Holly Hunt Aureole

The success of Holly Hunt — both the designer and her eponymous empire of textile and furnishings showrooms — is based on instinct.

The Chicago-based Hunt trusts her own tastes, reflected in her signature lines of elegant, low-key furniture, lighting and fabrics. She also trusts her judgment about the wants of the buying public, and this savvy sensibility has allowed her to cultivate and market the work of a range of contemporary talents, from minimalists like Christian Liaigre to eccentrics like Christian Astuguevieille.

Hunt is a design world impresario — a prominent arbiter for stylish modern interiors and known foremost for fabrics, seating designs and light fixtures. Modern sophistication, attention to detail, and a desire to cultivate talented contemporary designers are at the crux of the company’s success.

Born in central Texas to schoolteacher parents, Hunt was a creative girl who made her own clothes and bickered with her mother about decor. After graduating from Texas Tech, Hunt worked as department-store buyer and costume jewelry designer before marrying and helping her husband build a multimillion dollar transport company. Her hobby was decorating their homes. After the two divorced, Hunt purchased a showroom in the Chicago Merchandise Mart in 1983. Within 10 years, she was winning applause for her understated designs, her lavish showroom parties and her eye for rising design stars. Liaigre was her first discovery. Correctly surmising that his pared-down furniture in dark wood would play well in the United States in the aftermath of the go-go ’80s, Hunt began marketing the French designer’s work in 1994.

Over the subsequent years Hunt has added a half-dozen showrooms and, following her own style barometer, has taken on other fresh talents, including glassmaker Alison Berger, French designer Christophe Pillet and couturier Ralph Rucci, making a foray into home design.

One constant over that time have been the aesthetics of Hunt’s own designs. Her fabrics — the first choice of many dealers when re-upholstering vintage seating — are understated, mixing muted colors and updates of classic patterns. Her furniture is simple and refined. As you will see on 1stDibs, the name Holly Hunt represents a sense of timelessness and sophistication.

Postmodern design was a short-lived movement that manifested itself chiefly in Italy and the United States in the early 1980s. The characteristics of vintage postmodern furniture and other postmodern objects and decor for the home included loud-patterned, usually plastic surfaces; strange proportions, vibrant colors and weird angles; and a vague-at-best relationship between form and function.

ORIGINS OF POSTMODERN FURNITURE DESIGN

• Emerges during the 1960s; popularity explodes during the ’80s
• A reaction to prevailing conventions of modernism by mainly American architects
• Architect Robert Venturi critiques modern architecture in his Complexity and Contradiction in Architecture (1966)
• Theorist Charles Jencks, who championed architecture filled with allusions and cultural references, writes The Language of Post-Modern Architecture (1977)
• Italian design collective the Memphis Group, also known as Memphis Milano, meets for the first time (1980) 
• Memphis collective debuts more than 50 objects and furnishings at Salone del Milano (1981)
• Interest in style declines, minimalism gains steam

CHARACTERISTICS OF POSTMODERN FURNITURE DESIGN

• Dizzying graphic patterns and an emphasis on loud, off-the-wall colors
• Use of plastic and laminates, glass, metal and marble; lacquered and painted wood 
• Unconventional proportions and abundant ornamentation
• Playful nods to Art Deco and Pop art

POSTMODERN FURNITURE DESIGNERS TO KNOW

• Ettore Sottsass
• Robert Venturi
• Alessandro Mendini
• Michele de Lucchi
• Michael Graves
• Nathalie du Pasquier

VINTAGE POSTMODERN FURNITURE ON 1STDIBS

Critics derided postmodern design as a grandstanding bid for attention and nothing of consequence. Decades later, the fact that postmodernism still has the power to provoke thoughts, along with other reactions, proves they were not entirely correct.

Postmodern design began as an architectural critique. Starting in the 1960s, a small cadre of mainly American architects began to argue that modernism, once high-minded and even noble in its goals, had become stale, stagnant and blandly corporate. Later, in Milan, a cohort of creators led by Ettore Sottsass and Alessandro Mendini — a onetime mentor to Sottsass and a key figure in the Italian Radical movement — brought the discussion to bear on design.

Sottsass, an industrial designer, philosopher and provocateur, gathered a core group of young designers into a collective in 1980 they called Memphis. Members of the Memphis Group,  which would come to include Martine Bedin, Michael Graves, Marco Zanini, Shiro Kuramata, Michele de Lucchi and Matteo Thun, saw design as a means of communication, and they wanted it to shout. That it did: The first Memphis collection appeared in 1981 in Milan and broke all the modernist taboos, embracing irony, kitsch, wild ornamentation and bad taste.

Memphis works remain icons of postmodernism: the Sottsass Casablanca bookcase, with its leopard-print plastic veneer; de Lucchi’s First chair, which has been described as having the look of an electronics component; Martine Bedin’s Super lamp: a pull-toy puppy on a power-cord leash. Even though it preceded the Memphis Group’s formal launch, Sottsass’s iconic Ultrafragola mirror — in its conspicuously curved plastic shell with radical pops of pink neon — proves striking in any space and embodies many of the collective’s postmodern ideals. 

After the initial Memphis show caused an uproar, the postmodern movement within furniture and interior design quickly took off in America. (Memphis fell out of fashion when the Reagan era gave way to cool 1990’s minimalism.) The architect Robert Venturi had by then already begun a series of plywood chairs for Knoll Inc., with beefy, exaggerated silhouettes of traditional styles such as Queen Anne and Chippendale. In 1982, the new firm Swid Powell enlisted a group of top American architects, including Frank Gehry, Richard Meier, Stanley Tigerman and Venturi to create postmodern tableware in silver, ceramic and glass.

On 1stDibs, the vintage postmodern furniture collection includes chairs, coffee tables, sofas, decorative objects, table lamps and more.

From the kitchen to the bedroom and everywhere in between, there is one major part of home decor that you definitely want to master: lighting. Carefully selected vintage sconces and wall lights can do wonders in establishing mood and highlighting your distinctive personality.

We’re a long way from the candelabra-inspired chandeliers of the medieval era. Lighting is no longer merely practical, and lighting designers have been creating and reinventing lighting solutions for eons. Because of the advancements crafted by these venturesome makers, we now have the opportunity to bring unique, customizable lighting solutions into our homes.

It’s never been easier to create dramatic bedrooms, cozy kitchen areas and cheerful bars than it is today. Think of an elegant wall sconce as functional and as a work of art, adding both light and style to your hallways, whimsical kids’ rooms and elsewhere.

When choosing a lighting solution, first determine what your needs are: Will you opt for a moody or a bright feel? The room that will serve as your home office will need adequate lighting — think “the brighter, the better” for this particular setting.

For the bedroom, bedside wall lamps with warm-temperature bulbs instead of bedside table lamps could be the way to go to induce a sense of calm or intimacy. Try to match the style of the wall light or sconce that you’re installing to the overall design scheme of your room. It’s never “just a light.” You should approach the lighting of a room with a mindset that is one part practical and one part aesthetics-driven.

Let 1stDibs help you set the mood with the right antique and vintage wall lights and sconces for your home. Our collection includes every kind of fixture, from sculptural works by Austrian craftsman J.T. Kalmar to chic industrial-style wall sconces, from adjustable painted aluminum wall lamps designed by Artemide to a wide variety of minimalist mid-century modern masterpieces.