the Christmas we know and love today. From the beginning to the end of the 19th Century, Christmas transformed from a lowkey event to the biggest celebration of the year.
The Victorians believed in the importance of celebrating Christmas with family, which is a concept we all hold close to our hearts today. Many of our favourite traditions stem from the royal couple themselves, Victoria and Albert. Prince Albert's childhood in Germany had a big influence on the British Christmas, and he popularised the indoor Christmas tree. An illustration of the royal family gathered around their tree appeared in the Illustrated London News in 1848, and a Christmas tree has been integral to Christmas ever since.
This period also introduced the sending of Christmas cards to friends and acquaintances, as well as the joyous Christmas cracker with its novelties and gifts inside. So, perhaps raise a glass to Queen Victoria this Christmas?
There’s plenty of inspiration to draw from tradition and how Christmas has been celebrated over the centuries. This year, take only what you love from this and make the rest your own. Whether you can be with loved ones, or it's a quiet affair this year, surround yourself with your favourite things and give them a bit of a festive revamp.
Breaking the rules has long been a part of Christmas tradition. This time of year has a rich history of reversing social hierarchies, and it was once known as the season of 'misrule.' The violation of social conventions got a bit out of hand at one point, and the Victorians stepped in to bring about more order. The concept of reversal still manifests today, as officers of the British Army wait on their soldiers on Christmas Day. We're not advocating that your children become the boss this year, but do embrace doing things differently.
We all have our guilty pleasures. That piece that’s a bit kitsch, a bit out there… but we love it all the same. This year we haven’t been entertaining and Christmas guests are going to be limited, but there is a silver lining to these circumstances. Christmas is often a time of immense stress, no matter how organised you are. Let go of the considerations that come with entertaining this year. Fuel your nostalgia at Christmastime, and let festive cheer reign unshackled.
Mismatching design is full of character and that eccentric antique you keep tucked away in the attic is ready to have its day. Yes to red and green, if you love the colours, but also yes to yellow, blue, orange, and purple. Etiquette and convention are not on the menu for this Christmas period.
With limited events to attend this festive season, we must bring the party to us. There is no better time of year to embrace opulent home furnishings. Put beautiful gilded furniture in the spotlight, and make sure everyone has a comfortable seat. Get inventive with the furniture you see every day; sideboards present the perfect worktop for creating a wintery scene which will keep you cheerful until the Spring.
Christmas is brought to life through light, and you simply can't have enough candles. We stock antique candelabra, wall sconces, and candlesticks so that you can create an enchanting atmosphere at home. Bring the Christmas sparkle with your own unique take on decorations, such as a glass witches ball. Heavy and shining with rich history and tradition, these decorations are a fitting accessory to a maximalist Christmas.
Natural decoration also serves as a wonderful accent to your favourite antiques. Garland your statues and sculptures, and fill glass vessels with pine cones and oranges. The fireplace forms the focal point for festivities and offers plenty of scope for creative decoration. Layer the mantelpiece with holly and ivy, and quirky antiques. Browse our fireside furniture to bring this spot to life.
Tablescapes offer one of the greatest creative opportunities at Christmastime. This is where you can afford the most artistic license and think outside the box to bring your table to life. Antiques are the perfect antidote to the ‘norm.’
Often, there is great pressure to colour coordinate at Christmas. Throw out the rulebook and combine all your favourite tableware and glassware. Use urns and vases to create wonderful, unusual centrepieces that will have everyone in awe. If you love it, it works.
Trust our one-of-a-kind antiques to bring your home to life this season and all year round. If you're keeping it lowkey this year and plan to come back with a bang in 2021, it's never too early to prepare!
For a little added inspiration, visit our lookbook "Merry and Bright."
Merry Christmas, from the whole team at Lorfords Antiques!
Now is the time to embrace folk art and primitive furniture. It's been a very strange year, and we have all lived simpler lifestyles. Folk art represents community, utilitarianism, and simple joys- concepts we can all focus on as we move forward.
