‘Obsession’ with mid-century style leads to a Cedarville revelation

Rachel Schlather, the blogger behind CLEfashionista, transformed her new Strongsville home with a Cleveland-themed gallery wall, making it a central decorating priority upon moving in last year. Her approach involved a curated collection of prints, posters, and art sourced from local shops, reflecting a style she describes as “midcentury modern with a touch of Cleveland.” Schlather aimed for a cool, un-kitschy vibe by taking her time with the selection process, acquiring pieces over several months. This allowed for a blend of budget-friendly items and more expensive art, ensuring a balanced aesthetic. Color coordination was a significant factor, leading her to even paint some frames to perfectly match the overall scheme. The meticulous planning involved laying out the gallery wall on the floor numerous times before finalizing its arrangement. The gallery wall is prominently displayed in the joint dining and living room of her 1960s ranch-style home, creating an immediate and lasting impression on visitors and serving as a conversation starter. One of Schlather's most cherished pieces is a print of the Leonard Schlather Brewing Co. This find holds personal significance as her husband is a distant relative to one of the brewery’s namesakes. Operating from 1857 to 1902, the company's storage facilities were historically located in the building that now houses the Great Lakes Brewing Co., a detail often mentioned during brewery tours. Further enhancing the local theme are two framed maps from Lakewood’s Cuyahoga Collective, positioned above the dining table. These maps feature Strongsville, her current hometown, and Marblehead, the location of her family’s lake house, a frequent summer retreat. These pieces serve as year-round reminders of cherished family memories and important geographical connections. A framed copy of The Plain Dealer front page commemorating the 2016 NBA Championship is another key element, included at her husband's insistence. This newspaper article celebrates a significant moment in Cleveland sports history, adding a dynamic and commemorative aspect to the collection. Beneath the gallery wall, a cozy sitting area is bathed in natural light. This space features midcentury-style chairs in a warm hue paired with a gray couch, designed for both admiring the art and relaxation. Schlather emphasizes the functional and inviting nature of this area, noting that the furniture and decor are not overly formal, making it practical for a household with two children. This sitting area is regularly used for enjoying coffee or working, underscoring the blend of aesthetics and utility in her home's design. #ClevelandThemedDecor #GalleryWall #HomeStyle #MidcenturyModern #LocalArt #StrongsvilleHome #HomeDecor #CLEfashionista

Author Cara Greenberg, renowned for popularizing the term "mid-century modern" with her 1984 book *Mid-Century Modern: Furniture of the 1950s*, asserts that this iconic design style is a timeless classic that will never fade. Greenberg argues that while styles are often rediscovered every 30 years, mid-century modern has consistently resonated with each new generation as they furnish their homes, cementing its status as a permanent fixture in design. The term "mid-century modern" describes furniture created between 1947 and 1957. Although the term may have existed prior to her work, Greenberg's book is credited with bringing it into mainstream use. Her journey into this field began with an article titled "Fifties Furniture" for *Metropolitan Home* magazine in 1983. For her book, she dedicated months to interviewing prominent mid-century modern designers, including Ray Eames, and meticulously researching archives of design museums and furniture brands. Greenberg observed a significant boom in the antique furniture market approximately a decade after her book's publication. This resurgence led legacy brands such as Herman Miller and Knoll to re-release their classic mid-century designs, capitalizing on the renewed interest fueled by works like hers. She identifies the late 1990s and early 2000s, marked by the emergence of retailers like Design Within Reach and 1stDibs, as a peak period for the trend. However, Greenberg does not perceive its popularity as a cyclical phenomenon with mere peaks and valleys. Instead, she views it as an iconic design movement, representing the pinnacle of American furniture design. She posits that the 1950s marked an unmatched era for American furniture, a standard that has yet to be surpassed. This enduring quality leads new generations to continuously rediscover and embrace the style as they establish their homes. Despite the media's influence in driving trends, Greenberg attributes the sustained relevance of mid-century modern design to its inherent qualities. She emphasizes the beauty and purity of its design, its sculptural attributes, and its functionality. The lightweight nature of the furniture is another factor contributing to its appeal. Examples such as Eames office chairs and dining chairs, and the Noguchi coffee table, are cited as enduring pieces that remain highly relevant and stylish. The article is part of Dezeen's ongoing mid-century modern design series, which explores the lasting impact of the style, features profiles of key architects and designers, and examines its evolution in the 21st century. This series is presented in collaboration with Made, a UK furniture retailer focused on making aspirational design accessible and affordable for contemporary homes. #MidCenturyModern #FurnitureDesign #CaraGreenberg #AmericanDesign #DesignHistory #IconicDesign #HomeFurnishings

The term "modern" is a broad and often vague descriptor, encompassing a vast array of concepts, objects, and periods, from the Eiffel Tower to Abstract Expressionism and the iPhone. This extensive definition can be misleading, as modernism itself was a fragmented movement, with various factions often at odds with each other as much as with traditional forms. In architecture, "modern architecture" evokes images of glass walls, cantilevers, industrial materials, and a lack of ornamentation, yet its history is diverse in both style and concept. Styles such as Functionalism, Brutalism, New Formalism, Metabolism, the International Style, and Organic Architecture all fall under this umbrella, each possessing distinct formal and conceptual goals. Popular architectural modernisms, including Streamline Moderne, Art Deco, and Googie, were frequently dismissed by leading modernists as deviations from their intellectual principles. Amidst this stylistic diversity, Late Moderne emerged as a significant architectural style from the late 1930s to the early 1950s, leaving a notable mark on the Coachella Valley, particularly through the work of designer Herbert W. Burns. Late Moderne architecture incorporated a range of influences, emphasizing streamlined forms, organic materials and color palettes, and a balance between horizontal and vertical elements. This style, though distinct from the high modernism of contemporaries like Albert Frey, was a valid modernist expression and proved exceptionally popular with the public. Herbert W. Burns arrived in Palm Springs in 1945, having pursued a diverse career before dedicating himself to architectural design and development. His initial project was the Town & Desert Apartment Hotel, which he owned and operated with his wife, Gayle. This hotel's design established the foundation for his unique Late Moderne approach, with subsequent projects being variations on this theme. These designs typically featured vertical sandstone volumes piercing expansive, horizontal structures, adorned with decorative vertical poles and glass walls, all rendered in a palette of desert-inspired pastels. Edith Eddy Ward, a prominent figure in her own right, arrived in Palm Desert in 1946 and quickly became the Palm Desert Corporation's top sales agent, selling undeveloped desert land to affluent clients. Despite initial skepticism from Carl Henderson, the community's sales manager, Ward's effectiveness and unconventional methods earned her the nickname "Shady Lady of Shadow Mountain." In 1947, Ward commissioned Burns to design a duplex for herself and her mother, Margaret "Bunny" Ward. Located near the then-undeveloped El Paseo, this flat-roofed duplex featured Burns' characteristic sandstone columns, sandstone-faced interior walls, and corrugated glass room dividers, offering panoramic views of the desert landscape. A _Los Angeles Times_ feature highlighted its ability to embrace the desert's beauty while mitigating its harshness. Ward and her mother's occupancy of the Burns duplex was brief. In 1949, ever the shrewd businesswoman, Ward sold the property to Fred and Mildred Talbot, who had admired Burns' work during a stay at the Town & Desert. Anticipating future growth in Palm Desert, Ward had ensured Burns designed the duplex with expansion in mind for a small hotel. The Talbots, in turn, re-hired Burns to design two wings that seamlessly transformed the duplex into a low-slung, V-shaped structure centered around a pool. Completed in 1950, this twelve-unit property opened as the Sun and Shadow Apartment Hotel and operated for over three decades. The building, now housing the Lotus Garden Center, remains visible at the intersection of San Luis Rey Avenue and Larrea Street, a block from El Paseo. While modifications have obscured some of Burns' original design, his signature sandstone volumes still stand as a testament to the building's history and the varied nature of modernism. #PalmDesertHistory #HerbertBurns #EdithEddyWard #LateModerneArchitecture #CoachellaValley #ArchitecturalDesign #MidCenturyModern #PalmSprings #SunAndShadow

