Many unexpected Mid-century modern contributors don’t get much attention, including LGBTQ+ people and people of colour. Here the curators of a recent Cranbrook Art Museum exhibition select seven often-overlooked designers from the period.
The designers were selected from the Eventually Everything Connects: Mid-Century Modern Design in the US exhibition and accompanying book, which was curated by Andrew Blauvelt and Bridget Bartal.
The exhibition took place at the Cranbrook Art Museum, the sister institution of Cranbrook Academy of Art, a school north of Detroit that counts Charles Eames as an alumnus.
The phrase “eventually everything connects” was derived from a Charles Eames quote, which “perfectly expresses what exhibitions do”, according to Blauvelt.
However, the curatorial team aimed to move past the most common names in American mid-century design for the exhibition.
“We worked for three years, starting with iconic figures and names, but looking for unusual examples instead of always the expected ones, and simultaneously added designers to the mix, particularly women and people of color, who we found in areas such as textile design, craft, and lighting, and allied fields such as graphic design,” Blauvelt told Dezeen.
The duo created the exhibition as they believe that mid-century modernism still has relevance today.
“I think of mid-century modernism as the first critique of European modernism – a rejoinder to the machine aesthetic; the reintroduction of color, texture, symbolism, and ornament; an openness to other cultures, materials, processes, and styles,” said Blauvelt
“It still resonates today, I believe, because it aspires to the human, to nature, and to the emotional.”
Read on for seven oft-overlooked designers from the movement with commentary from Bartal.
Miller Yee Fong and Danny Ho Fong
“Danny Ho Fong was born in Canton (now Guangzhou), China, and immigrated to the US in 1936. The company operated under the name Tropi-Cal starting in 1954 and quickly established itself as one of the leading manufacturers of modern rattan furniture in the US.
“The Fongs drew upon skilled workers in Hong Kong who specialized in working with rattan, a fast-growing climbing palm vine that can be bent and molded into various shapes or whose core can be cut into strips for wicker or caning purposes.
“Danny’s son Miller Yee Fong drew upon his modernist architectural and design education to create the Lotus Arm Chair and Lotus Lounge Chair in 1968. The organic and sculptural wicker forms of the Lotus series, which also include tables and an ottoman, feature an elegantly tapered pedestal base and ample seat proportions.”
Edward J Wormley
“Unlike more staunchly dogmatic modernists, Wormley understood that modern design must be gently and gradually phased into the American home. Many of his designs accordingly embrace historic styles while employing a modern edge, an aesthetic often referred to as transitional style.
“The Listen-to-Me Chaise is one of Wormley’s most popular designs. The example we included has original Jack Lenor Larsen upholstery, which adds to the rarity of the design.
“The two designers were frequent collaborators, and many of Larsen’s fabrics were used as upholstery for Wormley’s furniture designs. One can assume that the two closeted gay men found solace in one another in an era as allies in the design industry.”
Estelle and Erwine Laverne
“Much like Charles and Ray Eames, Estelle and Erwine Laverne were a prolific mid-century design couple.
“Their multifaceted career is characterized by playful, whimsical designs which included textiles, wallpaper, furniture, lighting, interiors and more. Several of their designs were highly figural, including this rare chair, hand-painted by Estelle.”
Ruth Adler Schnee
“Born to a German Jewish family in Frankfurt, Germany, her mother’s Bauhaus training and creative circle of friends developed Adler Schnee’s interest in vibrant use of colors, rich textures, modern form and the thoughtful study of architectural space from an early age. Following the Nazi’s Kristallnacht pogrom of 1938, the Adler family fled to the United States and settled in Detroit.
“Ruth went on to found a design consulting firm and modern design shop in Detroit with her husband Edward Schnee, launching a business which brought good design to American consumers for over half a century.
“Distinctive for her use of color, pattern, playfulness, and whimsy, Adler Schnee’s textiles helped define mid-century modernism as we now know it.”
Greta Magnussom Grossman
“Descended from six generations of cabinetmakers and builders, Greta Magnusson Grossman was born into the world of craft and design. After graduating from high school, Magnusson Grossman began a woodworking apprenticeship at a furniture manufacturer where she was the only woman employed.
“Magnusson Grossman immigrated to Los Angeles in 1940, where she setup first furniture shop on Rodeo Drive in Beverly Hills. She quickly captured the attention of Hollywood actors and celebrities such as Greta Garbo, Frank Sinatra, Joan Fontaine, and Paulette Goddard. During this time, she also began completing interior design and architectural work. This included the design of 28 homes in Los Angeles, several of which were published in Arts & Architecture magazine
“Her gender and appearance were repeatedly stressed by critics addressing her work. By 1960 Magnusson Grossman had become disillusioned by the design world, leading to her premature retirement.”
Pipsan Saarinen Swanson
“Though Pipsan Saarinen Swanson has received significantly less attention than her brother Eero, she had a similarly multidisciplinary career encompassing fashion, textiles, glass, interior design, furniture design, and painting.
“As Pipsan’s career progressed in the late 1930s, she began designing modern furniture, accessories, and textiles to utilize in interior design projects. Among her most interesting pursuits are her designs for the US Glass Company of Tiffin, Ohio, commonly known as Tiffin Glass.
Her highly biomorphic designs are reminiscent of the earlier organicism of compatriots Alvar and Aino Aalto. The Tiffin designs encompass a wide array of glassware, including ashtrays, vases, relish trays, goblets, and more.”
Ray Komai
“Komai’s venture into furniture design was brief. In the late 1940s and early 1950s, he designed several pieces for JG Furniture Company, a New York-based manufacturer founded in the 1920s. The most recognizable of these pieces is his one-piece molded plywood side chair.
“Upon its production, Komai’s side chair instantly received accolades. It was one of two Komai chairs selected for MoMA’s inaugural 1950 Good Design exhibition, one of the highest stamps of approval in the world of modern design.
“Despite the positive reception garnered by his chair, Komai retreated from designing furniture by the early 1950s – a somewhat baffling decision given the popularity of the design. Thus, the chair captures a pivotal moment in Komai’s career before he fully transitioned toward graphic design work”
Eventually Everything Connects: Mid-Century Modern Design in the US is on show from 14 June to 21 September at Cranbrook Art Museum. For more exhibitions, talks and fairs in architecture and design visit Dezeen Events Guide.
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