Above: The ‘Listen to Me’ chaise (model 4873), Dunbar, 1948. Photo: Ross Floyd for Wright
Modernism means freedom—freedom to mix, to choose, to change, to embrace the new but to hold fast to what is good.
Edward Wormley
Near Chicago, Illinois Edward J. Wormley was born into a working class family. While in his teens he entered the Art Institute of Chicago to study interior design but having little money it was a struggle and, when he could no longer afford to attend, he quit in 1930. Shortly after Wormley found work as a designer for one of Chicago’s preeminent department stores Marshal Fields. However he found the work unfulfilling but a chance meeting would not only change the course of his career, but the course of American Modern design.
Less than a year after he began working at Marshal Fields, Wormley met the president of Dunbar furniture out of Berne, Indiana. Impressed with Wormley, Dunbar set him to the task of updating their entire line, the results of which were met with immediate success. In 1944, convinced the time was right to capitalize of the new styles, Dunbar decided to focus strictly on Modern lines. Edward Wormley rose to the challenge, incorporating European and Scandinavian innovations with designs that were elegant, understated, and well-made. He took the best elements from classical, historical design and translated them into a Modern vernacular that was palatable to the American consumer.
Some of the prolific output of Edward Wormley. Click on image for full view
Between 1950 and 1955 Wormley’s designs were included in the Good Design Exhibitions staged by the Museum of Modern Art and the Merchandise Mart which elevated him to a respectable place alongside internationally known designers like Bertoia, Saarinen, and the Eames. Understanding fully the fundamental elements of Modernism, Wormley never limited himself to a singular ideology. Perhaps this is why he is sometimes not considered a true ‘Modernist’. His style draws upon historical and classical influences with concerns to aesthetics and comfort always considered, and – more importantly – applied.
While the vast majority of Edward Wormley’s works were pieces he designed for Dunbar, it was a mutually beneficial relationship. With Dunbar, Wormley found a stable venue for his designs and the assurance that his pieces would be well made and of a good quality. And in Wormley, Dunbar found a designer that kept them relevant and modern when many of their competitors failed to keep up in the modern post war boom.
Wormley demonstrated that Modern can also mean quality, craftsmanship, and yes, even comfort. “Furniture is needed for practical reasons, and because it must be there, it may as well be as pleasant as possible to look at.” Wormley once said. True words.
A few of the promotional images from Dunbar advertising Edward Wormley's designs. Click on image for full view
Edward Wormley’s ‘Cosmopolitain’ illuminated globe for Dunbar, 1953. Photo: Webb Auctions
Edward Wormley’s model ‘5309’ coffee table shown in this photo by Caroline Williamson
Edward J. Wormley (1907 – 1995)
Interested to learn more about Edward Wormley and American Modernism? Click on the image below for a few great books you can check out!
Edward Wormley is my favorite mid-century furniture designer. Dunbar chose well. My only regret is that his pieces are hard to find and pretty expensive, but that makes the hunt interesting. I suspect Dunbar furniture was always pretty much “top of the line.”