Candace Wheeler, an influential figure whose life spanned nearly a century of rapid transformation in American society, moved from a rural upbringing to the bustling jazz-age New York City. At the height of her career in the late 19th century, Wheeler was instrumental in instigating changes in the lives of American women. While considered a feminist, her approach was not radical; her leadership stemmed from a profound sense of responsibility for less fortunate women and a vision for their financial independence. In an era marked by a devastating war and financial instability, Wheeler prioritized economic empowerment for women over political power. Although she supported women's suffrage, she channeled her energy into training women for self-sufficiency rather than actively pursuing voting rights. Wheeler initially engaged in not-for-profit benevolent organizations, a conventional avenue for women's charity work in the 19th century. However, she deliberately distinguished herself from the typical 'charity lady,' rejecting the dilettante status often associated with the term. As a middle-class woman, she lacked the financial and social capital typically required to ascend to leadership roles in elite charitable circles. Instead, Wheeler's impact was driven by her artistic talent and strong social conscience. Her effectiveness as a leader was fortified by her passion for art, her connections with prominent artists and designers, the support of her husband and brothers, and her unwavering self-confidence and drive. Leveraging these resources, she built a significant career as a designer of textiles and interiors, as well as a teacher, lecturer, and author. Between 1877 and 1893, from the establishment of the Society of Decorative Art to her final major commission, the interior design of the Woman's Building at the World's Columbian Exposition, Wheeler was recognized as the national authority on decorative textiles and interiors. She continued to contribute to the design world through her writings, including books, articles, and her autobiography, 'Yesterdays in a Busy Life' (1918). In an era that often undervalued strong women, Wheeler championed art and design as viable professional careers for women, shifting perceptions from hobbies to professions. She was among the first American women to create designs for manufacturers, paving the way for countless female designers, some of whom she personally trained within her woman-run firm, Associated Artists. She also played a pioneering role in establishing interior decoration as a recognized profession. Throughout her extensive life, Wheeler created numerous beautiful objects and promoted a distinctly American style in textile and wallpaper design, characterized by colors and patterns inspired by American flora and adapted to the unique qualities of American light. However, her most profound legacy lies in her role as an early 'career woman' and designer, serving as an inspiring role model for women at the turn of the 20th century, encouraging them to seek equal footing with men in the workforce. #CandaceWheeler #AmericanDesign #TextileDesign #InteriorDesign #WomenInDesign #19thCenturyArt #SocialConscience #FeministHistory #DecorativeArts

The article explores the anticipated most valuable antique trends for 2025, offering insights from industry experts. It highlights that while design trends are cyclical, antiques consistently represent a chic investment with potential for appreciation due to their increasing rarity, historical significance, and craftsmanship. Noel Fahden, VP of global merchandising for Chairish, emphasizes the financial benefits of antiques as a hedge against inflation and a way to diversify investment portfolios. Dianne O’Connor, founder and CEO of Weston Table, adds a crucial perspective on the emotional value of antiques, suggesting that investments should be personal and reflect individual taste and connection to the past. This personal connection, she argues, makes an antique meaningful beyond its monetary worth. The article delves into specific antique categories expected to gain significant value and popularity in 2025. Mid-century modern furniture, for instance, is identified as a favorite among younger collectors, with pieces from designers like Cesare Lacca and Dunbar being highly sought after. Art Deco rugs from the 1920s are also predicted to be very popular, continuing a demand for Art Deco aesthetics seen in recent years. Coalport Imari porcelain, known for its deep colors and rich history from the 19th century, is another category expected to surge in interest due to increased appreciation for highly decorative and patterned antique porcelain and stoneware sets. Antique barware, characterized by its handmade nature and refined craftsmanship using centuries-old techniques, is noted as a strong investment. Unique items like vintage Champagne taps are particularly attractive to buyers looking for distinctive pieces. First-edition modern literature, especially those in pristine condition with original dust jackets, is highlighted as a rare and valuable collectible. Chinoiserie, with its ornate and elaborate designs like secretaire bookcases, is making a comeback, proving surprisingly versatile in various home settings from stately manors to contemporary apartments. Louis Philippe case pieces, French furniture from the 19th century known for their craftsmanship and high-quality materials, are also anticipated to be in high demand, particularly commodes and Louis XVI seating. Finally, Biedermeier furniture, primarily from Austria and Germany in the 19th century, is experiencing a resurgence, celebrated for its impeccable woodworking skills and the emphasis on the natural beauty of the wood, offering a richness rarely found in modern pieces. #AntiqueTrends #HomeDecor #InteriorDesign #InvestmentPieces #MidCenturyModern #ArtDeco #Chinoiserie #Biedermeier #FurnitureDesign