Folk art is an umbrella term for a wide range of objects that were made in rural communities before the dawn of mass production. There were no rules; local craftsmen made objects and pieces of furniture for a purpose and to please. The genre can include carved animals and human figures, quirky trade signs, charming country furniture, and a host of other unique pieces.
Some pieces are instantly recognisable, such as Welsh stick back chairs. Pieces like these became ingrained in local tradition and are popular with collectors today.
This rural furniture often exhibits interesting carpentry techniques, such as dovetail and mortise-and-tenon joints. Because of the rustic assembly, makers almost always chose to paint the finished product.
Folk art was only coined as a genre when the Arts and Crafts movement began to gather momentum in the 19th Century. William Morris, who spearheaded Arts and Crafts, defined folk art as, 'anything exhibiting cultural heritage in a non-elitist, primitive or homemade style.'
Morris was inspired by the legacy of this genre in his own approach to design. Both styles value the individual craftsman and utilitarian furniture, albeit Arts and Crafts consciously rather than out of necessity.
Arts and Crafts was a reaction against mass production and the industrial revolution, whilst folk art preceded these changes. There were no machines and every piece of furniture was handmade for purpose.
Folk art was a personal craft, so no two pieces are quite the same. Because pieces were designed to meet a particular need, the maker could adapt to taste and requirements.
Farmers often used their dormant months to make furniture. They would construct chairs, tables and whatever was needed for their family, but also for the wider community. Rural areas were always a few years behind the furniture trends of the big cities, but sometimes a carpenter would make a copy of a popular style. The main difference was that country craftsmen would always make use of local woods, such as birch and pine. Meanwhile, the cities were importing more exotic timbers.
Despite the individual nature of this craft, there are a few traits that distinguish the genre. Folk art pieces often exhibit brightly coloured and vibrant painted decoration. The subject matter is usually a simple and naive portrayal of recognisable objects. Apart from anything else, these painted scenes were a form of communication within a largely illiterate society.
Scandinavia had a particularly strong culture of communal eating and drinking, and people made objects for dining. Meanwhile, you see many candlesticks made in England and other areas of Europe, as candles were the main form of lighting in the 17th and 18th Centuries.
Some pieces of primitive furniture are more decorative in nature. Many objects were made as a marriage token for newlyweds, demonstrating the strong community element of this furniture.
A charming example of this tradition is the marriage coffer; a decorative box presented to a newlywed couple. The folk art tradition also produced endearing love tokens, and collectors covet Welsh carved spoons for their romantic history. Much of the appeal of folk art antiques comes from the personal histories they represent.
For a genre of art that was only properly acknowledged in the 19th Century, it's safe to say that folk art is getting some overdue appreciation right now. In 2014, Tate Britain hosted an exhibition dedicated to British folk art to draw attention to this neglected area of art history.
The exhibition celebrated everything from Toby jugs to ships' figureheads. Tate Britain described such pieces as, 'often humble but always remarkable,' which encapsulates this genre perfectly.
Antiques have started appealing to a wider market, particularly young people. For a younger generation, folk art furniture and decor represents something that is both sustainable and personal. The desire for something quirky, something a little bit different, is driving modern interior design today and folk and primitive art is a wonderful way to achieve this.
We have spent more time in our homes than ever before this year. Naturally, this comes with a heightened awareness of our interiors. Primitive design is a wonderful antidote to the complexity and pressures of modern life, and it blends in particularly well in a contemporary interior.
Stripped back folk art furniture looks charming in a rustic country kitchen, whilst some of the brightly painted pieces bring a pop of colour. This design is far from restrictive in terms of choice; benches, chairs, and stools of all shapes and sizes will meet the requirements for your space.
Don't stop at furniture and consider the wide range of decorative pieces that can liven up your interior. Folk art paintings are particularly charming, as well as tapestries, painted screens, and carved figures.
