A Century in Fast Motion
Furniture design constantly reinvents itself, often drawing astonishingly on old ideas. What was once revolutionary became a classic and later an inspiration for a new generation.
We'd like to take you on a whirlwind tour of 100 years of furniture design, using six furniture designs from our range that have shaped their era. And we'll start where modernity found its radical form.
1929 – Barcelona Chair
For the 1929 World's Fair in Barcelona, designers Ludwig Mies van der Rohe and Lilly Reich designed the German Pavilion. And with it, the now legendary Barcelona Chair. The pavilion featured a radically clear and open architecture for its time. The chair also embodies this new modernist thinking: instead of ornamentation and embellishment, material and construction are at the forefront. After decades of heavy, decorative furniture, this was a radical change: show less, omit more.
And yet, there was a fascinating contradiction at the time: The Barcelona Chair appears to be the epitome of industrial modernity, but it was initially an elaborately handcrafted unique piece.
1969 – EA 222 Soft Pad
Around 40 years later, the world had already changed. The post-war era brought new materials, new production methods, and a new relationship to everyday life. Design became more functional, and the human body itself became more important. Sitting shouldn't just work. It should feel good.
Charles and Ray Eames were intensively engaged with ergonomics and the question of how furniture could adapt to the body. The EA 222 office chair represents this change: the construction remains precise and minimalist, but comfort becomes more important.
Furniture as an expression of architecture became furniture increasingly focused on people and their needs.
1973 – Togo
Then came a piece of furniture that broke with almost everything one was used to from a sofa. In 1973, Michel Ducaroy designed the Togo for Ligne Roset. The 1970s were a time of societal change, and this was also reflected in furniture design.
The strict and functional living environments of previous decades lost significance. Living became more personal, informal, and relaxed. Low seating, soft forms, and open living concepts suited a lifestyle where one no longer necessarily wanted to sit "correctly," and the Togo pushed this idea to the extreme. The sofa transformed from a representative piece of furniture into a deeply personal favorite spot.
1980 – Wink
Seven years later, the journey continued in this individual, playful direction, as the 1980s finally brought postmodernism. And with it, a conscious departure from the notion that good design always looks sober and serious.
Suddenly, a piece of furniture was allowed to have character. It was allowed to be humorous. It was allowed to stand out. It was allowed to provoke a reaction. It was also allowed to be emotional. Toshiyuki Kita's Wink armchair truly embodies this idea visually. Its striking headrests resemble ears, and the armchair simply radiates strong character. Cassina itself describes the design as versatile and influenced by both Western and Eastern styles.
1990 – Vitra Metropol
With the turn of the millennium, a new optimism about technology gradually entered furniture design. Chrome, glass, and shiny surfaces were meant to appear futuristic, functions became more visible, and furniture became increasingly adjustable and multifunctional. After all, the upcoming phones, computers, MP3 players, and a host of new gadgets all needed to be accommodated, connected, and organized somewhere. Furniture design reacted to this, becoming more flexible and functional.
The Vitra Metropol demonstrates this change quite well. The desk adapted to an era where technology increasingly dominated our daily lives.
2010 – Soft Dream by Flexform
And what does good design look like today? While past decades have constantly experimented with new forms, colors, and materials, today we are experiencing a stronger appreciation for reduction, neutral tones, and minimalist forms.
The Soft Dream by Antonio Citterio for Flexform is an exemplary representation of this contemporary aesthetic: generous proportions, soft upholstery, and a minimalist design language.
Nowadays, a piece of furniture shouldn't necessarily draw all the attention to itself. It should blend into the room and its surroundings. Be comfortable and suitable for everyday use.
Of course, this is not the end of the story. Because parallel to the new objectivity, a new desire for color and expressive forms can currently be observed. We at Revive are certainly excited to see what designs will end up with us in the future. And until then, we are happy about all the good old classics that remind us that good design never really goes out of style.
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