Dominic Bradbury, author of several definitive books on Midcentury Modern, discusses the nuances and foundations of this design era in an interview. Bradbury's latest book, 'Mid-Century Modern Designers,' serves as an encyclopedia profiling the pioneers who shaped the aesthetic across furniture, glassware, ceramics, and textiles. The book features well-known figures like Alvar Aalto, Charles and Ray Eames, and Florence Knoll, alongside lesser-known designers, highlighting the cross-pollination of ideas that defined the period. Bradbury's expertise in Midcentury Modern design evolved into a passion approximately ten years ago, leading him to author multiple books on the subject, including Midcentury houses, architecture, and furniture, in addition to the new book focusing on designers. For 'Mid-Century Modern Designers,' the selection of featured individuals prioritized masters who designed for the home or domestic use, encompassing furniture, lighting, textiles, glassware, and ceramicists. The aim was to achieve a global representation of designers, balancing prominent names from the 1950s and 1960s with emerging talents who deserve broader recognition, such as Marco Zanuso, Vico Magistretti, Børge Mogensen, Nanna Ditzel, and Greta Grossman. Bradbury defines Midcentury Modern design as a broad concept, encompassing the International Style through to expressionism and New Brutalism in architecture. In design, the focus is on the more expressive, sculptural pieces of the 1950s and 1960s, characterized by innovation, experimentation, engaging composition and form, and an optimistic use of color and abstract patterns. He emphasizes the joyful, playful, and sophisticated quality of much of Midcentury Modern design. While there is a clear link and crossover between early Modernist design and Midcentury Modern design, with some pioneers spanning both pre- and post-war periods, the Midcentury era introduced new levels of innovation and imagination. Early Modernist pioneers explored new materials and production methods suitable for modern living, but Midcentury design reincorporated color and pattern, offering an intrinsic appeal. This period retained the belief that good design could improve life, but without the dogmatic rigidity of the 1920s and 1930s. The genesis of the amorphic and futuristic forms seen in Midcentury Modern design can be attributed to three main factors. Firstly, many designers, such as Harry Bertoia and Irving Harper, also worked as sculptors and artists, fostering strong connections between art, sculpture, and design. Secondly, the emergence of new materials like plastics and fiberglass allowed designers to experiment with abstract and unusual shapes. Thirdly, futuristic architectural plasticity, exemplified by architects such as Oscar Niemeyer and Eero Saarinen, influenced design, as these architects also designed furniture. Bradbury considers Midcentury Modernism more accurately described as a collection of movements that evolved into a highly influential style. He suggests an endpoint around 1975, when other design trends began to emerge, although the style continues to be reinterpreted today. The popularization of Midcentury Modern design began roughly 10 to 15 years ago, influenced by contemporary designers like Jonathan Adler and Orla Kiely who referenced the style. Key producers also revisited their archives, reissuing classic designs, while collectors recognized the value of original pieces. Eventually, larger brands and retailers adopted the Midcentury Modern aesthetic, further solidifying its popularity. Bradbury highlights the enduring inspirational quality of Midcentury Modern design as a key component of its ongoing appeal. He is currently working on a new book about Nordic houses, including 20th-century classics and Midcentury Modern masterpieces, which will be released next year. #MidcenturyModern #DesignHistory #DominicBradbury #Designers #FurnitureDesign #ArchitecturalDesign #InteriorDesign #DesignEvolution #PhaidonPress

This article details the transformation of a 1950s two-bedroom, two-bathroom house in Los Angeles's Glassell Park neighborhood. Initially, the house, despite retaining some original elements, had lost much of its warmth and character due to a previous remodel, featuring light and bright finishes that lacked depth. The homeowners sought to infuse the space with character, aiming for a blend of "Mad Men"-inspired mid-century design and modern functionality. Their vision included clean lines, warm wood tones, and ambient lighting, desiring a personal sanctuary that would also be inviting for guests. Counsel Design Group, led by principal designer Patrick Maziarski, undertook the renovation. The design philosophy drew inspiration from Southern California's rich architectural history, particularly the works of Cliff May and Joseph Eichler. These influences are evident in the extensive use of rich wood cladding, clean lines, and a balance of elegance with functionality, aiming to create a tactile, organic warmth characteristic of mid-century California design. Significant structural changes were made in the main living areas. A wall separating the kitchen from the living and dining spaces was removed, creating a more open floor plan and capitalizing on sunset views from the hilltop home. The kitchen features custom millwork by Yeehaw Woodworks, accented by Kat and Roger tiles from Pratt and Larson, and ceramics by Victoria Morris. A custom steel-and-cross-reeded glass cabinet by Prodigy Build was installed, serving functionality without obstructing natural light. This company also crafted the shower enclosure in the main hall bathroom. The renovation also addressed the flow and sightlines between rooms. The original entrance to the den was shifted to accommodate a custom dining banquette, which was constructed by Yeehaw Woodworks and upholstered by Victor Reyes Interiors, ensuring a seamless transition to the den. The den itself now includes a custom, piano-shaped daybed, adding seating without hindering access to the backyard. In the main hall bathroom, a tub and single vanity were replaced with a double vanity, a walk-in shower, and increased storage, reimagining the space as a "richly hued, mysterious apothecary." The primary bedroom, modest in size, was updated with a wraparound headboard-dresser combination, crafted by Yeehaw Woodworks and upholstered by Victor Reyes Interiors. This piece integrates the home's consistent wood tones and enhances functionality. The overall renovation successfully combined mid-century California-cool style with modern amenities, creating a home that resonates with the homeowners' vision. #MidCenturyDesign #LosAngeles #HomeRenovation #GlassellPark #CounselDesignGroup #YeehawWoodworks #CaliforniaArchitecture #InteriorDesign #MadMenStyle