Folk art furniture is primitive, unpretentious, and often tells a wonderful story. It connects us to our ancestors and country in a deeply personal and accessible way.
The Lorfords lookbook, 'Our Rural Forebears,' shows how you can unlock your interiors through primitive design.
Gustavian style flourished in Sweden during the 18th Century. Inspired by the neoclassical French style, Sweden became major players in Europe’s age of elegance.
When discussing Gustavian design, the individual behind the name matters. King Gustav III reigned from 1772 to 1792 and oversaw and encouraged the flourishing of the arts.
The King was shot at a masquerade ball in 1792 and died a short while later. This event inspired Verdi’s opera Un Ballo in Maschera.
Although he was loved by some and hated by others, King Gustav’s role in the Swedish Enlightenment is clear. He was an educated and cultured man who welcomed artists and writers to court. Despite the pressures he faced at home and abroad, his reign saw huge advancements in art, literature and design.
Gustavian design fuses foreign influence with long-standing Scandinavian ideals.
In France, Louis XVI reigned during one of the most significant periods of French furniture design. His style was more refined than his predecessors, but maintained the opulence and grandeur. King Gustav spent a crucial period of time in Paris and at the royal palace in Versailles. This experience left him determined to make Stockholm the ‘Paris of the North.’
Today, Swedish design is generally associated with minimalism and muted colours. Much of Gustavian style did display these trends, but period pieces can actually be very splendid.
The entertainment rooms in palaces and noble houses during this period were full of gilded furniture and grand mirrors. At a glance, you might be in a French 18th Century palace.
Across Europe, design was influenced by the discovery of Pompeii and Herculaneum in the early 18th Century. Artistic concepts were completely overhauled by the exposure of this clean-lined elegance.
At Stockholm Palace, you can view King Gustav’s Museum of Antiquities to get a sense of his fascination with the classical. The museum displays a large collection of sculptures which the King brought back from his ‘grand tour’ around Italy.
The Pompeian style is evident in Gustav’s Pavilion at Haga Park. The interiors of the Pavilion feature marble columns and rich detail. King Gustav commissioned Louis Masreliez for the design, who went on to define the style of the period.
The impact of neoclassicism is clear in Gustavian furniture. The pieces are architectural in form and display symmetry, columns and carved detailing. The classical inspired Swedish furniture's trademark restraint, as it moved on from the elaborate rococo period.
Despite all of these influences, Swedish style is inherently… well, Swedish.
French 18th Century design had a huge impact on King Gustav, but the Gustavian interpretation was more refined. In fact, Gustavian furniture is a loyal tribute to Swedish ideals.
Swedish winters are long and dark, which still shapes their interior design to this day. The priority has always been to bring light into rooms, through pastel colour palettes, giltwood and plenty of mirrors.
Although the décor in palaces and noble houses was grand, Gustavian style became more homespun as it spread throughout Sweden. Often the carved frames of chairs and sofas were left exposed and the furniture was painted. Local woods were used such as oak, beech and pine.
Although Gustavian designs were simple, they were well-executed and designed for their purpose. Function was a priority and lots of corner cabinets and console tables emerged.
Shape and detail helps to identify the Gustavian: bonnet topped cupboards; barrel-backed chairs; fluted legs and carved decoration to name a few. Some of the most distinctive carved motifs are guilloche (woven circles), rosettes and scallop detailing.
So, why does this style have such a profound influence?
Even the most modern furniture store, IKEA, draws upon its Gustavian heritage. Interior designers constantly source antique and reproduction Gustavian pieces to transform homes with Swedish style.
The most obvious reason is that Gustavian furniture is easy to live with. It is equally suited to a grand London townhouse, a country cottage, a chalet or a villa. Curved lines and carved motifs make these pieces decorative, but the silhouettes and paintwork are simple.
