The style has long been overshadowed by its American and European contemporaries. Here’s why that should change.
Midcentury modernism has remained the “It” style around the world for over a decade, popping up everywhere, from hotel lobbies to IKEA furniture hack blogs. In fact, it’s perhaps become so popular, so ubiquitous, that it might even be considered (dare I say it?) mundane. That is, until you discover Brazil’s take on midcentury design.
While the United States and Europe certainly had their fair share of revolutionary midcentury designs by greats like Charles and Ray Eames, Eero Saarinen, Arne Jacobsen, Jean Prouvé, and Gio Ponti, Brazil’s contributions to the global design movement have been largely overlooked by both scholars and collectors. There are some exceptions, of course: Oscar Niemeyer, Lina Bo Bardi, and Roberto Burle Marx, among them. But while the architects achieved some level of worldwide recognition—at least within design spheres—furniture designers like Sergio Rodrigues and Joaquim Tenreiro are hardly household names (especially in comparison to the Eameses and Saarinens of the world). Here’s why that should change.
The history of Brazilian Modernism
But first: How did the style come to be? Well, like many design styles, Brazilian modernism has complex political and cultural roots. After centuries of colonial rule by Western powers, Brazil declared its independence from Portugal in 1822, though political turmoil from dictatorships to coups continued for more than a century. While the midcentury period was still tumultuous, Brazilians were determined to forge a national identity rooted in progress—a goal that resonated with the modern aesthetics and philosophies sweeping the globe.
What sets Brazilian Modernism apart
In terms of form, Brazilian modernism ran pretty parallel to American and European styles, with a focus on functionality through simple silhouettes that combined both geometric and organic shapes. But when it came to materials, Brazilian modernism was literally a world apart.
“In the ’50s, materials [sic] as plastic, inox (stainless steel), and fiberglass were not available in Brazil, so designers used wood and local materials such as cane, leather, and wicker,” says Isabela Milagre, founder and curator of the gallery Bossa Furniture, which specializes in midcentury and contemporary Brazilian pieces. These natural materials lend a richer, more sensuous feel to Brazilian design compared to its Western counterparts, where designers often experimented with artificial ones.
Furthering that vibe was the handcrafted quality of most Brazilian furniture from the era. “The lack of industrialization and manufacturing technology kept the furniture production [sic] artisan until around 1966 to 1968,” says Milagre. “Sculpted pieces and traditional joints are delightful details that can be found in midcentury designs.”
Why isn’t Brazilian Modernism more widely known?
Just as the design movement had its origins in politics, it ultimately had its demise in them, too. During the military dictatorship from the 1960s through the 1980s, furniture exports were banned, prohibiting Brazilian modernism from reaching the global stage (even today, not all Brazilian furniture can leave the country—there are restrictions on exporting certain natural materials, including rosewood.) Furthermore, there was a severe lack of scholarship on the movement, keeping it out of the academic world as well.
But this is all changing. “Just about ten years ago, this movement started to be investigated and cataloged,” says Milagre, who notes that there’s now a much broader audience interested in midcentury design from Brazil. “This international appreciation is related to the most recent books, exhibitions, and essential pieces featured in art design fairs.”