The real estate market in Fort Worth is currently characterized by rising interest rates and low inventory, making it challenging for buyers to find suitable properties. Many homeowners are not eager to sell, especially those who have owned their homes for over a decade, as a move could significantly increase their property tax bills. Despite these difficulties, some promising opportunities exist, such as a Midcentury Modern home in Tanglewood that has been on the market for 76 days, a stark contrast to the previous year's average of 37 days. This specific property has also seen a 13 percent price reduction since its listing in November. This Tanglewood Midcentury Modern home, located at 2601 Hartwood Lane, is a prime example of the "nifty '50s" architecture found within the neighborhood, which otherwise largely features ranch-style houses. The residence is distinguished by its cadet blue front door, a color theme that reappears throughout the interior. A covered terracotta walkway, bordered by ivy and climbing vines, creates an atrium-like entrance, setting a unique tone for the property. The interior boasts original terracotta brick flooring in the public spaces, which has developed a rich patina since its installation in 1956, enhancing the home's vintage charm. The 2,600-square-foot house includes three bedrooms and two bathrooms, maintaining an open-concept layout that demonstrates the enduring appeal of such designs. The living room, open to the vestibule, features a higher ceiling that defines its space, along with a simple, unadorned brick fireplace. The home's current furnishings complement its Midcentury Modern aesthetic, with pieces like a curvilinear blue sofa and Noguchi table. Natural light floods the rooms, particularly the dining area, which benefits from windows on two sides and a cathedral ceiling. The kitchen has undergone a recent, sympathetic renovation, featuring two islands with waterfall quartz countertops and a glass tile backsplash, all incorporating the home's distinctive blue theme. Adjacent to the kitchen is a banquette for casual dining and a den/library with original built-in bookcases, paneling, another cathedral ceiling, and a blue rug. The primary bedroom suite offers views of the back patio and includes an attached bathroom and an office with a skylight. The property sits on a spacious, nearly half-acre lot in Tanglewood, adorned with mature shade trees, and includes a covered carport for two cars. The home is listed at $1 million by Chase Akin with Interhomes Realty. #Tanglewood #MidcenturyModern #FortWorthRealEstate #HomeDesign #RealEstateMarket #InteriorDesign #PropertyTaxes #HousingInventory #ArchitecturalStyle

The article details the meticulous restoration of Judge Jason Downer's 1874 Victorian Gothic mansion located at 1201 N. Prospect Ave. in Milwaukee, a building now serving as the Milwaukee Art Museum Research Center. Judge Jason Downer, a prominent figure in Milwaukee's early legal and journalistic history, constructed this mansion, which was later recognized by the Historic American Buildings Survey in 1969 as a significant example of Victorian Gothic architecture. Despite its conversion to office use over the years, the house remained in relatively good condition, though it had undergone several alterations, including the loss of its original front porch, decorative elements on the roof, a carved newel post finial, and an unappealing blue paint covering its Cream City brick. The restoration project was spearheaded by the renowned architectural historian H. Russell Zimmermann, known for his dedication to preservation, with support from the building's owner, Dan Wilhelms. Zimmermann's personal connection to the property dates back to 1963 when, as a young architect, he was allowed to remove un-affixed items. He encountered the intricately carved newel post finial during this time but refrained from taking it, despite its loose condition. The house had a unique history, having been owned by the Immanuel Presbyterian Church for over 80 years after Downer's widow's death in 1888, serving as the "Downer House for Retired and Fatigued Ministers." Zimmermann's restoration efforts involved extensive detective work to bring the mansion back to its original grandeur. This included stripping the mahogany entry doors, recasting missing crockets for the roofline, and ordering new Vermont slate. A significant challenge was the reconstruction of the original front porch, whose dimensions were unknown. Zimmermann meticulously calculated the likely dimensions using architectural knowledge and historical clues, leading to the discovery of original pilings beneath the lawn. Further investigation revealed a ghost image of a porch column on the exterior brickwork, providing the necessary prototype for its accurate reconstruction. To ensure the longevity of the restored elements, particularly the porch, Zimmermann specified the use of acetylized Pinus Radiata wood from New Zealand, processed in the Netherlands using the Accoya method. This wood, known for its resistance to rot, insects, and woodpeckers, came with a 50-year guarantee. The project also involved the creation of a custom-carved large drop finial for the porch by specialist James Gray in Napa Valley, California, whose expertise in historic restorations ensured an authentic reproduction of the unique acanthus-type design. The finished restoration highlights Zimmermann's commitment to historical accuracy and durable craftsmanship, establishing the mansion as a lasting legacy of Milwaukee's architectural heritage. The Milwaukee Art Museum Research Center is accessible to researchers by appointment, maintaining the building's historical integrity while serving a new purpose. #HistoricPreservation #VictorianGothic #ArchitecturalRestoration #MilwaukeeHistory #HRussellZimmermann #JudgeJasonDowner #EdwardTownsendMix #ArchitecturalDetectiveWork #CustomWoodCarving

The enduring appeal of Mid-century Modern design, even six decades after its initial emergence, is explored through its prevalence in contemporary interiors, from high street shops to designer hotels. This style, particularly from the 1950s, has experienced a significant resurgence, evidenced by the return of vintage patterns, textiles, ceramics, lighting, and furniture. Younger generations, in particular, perceive the aesthetic as fresh, relevant, and innovative, contributing to its sustained popularity. In the furniture industry, the retro look is currently in vogue. Many contemporary collections draw inspiration from Mid-century designs, while established furniture manufacturers are reissuing classic pieces from 1950s and 1960s pioneers like Giò Ponti and Arne Jacobsen. Examples of recently reissued items include Lina Bo Bardi’s Bowl chair (1951), Jacobsen’s Tongue chair (1955), and Robin Day’s 675 chair (1952). Other designs, such as Charles and Ray Eames’ plywood and fiberglass chairs, Eero Saarinen’s Tulip tables and chairs, and Harry Bertoia’s Diamond chair, have consistently remained popular. These designs retain a modern and engaging quality, fitting seamlessly into both new apartments and updated traditional homes. Beyond mass-produced reissues, original Mid-century furniture and prototypes have become highly sought-after collector's items. Auction houses, such as Wright in Chicago, feature valuable pieces by designers like Jean Prouvé and Carlo Mollino, indicating the significant market value of these historical artifacts. The persistent appeal of these 60-year-old designs is rooted in several factors. The pioneering designers of the 1950s and 1960s were instrumental in defining modernity and shaping contemporary living. The post-World War II era spurred a desire for new beginnings and a break from austerity, fueling a consumer boom in America and reconstruction efforts in Europe. Manufacturing techniques, previously used for wartime production, were adapted to create a wide array of consumer goods, including furniture. This period saw a collective yearning for a fresh start, especially in home design. The home underwent a significant transformation during the Mid-century era, particularly in the United States. Modernist architects and designers, including Mies van der Rohe, Richard Neutra, and Craig Ellwood, developed concepts such as open-plan layouts, accessible kitchens, and seamless indoor-outdoor living. While these features are common today, they were radical at the time, challenging traditional, compartmentalized home structures. These new, airy, and light-filled spaces required a new generation of contemporary furniture, products, and appliances. Designers like Charles and Ray Eames utilized wartime advancements in plywood for chairs, while Arne Jacobsen embraced the material in Scandinavia. Other designers, including Poul Kjaerholm, Harry Bertoia, and Warren Platner, innovated with steel. Mid-century furniture often exhibited a crafted, sculptural quality, as many product designers were also artists or architects who created pieces to complement their modern architectural designs. These works blended modernity and innovation with artistry and warmth, resulting in a tactile beauty. Hans Wegner’s timber furniture and Kjaerholm’s steel-framed pieces, often enriched with leather or cane, exemplify this organic quality. This depth and warmth, combined with a focus on ergonomics, practicality, material appreciation, and craftsmanship, are key to the enduring desirability of these pieces. They are now considered modern classics—fresh, exciting, yet familiar icons that symbolize good taste. The Mid-century period offers a vast range of choices, including reissues and vintage designs from lesser-known but equally talented designers like Børge Mogensen, Bruno Mathsson, and Jacob Kjaer, often at more accessible price points. The strong respect commanded by Mid-century design, serving as an essential reference for architects and designers, continues to captivate buyers and collectors with its breadth and enduring charm. #MidCenturyModern #DesignClassics #FurnitureDesign #ArchitecturalInnovation #HomeDecor #RetroStyle #PostWarDesign #CollectibleDesign #InteriorDesign