There is also a certain magical quality to Gustavian period and style pieces. Furniture with its original paint gives a lovely fairy-tale finish, especially in a muted colour palette. It's feminine, but not overtly so. Gustavian pieces were often fairly small and mobile and they were meant to accentuate a space, not dominate it. This is a versatile style as a result, whether it's used in small doses or as an entire decorative scheme.
No Gustavian interior is complete without the iconic Swedish Mora clock, which is a piece as rich in history as it is beautiful. Mora clocks are a testament to community craftsmanship. In the early 18th Century, the town of Mora suffered a bad drought and many people fled to Stockholm. Here they would learn new skills and trades, including clock-making.
Upon their return to Mora, a local industry started as families worked together to manufacture these iconic clocks. Mora clocks radiate the quiet peace and grandeur of Gustavian style and have a beautifully rounded shape. A Swedish Mora Clock is often the finishing touch in a Gustavian inspired setting.
Gustavian furniture has a valuable place at Lorfords and Swedish pieces are always coming through our doors.
Browse Gustavian daybeds, sofas, chairs, Mora clocks and other antiques on our website or come and see them in person.
Our two hangars at Babdown Airfield and showroom in Tetbury give Gustavian pieces the space and context they need to do them justice.
Visit our lookbook, ‘Swedish Enlightenment,’ to view our selection of Gustavian furniture.
Winter gloom getting you down? If it is and you happen to be in London over the next few weeks I recommend you hot foot it over to Bermondsey where some instant sunshine can be found.
The Fashion and Textile Museum (who knew?) currently have a rather wonderful exhibition about the architect and designer Josef Frank and his work for the Swedish company Svensk Tenn. Linens pulsate with tropical blooms in eye-popping colours; a curtain fabric is printed with an abstracted map of 1940s Manhattan in red white and blue; and floral patterns with names like Dixieland, Himalaya and Hawaii are as fresh as the breath of Spring. It’s Prozac by the yard and a revelation if you thought that 1940s fabrics were all about cut moquette and black out curtains or that design in Sweden starts and ends with the Billy bookcase. But that’s the thing about Swedish design – it packs a punch.
You’ll be hearing a lot more about Sweden this year and it’s all done to one word: Lagom. Remember hygge? It was the Big Thing from Denmark that you would have to have spent the last six months living as a hermit in a cave not to have heard about. Well, it seems our appetite for all things Nordic remains as healthy as ever. Lagom is a Swedish word which (very roughly) translates as ‘just enough’. It stands for moderation and not going over the top and has its origins in the country’s Lutheran religion. Lagom is central to the Swedish sense national identity and influences all aspects of the country’s life, language and culture. Anyway, it now appears that lagom has the power to enhance our lives in a similar way that hygge had just a few short months ago. I won’t go into details here, lest I have to add ‘Lifestyle Guru’ to my already heaving CV. Oh, but maybe I’m being too harsh. As so often in life, I think it’s a case of “For those who like that sort of thing, that is the sort of thing they like”. Personally, I prefer the more tangible aspects of Swedish culture and, for those intent on getting some lagom in their life, I’d say look no further than Swedish design.
Lagom is at the heart of a favourite Swedish saying: ‘enough is as good as a feast’. At its best, Swedish design isn’t about having enough of one thing but the right amount of morethan one thing; a melding of different styles and influences which unite to create something uniquely Swedish. For this reason, the history of Swedish design is a history of happy marriages – the formal with the informal, Neo-Classicism and Rustic, Functionalism and Classical; Modernism and traditional crafts.
Swedish design is about getting the ingredients and the proportions just right. What do I mean? Well let’s go back to where we started. At first sight, you couldn’t get further away from lagom than a room full of Josef Frank’s fabrics, but that’s not how they’re intended to be seen. Used economically, however, on a series of cushions, a blind or to upholster a chair, they bring it that room to life: lagom in action. Used in this way, the mantra of moderation, actually adds to rather than restricts creativity and it’s in the very DNA of Swedish design.
