Mid-Century Modernism – Fresh Optimism in Design

After World War II, designers felt a renewed sense of optimism. They embraced new materials, production techniques, and colours, creating unique shapes. This shift led to a more relaxed, modernist style. Many designs became more affordable and easier to mass-produce.

A Time of Recovery

Although World War II ended in 1945, its effects on the design industry lasted well into the 1950s. During the war, people lived frugally, and most emerged with fewer resources than before. As a result, there was a strong push to return to normal life, leading to the rise of the Rational style.

Because it survived invasion, occupation, or bombardment, the United States was the first to recover financially. Televisions and other discoveries created a new sense of possibility. American companies began to achieve previously unheard-of productivity levels. Designers like Charles and Ray Eames arose from this setting. In 1942, Charles invented a method of moulding plywood in several directions. He and his wife used the technology to create a variety of creative furniture.

Between 1948 and 1951, the United States launched the Marshall Plan to help Europe recover. It invested approximately 13 billion dollars (nearly $100 billion today) to rebuild European economies. By 1951, almost every country in the Organisation for European Economic Co-operation (OEEC) had surpassed pre-war economic levels.

During the 1950s, Italy experienced rapid industrial growth, benefiting designers like Gio Ponti, Carlo di Carli, and the Castiglioni brothers. Dino Martens reimagined classic glassmaking techniques, creating unique works on the Venetian island of Murano.

Meanwhile, in the United Kingdom, the 1951 ‘Festival of Britain’ fostered a break from tradition. Starting the careers of a slew of new designers. The new alternatives to conventional utility furnishings were a revelation for consumers. These consumers had spent years confined by rationing and government limitations.

Economies rose worldwide, and as they did, so did the demand for commodities. People desired new styles and a more comprehensive range of options. Meanwhile, the designers were enthralled by the plethora of new materials at their disposal. The possibilities that even larger mass manufacturing afforded were exciting. Councils and design bodies were established nationwide to encourage national development. A consumer society grew to prominence.

A Material World

The designers of the 1950s had more freedom due to techniques and materials developed for military purposes. This was mainly done by aircraft designers. Aluminium, which was lightweight and sturdy, had been utilised in the interiors of military transport trucks and was plentiful. Designers like Harry Bertoia and Warren Platner were motivated to create lightweight wire-rod furniture. This was possible due to the increasing availability of narrower and lighter steel. Designers also embraced new ways of glueing wood.

In the 1950s, a slew of new upholstery styles appeared. Tyre manufacturers created rubber padding in Italy. Meanwhile, the Scandinavians discovered a method of heating polystyrene pellets to make foam padding. These could then be moulded into shape and put into a framework. This allowed designers to create items like Arne Jacobsen’s “Swan” chair.

However, the most significant development was the widespread availability of petroleum-based polymers. These became reasonably affordable during the 1950s and 1960s oil glut. Injection moulding processes gave designers more flexibility. This allowed them to use plastic’s capacity to hold any shape and come in a rainbow of colours. The introduction of plastics also signalled a shift in consumer attitudes. The era of timeless designs ended by the end of the 1960s. The age of disposability was coming. Items were manufactured for the moment and then discarded when the fashion trend shifted.

Modernism’s Softer Side

Scandinavian designers developed a distinctive, curving style throughout the 1930s. Known as ‘Soft Modernism,’ it adopted Modernism’s essential simplicity while eschewing the coldness of mass-produced materials like plastic and steel. According to Alvar Aalto, a Finnish designer who was one of the first to experiment with the new style, modernist furniture was “unsatisfactory from a human point of view.” As a result, he and other Scandinavian designers, such as Bruno Mathsson, set out to use natural materials. They particularly used those abundant in Scandinavia (such as wood). They developed natural forms in response.

Meanwhile, many furniture designers were experimenting with the new materials that were becoming available. Scandinavian glass designers, such as Per Liitken, embraced an organic style in soft, calming colours by the 1950s. They were particularly enthusiastic about the new foam padding, which could soften sheet metal’s chilly and unwelcoming surfaces. Arne Jacobson’s work, including the ‘Swan’ and ‘Egg’ chairs, typifies the field with attractive designs.

Soft Modernism’s cosiness drew admirers from all over the world. Gio Ponti was adding sensuality to his furniture in Italy. Local styles were combined into a hybridised version of Modernism in Japan and Germany. French designers embellished the basic style with ornamental elements.

Source

Miller, J. (2009). 20th-century design: The definitive illustrated sourcebook. Miller’s.

Read more about ‘Design History’

Related Articles

• End of WWII, a revolution in furniture design
• The Fashion Book (Hardcover)
• The Rise of Everyday Design: The Arts and Crafts Movement in Britain and America
• Mid-Century Modern: Interiors, Furniture, Design Details
• Iconic: Modern Australian houses 1950-2000