The Cooper Hewitt, Smithsonian Design Museum's exhibition, "The Jazz Age: American Style in the 1920s," is presented as the inaugural major museum exhibition focusing on American design trends during the 1920s. Despite its American concentration, the exhibition serves as a dynamic international showcase, reflecting the era's rapid cultural and technological advancements. Sarah Coffin, curator and head of product design and decorative arts at Cooper Hewitt, co-organized the exhibition with Stephen Harrison of the Cleveland Museum of Art. Coffin noted that previous European Art Deco exhibitions often overlooked American contributions. The exhibition's inception stemmed from the discovery of a significant collection of previously underexhibited 1920s materials during the Cooper Hewitt's multi-year renovation, coinciding with the Cleveland Museum of Art's holdings, which include pieces from the influential Paris 1925 International Exhibition of Modern Decorative and Industrial Arts. The two-floor exhibition is a visually overwhelming experience, featuring over 400 objects that embody the decadence, novelty, and eclectic styles characteristic of the Roaring Twenties, as described by F. Scott Fitzgerald as an "age of miracles, it was an age of art, it was an age of excess, and it was an age of satire." Organized around themes such as "Bending the Rules" and "Abstraction and Reinvention," the exhibition displays a diverse array of items, including furniture, flapper dresses, paintings, and Prohibition-era cocktail shakers, illustrating the cross-pollination of influences across various artistic media. Many contributing designers were European immigrants or had their works imported, while American designers often studied abroad, incorporating European techniques and aesthetics like tubular metal from the Bauhaus or bold colors from De Stijl. Examples include Ruth Reeves, who studied textiles with Fernand Léger in Paris before working on Radio City Music Hall designs, and Viktor Schreckengost, who blended his Vienna sculpture studies with his Ohio pottery background. Coffin emphasized that the exhibition highlights the vibrant exchange of ideas among designers from different countries converging in American urban centers, leading to an extraordinary amalgamation of modern design thinking on American soil. The installations showcase this international exchange, such as British designer Wells Coates’s Bakelite radio on German designer Kem Weber’s streamlined sideboard, both intended for mass production. Pieces like Russian-born craftsman Samuel Yellin’s wrought iron fire screen alongside Lorentz Kleiser’s tapestry of Newark’s transformation demonstrate the persistence of historical European aesthetics. Architectural influences are also evident, with Austrian émigré Paul Frankl’s "Skyscraper Bookcase" incorporating the zoning-enforced setbacks of new skyscrapers, a motif echoed on a smaller scale in Erik Magnussen’s Cubic coffee service. The exhibition aims to draw connections between objects, illustrating the palette and styles of the era, such as a Jean Dunand enamel vase placed beside a similarly colored dress. It also reveals influences between designers, like Edgar Brandt’s screen impacting the Rose Iron Works of Cleveland, highlighting a continuous artistic dialogue. The exhibition "The Jazz Age: American Style in the 1920s" remains open at the Cooper Hewitt, Smithsonian Design Museum through August 20. #JazzAge #AmericanDesign #ArtDeco #CooperHewitt #DesignHistory #CulturalExchange #ExhibitionReview #RoaringTwenties #ModernDesign

Mid-century modern interior design, a movement rooted in the mid-1940s and influenced by early 20th-century European design, has maintained its appeal and relevance into the present day. This enduring popularity stems from its core characteristics: sleek, pared-down designs, a strong emphasis on both function and form, innovative use of modern materials, and a deep connection to nature. The movement emerged post-World War II, driven by the necessity for mass production for returning veterans and advancements in technology. Eames Demetrios, grandson of Charles and Ray Eames and Director of the Eames Office, attributes mid-century modern's lasting power to its problem-solving nature. He explains that designs like those by the Eameses were primarily conceived to address living problems and enhance the quality of life, with style being a secondary, albeit significant, outcome. Demetrios emphasizes that aesthetics can contribute to function, citing how Charles and Ray Eames created objects that were both visually pleasing and extremely comfortable. Jonathan Adler, a potter and designer whose collection draws heavily from the era, defines mid-century modern design as the removal of unnecessary ornamentation to reveal the essence of a design gesture. He argues that this clarity of vision is inherently communicative, which he considers a hallmark of good design. Molly Purnell, co-founder of the LA-based interior design firm Laun, highlights the movement's focus on integrating indoor and outdoor spaces as a key factor in its contemporary relevance. Her firm, inspired by mid-century modern principles, frequently incorporates large glass sliding doors to establish expansive views and an effortless transition to the outdoors, a priority for many modern clients. The defining tenets of mid-century modern interior design include functionality, prioritizing practicality over mere style; mass production, enabling democratic access without compromising craftsmanship; connection with nature, emphasizing indoor-outdoor living and natural elements; rich colors, used playfully as accents against neutral backdrops; and innovative materials, combining man-made elements like glass and plastic with natural ones such as warm woods, stone, and linoleum. For those looking to integrate mid-century modern aesthetics into their homes without extensive renovations, starting with a few key furniture pieces is a practical approach. Demetrios notes that furniture, as "architecture at a scale you can handle," allows for the creation of a mid-century environment more affordably than structural changes. Mid-century modern designs are widely available, from vintage finds to contemporary interpretations, and their versatile, clean lines allow them to complement various aesthetic preferences. Purnell advises mixing mid-century pieces with furniture and decor from other periods to create a layered and dynamic look, rather than a strictly retro environment. Jonathan Adler offers concise advice: prioritize "low, loungey, and louche" elements and consider seat height as paramount, suggesting a simple modification of shortening sofa legs to achieve a desired effect. The article concludes by showcasing several iconic mid-century modern designs that homeowners can consider, including the Grashoppa Lamp by Greta M. Grossman, the Noguchi Coffee Table by Isamu Noguchi, the Big Sur Apartment Sofa by Jonathan Adler, the Eames Hang It All by Charles and Ray Eames, the Model 31 Lounge Chair by Florence Knoll, the Saarinen Dining Table by Eero Saarinen, and the 111 Navy Chair by Emeco. #MidCenturyModern #InteriorDesign #HomeDecor #DesignTrends #FurnitureDesign #ArchitecturalInfluence #EamesDesign #JonathanAdler #LaunDesign