The roots of a distinct design identity in Sweden can be traced to the 18th century, when, after an extended stay at the court of Louis XVI at Versailles, the future King Gustav III initiated a style of decoration that took its lead from the Neo-Classicism that was sweeping Europe at the time. Gustav III was a patron of the arts, founder of the Swedish Academy and commissioner of the Royal Opera House. Since his death (from a gunshot wound sustained at a masked ball - quite a party, by the sounds of it) the king has become synonymous with this style of furniture. The Gustavian style emphasised elegance, simplicity, lightness and comfort and offered a more liveable and more modest interpretation of Neo-Classicism than that found in England or France. It is a pared back version of French neoclassicism. Large mirrors, which maximised the light during long winters, were gilded, while chandeliers tended to have five or seven arms with candleholders. The style spread from the royal palaces of Drottningholm and Gripsholm to the town houses of the well-to-do and out to their country cottages, where it became more rustic and homespun but was still recognisably Gustavian in its origins: countryside homes were decorated with painted furniture; either white-washed or painted grey or soft cream. The light painted finishes provided a reflective quality that was desired during the long dark winters. Life in the region was primarily responsible for shaping Scandinavian design. Long, harsh winters with very few hours of daylight kept people indoors for many months. Besides, most people lived in small houses. So it was imperative to make homes feel cosy yet airy, with every object in it reflecting as much ambient light as possible.
By the early 1920s the phrase on everyone’s lips was Swedish Grace. Swedish Grace was born out of Functionalism, the uncompromising aesthetic that sought to eradicate decoration and produce furniture and homes for the Machine Age. But pure Functionalism was always a bit too extreme for lagom loving Swedes and by the following decade designers like Josef Frank developed a style that was a more easily digestible version of Functionalism– still uncompromisingly modern but with the edges rounded, a style that would make a home feel cosy and comfortable, characterised by elegance and simplicity and even a little (whisper it) decoration. But it was in the middle decades of the twentieth century that Swedish design entered its golden age.
When we think of Scandinavian design in the twentieth century, I suppose it’s the Danes with their sculptural furniture in rosewood and teak and the Finns with their Functionalism that tend to grab the limelight. But, for my money, it’s the Swedes, with their ceramics, glass, textiles and love of pattern who provide a particularly sweet filling in the Scandi design sandwich. Let’s take a closer look at some of the people who put Swedish design on the map.
Bruno Mathsson (1907-88)
Bruno Mathsson was a furniture designer and architect. Like Josef Frank Mathsson believed in giving the machine age
a human face and designed furniture with the user in mind. The Evachair (1934) is one of the outstanding designs of Swedish modernism. It features a seat section constructed of moulded solid wood and woven hemp webbing that follows the body’s contours, providing comfort without the need for upholstery. Mathsson once said ‘comfortable sitting is an art – it ought not to be. Instead the making of chairs has to be done with such an art that the sitting will not be any “art”’. Mathsson practised what he preached and the Eva chair is a perfect synthesis of ergonomics and sculptural craftsmanship.
Stig Lindberg (1916-82)
One of the outstanding figures of mid-century Scandinavian modernism, Stig Lindberg was also one of Sweden’s most prolific and best-known designers. He designed across a range of media, including glassware and textiles, but it is probably his ceramics that are his best known work and which sum up mid-century modern Swedish style. Lindberg’s work has two distinct strands. One is sculptural, with elastic shapes and organic decoration, the other colourful and decorative. His Karnevalseries of ceramics, with decoration based on folk art and looking for all the world like illustrations from childrens’ books, was one of Lindberg’s most successful designs and a highpoint in 20thcentury ceramics.