Denver's home decorating scene is experiencing a renaissance, with a diverse array of locally owned boutiques catering to every design preference, from traditional to midcentury modern and beyond. This curated guide spotlights 13 distinct shops, each offering unique items and shopping experiences. Bloom, with locations in Cherry Creek North and Union Station, offers an enchanting, fantasy-like atmosphere. Owner Anuschka Pashel sources unique items globally, such as Balinese stone sculptures, European art, and Brazilian quartz clusters, along with Moroccan wool rugs. The Lark, a long-standing establishment in Denver Country Club since 1970, embodies a classic aesthetic, featuring items like ginger-jar lamps, fox figurines, and Simon Pearce glassware, alongside new offerings like refillable liquid paraffin candles. Eron Johnson Antiques in Athmar Park, founded in 1972, is a treasure trove of salvaged architectural elements and unique antiques. The vast collection, available by appointment, ranges from a 16th-century oak-paneled room to early 20th-century streetlights and pieces by renowned designers like Frank Lloyd Wright and Louis Comfort Tiffany. Lulu’s Furniture & Décor, led by Christy Brant and Caitlin Marsh, relocated to Englewood, where its floor-to-ceiling windows showcase hand-picked items like salvaged copper windows and modular sectionals by Robin Bruce. The shop emphasizes functional and affordable design, introducing lines such as Canadian furniture from Sunpan and Colorado-based Zents toiletries. Homebody in Cherry Creek North, opened in 2017, caters to well-traveled design enthusiasts. Owner Dory Pratt curates finds from around the world, including Parisian abstract paintings and mother-of-pearl caviar spoons, and offers amenities like a complimentary coffee bar and gift wrapping. The store also features Swedish Byredo fragrances and Astier de Villatte ceramics. Watson & Co. on South Broadway, established in 1991 by Chris Watson and Kyle Pastrano, offers an eclectic mix of Victorian-era taxidermy, Milo Baughman furniture, Art Deco lighting, Edwardian objets d’art, and one of the largest cufflink collections in America. Known for its “Old School. New Rules.” motto, the shop provides items across all price points, with new additions including a wholesale catalog and a life-size Adam and Eve topiary form for 2019. Scandinavian Antiques on South Broadway, founded in 1994 by Henrik Follin, features a 25,000-square-foot showroom with nearly 70% of its furniture imported from Scandinavia. The collection includes rare items like 19th-century inlaid mahogany Empire secretaries and whimsical copper baking molds, alongside custom-made maple-wood tables from salvaged boxcar floors. Old Glory, also on South Broadway, appeals to fans of rustic Americana and farmhouse style. The 100-year-old storefront offers a mix of antique and new finds, such as a 1900s French baker’s cabinet and Sugarboo & Co. quote cards. Owner Holly Kuhn, with roots in Texas, brings her passion for Americana to the shop, with a forthcoming decorating book in 2019. Design Wright Studios in RiNo, opened in September 2017 by Mary Wright, is housed in a former refrigeration unit with high ceilings and large windows. The showroom features furnishings from contemporary designers like Kelly Wearstler and classic manufacturers such as Stanley Furniture. It also offers Ralph Lauren Home products, filling a void left by the brand's Cherry Creek location closure. The space is shared with Artisan Rug Gallery. Studio Como Showroom, a 20,000-square-foot space in RiNo, is a destination for Italian-modern design, offering kitchens, closet systems, and high-end furniture like Minotti sectionals and Moooi lamps. Founder Brad Fentress aims to integrate Italian design with the mountain lifestyle, showcasing a modern aesthetic with steel beams and concrete floors, along with lighting from Santa & Cole. Modern Nomad in RiNo, opened by Becky Miller in November 2017, is a home-goods collective housed in a former auto-body shop. It hosts nine tenants, including the namesake boutique, which sells items like cashmere-wrapped pendant lights, vintage Congolese Kuba masks, and an international textile collection. New offerings include vintage rattan furniture and jewelry by Navajo and Zuni artisans from Trade Roots Collection. Mod Livin’ on East Colfax, established in 2001, specializes in midcentury modern design, offering Technicolor furniture and a collection of Knoll pieces. The store features a subterranean Bargain Basement with discounted vintage and new finds. They recently expanded their collection of leather furniture from Blu Dot. 20th Century Interiors on South Broadway, opened by J. Kendel Johnson, is a haven for midcentury modern enthusiasts. It offers expertly restored pieces such as George Nelson for Herman Miller dressers and Ludwig Mies van der Rohe-designed Barcelona chairs. The store also features local artisan-made objets, including Danish-style turned-wood candlesticks from Cream Modern. The Denver Design District, a large complex with 34 showrooms, provides a resource for both professional designers and the public. Visitors can browse without an appointment, and a complimentary designer is available to facilitate purchases at net price plus a 20% fee. The district offers access to over 1,400 manufacturers and is undergoing expansion, with new showrooms like Circa Lighting and Mod Design planned for 2019. The district is also home to Herbert Bayer’s "Articulated Wall," an 85-foot-tall canary-yellow sculpture that is part of the Denver Art Museum’s outdoor collection. #HomeDecor #LocalBusinesses #DenverShopping #InteriorDesign #Antiques #ModernDesign #MidcenturyModern #HomeFurnishings #DesignDistrict

The Cleveland Museum of Art's exhibit, "The Jazz Age: American Style in the 1920s," showcases over 300 objects, including furniture, jewelry, clothing, and home accessories, reflecting the distinct aesthetics of the era. Among the notable home decor items featured are a wrought iron and gilding fire screen by Frenchman Edgar Brandt, and the Muse with Violin Screen designed by Hungarian Paul Feher, crafted by Rose Iron Works in Cleveland using wrought iron, brass, silver, and gold plating. The exhibit, running through January 14, highlights how the Jazz Age influenced design, moving from a celebration of the end of World War I to an embrace of modernism and exotic travel. A particularly unique piece is the "Aviation Chair" designed by Robert Bonfils. This upholstered chair features an ornately carved giltwood frame and dark blue fabric, with an oval image on the seat back depicting colorful flowers surrounding an airplane in flight. This design reflects the era's fascination with new modes of transportation and the excitement of air travel becoming more accessible. The 1920s design landscape was diverse, ranging from the glamorous Hollywood-inspired Art Deco and modernist styles to the more rustic farmhouse aesthetic. However, the exhibit predominantly features luxurious items such as high-end wallpapers, textiles, a massive chandelier, and exquisite cabinets with ivory and ebony floral inlays. The article suggests that elements from the Jazz Age can be incorporated into contemporary home design. Dawn Cook, owner of Dawn Cook Design in Shaker Heights, notes that homes from the 1920s and 1930s were built with meticulous attention to detail, featuring rich wooden inlays, carved fireplace mantles, marble flooring, stone and masonry details, and hardwood doors with brass hardware. Even more modest homes of the period included intricate moldings, woodwork, arches, and unique leaded windows. Kitchens were typically placed in the back and were less grand, reflecting their functional role. Cook emphasizes that Clevelanders appreciate the quality and formality of these well-made homes, with their grand entrances and beautiful wood floors, noting the timeless nature of this design aesthetic as many homes approach their centennial. Key design elements of the era include opulent golds and silvers, geometric patterns, and bold color schemes featuring black, white, neutrals, deep reds, greens, and blues. The curvilinear lines of Art Deco provided a counterbalance to strong geometric patterns, while detailed floral wallpaper and animal print rugs were also popular. Cook suggests that an over-the-top mirror or mirrored screen combined with more understated furnishings can evoke the Jazz Age, or that strong geometric prints on wallpaper or fabrics in black and white or brown and white, mixed with gold, silver, or cream, can create a glamorous yet timeless look. For millennials who may be more nomadic, Cook recommends investing in graphic chairs or art pieces that can be easily moved, as a way to incorporate the Jazz Age aesthetic without permanent installations. #JazzAgeDesign #ArtDeco #HomeDecorTrends #ClevelandMuseumOfArt #InteriorDesignHistory #1920sStyle #ArchitecturalDetails #LuxuryInteriors

This article highlights three new home decor boutiques that have recently opened in Southwest Florida, specifically between Sanibel and Naples, in 2025. These shops, celebrated for their distinct styles and community contributions, are recognized for bringing character and purpose to the local retail landscape. The first featured shop is the STARability Home Collection, located in the Naples Design District. This expanded home decor shop is noted for its unique business model, where 100% of its proceeds support programs for adults with intellectual and developmental disabilities. The collection primarily consists of high-end, secondhand finds, meticulously sourced and curated. Anne Fleming, the former general manager of Waterside Shops and a 2024 Gulfshore Life Woman of the Year, played a pivotal role in launching this new location, leveraging her luxury retail expertise and extensive network to secure top-quality donations. These donations include items such as Roche Bobois dining chairs, a John-Richard credenza, Natuzzi leather sectionals, velvet sofas, and vintage books, all maintained in excellent condition. Interior designer Monica Lukas is responsible for arranging these items into polished, showroom-ready vignettes, effectively showcasing the breadth and quality of the inventory, which can sometimes amount to a full house's worth of donations. Next, the article introduces 41 Home & Garden, an interiors-focused extension of Christian Busk’s well-established greenhouse and garden shop, also situated in the Naples Design District. Opened in the fall of 2024, this showroom showcases a blend of character-rich pieces, including Art Deco Donald Deskey originals, midcentury modern silhouettes, and Sicilian ceramics, all presented within a refined and relaxed setting. Christian Busk, known for his nearly 50 years of experience in transforming outdoor spaces, applies his keen eye for design to interiors. He personally curates the collection through extensive travel and estate sale exploration, combining deliberate selections with spontaneous finds. The store's unique appeal stems from this mix of precision and serendipity in its curation, inviting visitors to appreciate each item's story and craftsmanship. Assistant editor Annamarie Simoldoni notes the care evident in Christian’s selections, describing the shop as a thoughtful addition to the local design scene. The third shop is Home by Rachel Pierce, a boutique on Sanibel Island that opened last summer. Founded by Rachel Pierce, an NBC-2 anchor turned artist, the shop embodies a beach-forward aesthetic, earning a strong following for its breezy and well-edited collection. Sandy Stilwell Youngquist, a local restaurateur and Gulfshore Life Community Advisory Board member, highlights this shop as a standout new addition to the island. The interior design of Home by Rachel Pierce features seafoam green upholstery, octopus-patterned pillows, and various shell decor, complemented by curated furnishings sourced by co-owner Lauren Speas. Rachel Pierce actively engages her network of local makers, ensuring the shop remains deeply rooted in Sanibel’s creative community and reflects the natural beauty of the island. Collectively, these three establishments contribute to Southwest Florida’s home decor shopping landscape by offering diverse styles, supporting noble causes, and bringing unique curatorial visions to the forefront. #DesignInspiration #HomeDecor #RetailDebuts #SouthwestFlorida #Shopping #InteriorDesigners #LocalBusinesses #Philanthropy #ArtDeco #MidcenturyModern #CoastalStyle