Erik Hoglund (1932-98)
Sweden’s glass industry began to develop in the early 1920s and, over a short period, Swedish glass became a by-word
for restrained elegance and refinement, with firms like Orrefors and Kosta gaining international acclaim. But, for my money, a far more interesting episode in the history of Swedish glass is provided by Erik Hoglund, a man who brought a punk sensibility to the world of glass. Hoglund was chief designer at Boda Glass from 1953 until 1986. His early work at the firm really pushed the boundaries and included a series of heavily textured bowls and vases that was achieved by throwing potato peeling into the furnace. Hoglund’s designs, with their lumpy forms and earthy colours, were in startling contrast to his contemporaries but, despite this, were a commercial success and today Erik Hoglund is remembered as one of the key figures in mid-century Swedish design.
Did life exist before Mad Men?* It’s a question I’ve been pondering a lot since the peerless series faded to black for the final time (*answer: yes, but it didn’t look as good).
Critics may have focused on the internal machinations at the Sterling Cooper ad agency but, as we all know, the real star of the show was the sumptuous mid-century styled sets: Gorgeous eyefuls of caramel coloured interiors with sleek, sensuously curved furniture and desk lamps that deserved their own mini-series. Has there ever been a tv series so determined to make the viewer drool with couch envy? Of course our love of all things mid-century was already well established by the time Don Draper sparked up his first Lucky Strike. Hard to believe that it’s twenty years since furniture of the 1950s, ‘60s and ‘70s came in from the cold and started making serious headway in the style supplements and salerooms. Fashions come and go; nowhere is this more true than in the conjoined worlds of antiques and interiors, but, two decades on, mid-century is still here, stronger than ever. It remains the chic-style option it always was and, no longer hobbled by its former retroassociations, Mid-Century has taken its place alongside Art Nouveau and Art Deco as an established epoch in 20thcentury design history. Before you embark on a full Mad Men inspired home makeover, here’s my guide to the essentials of mid-century furniture, a style that remains as fresh and innovative in 2016 as it did half a century ago.
As the name suggests, the style dates from the middle decades of the 20thcentury, roughly from the mid-1940s to the late 1960s. Rather like Art Deco, the name was coined long after the period in question. When it first emerged, our parents and grandparents knew it as Contemporary, and as a decorative style it influenced everything from the shape of a sofa, a vase or a coffee pot to the pattern on a tablecloth. It was youthful, stylish and bang up to date, and that was exactly what people wanted. Every style comes with its cultural baggage and mid-century speaks of an era of confidence, one which looked ahead optimistically to a bright future of ever increasing economic prosperity with more money and leisure time to relax and enjoy life. Mid-century interiors were all about chic style and ease of living, and this was also reflected in the furniture. Small wonder it appeals to us so much today.
Deciphering the mid-century style can at first seem something of a challenge. Certainly not all modern furniture from this period will be in the mid-century style. Plastic inflatable furniture from the 1960s, for example, is definitely not mid-century (it would be an example of Pop design, in case you were wondering). As an illustration, let’s try this: At first sight a Danish rosewood and leather dining chair by Neils Moller seems to have very little in common with an American high-gloss white fibreglass Tulip chair by Eero Saarinen, yet they’re both hailed as mid-century design classics. So what’s going on? Well, I’d say what unites these seemingly unrelated chairs boils down to three things: simple, modern elegance, functional comfort and fine craftsmanship. In my view, it’s the mix of those three essential elements which is the hallmark of mid-century design. Mid-century designers had a dictum: Form follows function, in practice this meant no excess decoration or unnecessary flourishes. In less capable hands it’s a mantra that might have resulted in some very boring furniture. Fortunately for us, the generation of designers who followed it was one of the best the design world has ever seen. With the possible exception of the Regency period in the early 19thcentury, perhaps no other point in history has produced quite the same number of top calibre artists and designers as the 1950s and ‘60s: Charles and Ray Eames, Robin Day, Eero Saarinen, Harry Bertoia and scores more. Unlike the Regency period, however, when only the wealthiest could afford the best furniture, mid-century designers were driven by a mission to bring good design to the many rather than the few and embraced mass-production with the result that their designs are still relatively plentiful today and Amen to that. But the mid-century movement is more than a mere roll-call of designer names (nice though that is). The philosophy of good design available to all, which those great designers championed, was taken up by manufacturers at the more affordable end of the market, with many smaller factories producing good quality, well designed furniture within easy reach of the middle class. The names of most of these designers have mostly been lost to history but today, these pieces can be picked up at reasonable prices while still ticking all the boxes for style and quality.