Mid-century modern design, with its inherent beauty and simplicity, is often associated with the post-World War II era's optimism, characterized by a vision of prosperity, peace, and expansive homes. While attractive, this style was deeply intertwined with the societal delusions of that period, and the design industry continues to capitalize on its enduring appeal. In the 1950s, mid-century modern proponents claimed to offer a lifestyle devoid of ostentatious wealth, decorative excess, and historical burdens. However, this progressive ideal often fell short in practice. Before the war, modernist designers aimed to improve urban living standards by creating 'minimum dwellings' with meticulously planned layouts and furnishings. In contrast, many celebrated postwar designers, often hailed as harbingers of a modern, democratic future, pursued lucrative careers primarily serving high-end manufacturers. These manufacturers rarely prioritized affordability or accessibility for a mass consumer market, as doing so would diminish the exclusivity and financial returns associated with their intellectual property. Consequently, class distinctions remained deeply embedded in design's influence, despite rhetoric promoting a classless society. The golden age of mid-century modern design lasted only a couple of decades, partly because it never achieved widespread popularity. Even as incomes rose and aspirational furnishings became somewhat affordable, most consumers gravitated towards products that offered different meanings—nostalgia, craft, ornamentation, community, and warmth. Critics observed that, during Germany's economic miracle, consumers favored heavy 'baroque' furniture, while Americans preferred colonial styles. In Italy, despite the flourishing furniture industry, many manufacturers adhered to an aesthetic that critics, such as Domus editor Ernesto Rogers, derided as 'Cantu Chippendale.' Similarly, in Finland, when the general population could finally afford their country's furniture, the 'Tower' suite, a three-piece sofa-armchair combination in a traditional 'English style' with comfortable upholstery and oak veneer, became an immediate bestseller in 1971. This indicated that imported British television shows exerted more influence on consumer tastes than the modernist design principles championed by the era's design elite. During the postwar period, a predominantly white, male, and privileged elite solidified its status through government- and industry-backed organizations like Britain's Council of Industrial Design and the Industrial Designers Society of America, which sought to impose universal standards of 'good design.' Over time, even receptive audiences, including many young designers, found this discourse and its outcomes uninspiring. They turned to alternative styles such as Victoriana, pop art, and eventually postmodernism as the 1960s progressed. Some rejected 'design' entirely, seeking meaning in alternative cultures, famously exemplified by the success of the Whole Earth Catalog. This shift suggests that many individuals were seeking richness, diversity, vibrancy, and personal expression in their lives that mid-century modern design failed to provide, especially through their home decor. The resurgence of mid-century modern as a default style for contemporary interiors is notable. Like the revivals of Victorian design in the 1960s, Art Deco in the 1980s, and Brutalism in the 2000s, this phenomenon is not unique. However, it is curious that mid-century modern meets contemporary needs more effectively now than it did during its initial heyday. This could be partly practical; as living spaces shrink, the compact and modular nature of faux-mid-century modern furniture is more accommodating than larger, more elaborate pieces. Its lightness and modularity also suit a mobile lifestyle. Less tangible reasons might include the style's perceived clarity, calm, and sense of control, which offer a counterpoint to the complexities of modern life. However, the financial dynamics remain largely unchanged; manufacturers maintain a firm grip on their 'originals,' leaving most consumers to purchase knock-offs or flat-packed imitations. The concept of 'timelessness' and 'durability,' once touted as sustainable aspects of mid-century modern, is now being reevaluated in light of regenerative and circular design principles. These new approaches emphasize age, imperfection, decay, and the transient nature of products, viewing longevity as a potential drawback. Therefore, the repetitive production of Eames loungers and similar designs, alongside outdated notions of 'good design,' risks a backlash similar to the one that previously halted the style's dominance. This backlash stemmed from the perception of the style as sterile, inflexible, and lifeless, qualities that seem cold when juxtaposed with human imperfection and the capacity for joy. #MidCenturyModern #DesignHistory #InteriorDesign #PostWarDesign #ConsumerCulture #DesignRevival #Sustainability #FurnitureDesign #CulturalInfluence

This article highlights the extensive renovation of a historic 1914 home located in Nashville's Waverly neighborhood, undertaken by Sara Ray Interior Design and Allard Ward Architects. The homeowners, enthusiasts of mid-century furnishings, historic architecture, and houseplants, aimed to create a residence that seamlessly blends its historical integrity with contemporary design elements. The 3,520-square-foot home, featuring three bedrooms and three-and-a-half bathrooms, underwent a comprehensive overhaul that included structural repairs, and updates to electrical, plumbing, and HVAC systems, ensuring both aesthetic appeal and modern functionality. The renovation involved gutting the kitchen and all bathrooms, replacing all surfaces such as flooring, tile, and cabinetry, and installing new light and plumbing fixtures. A significant two-story addition was constructed at the rear of the house, which now accommodates a primary bathroom upstairs and a screened-in porch, mudroom, and family room on the main level. One of the key structural changes was the removal of a wall on the main floor to create an open and flowing living and dining area, catering to a more contemporary lifestyle while preserving the home's original character. Externally, the home received a fresh coat of paint and an added outdoor living space complete with a fire pit, enhancing its curb appeal and providing additional areas for relaxation and entertainment. The architectural style of the home, shingle-style reminiscent of the Craftsman movement, aligns with the City Beautiful Movement that shaped the Historic Waverly neighborhood with its curved streets and lush gardens. This historical context was carefully considered during the design process. A notable discovery during the renovation was a previously hidden fireplace in the family room, which was uncovered and transformed into a striking focal point. The homeowners' desire to maintain original features was also evident in the kitchen, where exposed brick from an original fireplace was preserved and highlighted with custom brass shelving. The kitchen was completely reimagined with custom green cabinetry, a custom brass-clad range hood, and a custom butcher block island, blending historical elements with modern craftsmanship. The home's layout was reconfigured to optimize flow while respecting its historical integrity. The entry remained intact, with formal living and dining rooms on either side, though the dining room is now utilized as an office. The family room and a new dining area were opened up to create a more modern, open-concept space. The kitchen remained in its original location but was extended as part of the new addition. The main level also includes a guest bedroom, guest bathroom, powder room, and mudroom. Upstairs, there is another guest bedroom and bath, a laundry room, and the primary suite, with the primary bathroom being part of the new addition. The primary bathroom features antique-inspired tile flooring and a refinished clawfoot tub, serving as a central design element. The two-year renovation, completed in Fall 2023, successfully created a warm, inviting sanctuary that reflects the homeowners' personalities and passions, achieving a perfect fusion of past and present. #HistoricHome #NashvilleRealEstate #HomeRenovation #InteriorDesign #ColorfulAccents #SaraRayInteriorDesign #CraftsmanStyle #MidCenturyModern