After World War Two furniture designers began to move away from the hard lines and polished chrome of pre-war German inspired modernism towards a softer, warmer aesthetic. The great architect-designer Marcel Breuer led the way and others soon followed. The mood was for something more human, more organic and for this everyone looked north. Since the 1930s Scandinavian, especially Finnish, designers had developed a soft modernism, relying on wood rather than metal and drawing on their own native skills in cabinetmaking, producing designs that were simple, understated and elegant. This fitted the mood exactly and Finland, Sweden and Denmark moved centre stage, becoming the benchmark for the best of mid-century style. What we tend to think of as classic mid-century furniture, in rosewood or teak with soft, fluid curves and simplicity of form has its roots in 1940s and ‘50s Scandinavia. It wasn’t just the north that had a part to play in the mid-century look. The 1950s was a time of convergence in design, when Italian, French and British, as well as Nordic influences began to merge together, creating a style that was truly international in its outlook. But at its heart the mid-century style was solidly American. America in the 1950s was the powerhouse economy of the world with previously undreamt of levels of wealth and international influence. A new generation of young designers set out to reshape the look of modern America, pushing the boundaries of furniture design by experimenting with new materials and manufacturing techniques.
Harry Bertoia (1915-78) was born in Italy and moved to the USA in 1930. He studied at the Cranbrook Academy of Fine Arts near Detroit, Michigan and eventually became head of the metal working department at the academy. Bertoia brought a sculptor’s eye to his furniture designs, particularly in the series of wire mesh chairs he designed in the early 1950s. The Bird lounge chair, designed in 1951-2 for Knoll, has been described as looking like a piece of sculpture suspended in space. The chair, which was mass-produced but by hand rather than machine, was made by welding a sheet of metal mesh into shape and then welding it on to the wire legs.
Mid-century designers eagerly embraced the possibilities created by new materials like plywood and plastic. Eero Saarinen (1910-61) was particularly influenced by developments in the field of plastics. His Tulip chair was one of the first chairs designed with a single pedestal base and was revolutionary when it was introduced in 1956. A true Modernist, Saarinen’s chair was a solution to what he saw as the clutter of chair legs under a dining table. A design classic, the Tulip chair anticipates the Pop design movement of the 1960s by a good ten years and is every bit as striking today as it was when it was new.
Although America and Scandinavia drove the mid-century look, other countries produced significant designers whose work is highly desirable today. In Britain, William Plunkett (1928-2013) was a designer with a background in engineering who worked in a highly individual style. Like Harry Bertoia, he combined his engineering skills with a sculptural flair and created a series of elegant metal-framed seating that won many design awards.
An essential ingredient in the mid-century interior was lighting. Lighting has, of course, always had a practical use in the home but was now more closely integrated in the overall decorative scheme. The floor lamp, designed in 1950 by George Rispal is a highpoint in mid-century lighting design. The coolie shade and cylindrical shade provide task and ambient lighting respectively, while the strikingly organic form, inspired by the work of German-French artist and sculptor Hans Arp (1886-1966), means it works as a piece of sculpture every bit as much as a lamp.
Well designed, refined, slick without being cold, at times a little decadent but never camp and very grown up; the appeal of mid-century furniture is highly seductive and it’s easy to understand why, twenty years after its rediscovery, it’s in ruder health than ever.