Why antiques beyond Europe matter in design history
By Julia Reinert, The Lifestyle Historian
The world of antiques is often seen through a familiar lens: French armoires, English campaign chests, Chinese porcelain, American Shaker furniture. These staples continue to influence contemporary interiors and dominate the conversation, but to stop there is to miss an incredibly large part of the overall story. As design grows more inclusive and curious, there is an opportunity to spotlight antique traditions from regions that have long shaped, and continue to shape, our aesthetic sensibilities in powerful yet under-acknowledged ways.
From the Andean Highlands to the Australian Outback, the Caribbean coastlines to the heart of Africa, it is imperative to broaden that lens in order to truly understand the global story of design. The history of furniture and decorative arts is far richer and more diverse than the dominant Western canon suggests. Honoring the artistry of communities around the world deepens our collective understanding of form, function and cultural heritage, allowing more inclusive views to be embraced and the full narrative of antiques to be told.
South America
The influence of South American craftsmanship stretches back to pre-Columbian civilizations, whose artistry in textiles, ceramics and metalwork continues to inspire. Colonial Spanish furniture from Peru and Bolivia, often carved from tropical hardwoods like cedar and mahogany, fused European baroque forms with Indigenous symbolism. These pieces, richly embellished and hand-crafted, form a unique antique category.
Meanwhile, antique textiles from the Andes, particularly those of the Quechua and Aymara peoples, are unparalleled in their geometric beauty and natural dye techniques. Their legacy is evident in today’s modern appetite for globally inspired rugs, throws and wall hangings, echoing patterns developed centuries ago.
Africa
African antiques embody both artistry and deep spiritual significance. The carved stools of the Ashanti, Yoruba bronze figures, Dogon ladders and intricately beaded Zulu baskets reflect systems of governance, ritual and symbolism. It feels degrading to refer to them as mere objects.
Designers have increasingly drawn from African vernacular forms: Kuba cloths from the Congo are repurposed as upholstery or framed art; Bamileke stools from Cameroon now sit comfortably in modern living rooms. These pieces are not only visually arresting but also tap into a growing desire for authenticity and storytelling in design.
The Caribbean
The antique aesthetic of the Caribbean is shaped by its history as a crossroads of cultures including African, Indigenous, European and East Indian. Colonial island furniture, particularly from Jamaica, Barbados and Cuba, exhibits refined European silhouettes crafted from local mahogany, tamarind and lignum vitae, all hardwoods prized for their beauty and durability.
Cane-backed plantation chairs, fretwork jalousies and maritime-influenced decor (like carved mermaids and navigational instruments) offer distinct antiques that marry elegance, historical significance and practicality. These often-overlooked pieces are increasingly appreciated for their craftsmanship and cultural context, signaling a shift in what we value and why.
Australia and Oceania
Antique forms from Australia and the South Pacific often emphasize natural materiality and handwork over ornamentation. Aboriginal artifacts such as message sticks, carved shields and painted bark panels possess deep cultural meaning and a strikingly contemporary aesthetic.
In New Zealand, Māori wood carvings and greenstone (pounamu) adornments are prized both locally and abroad for their spiritual resonance and precise craftsmanship. These objects, while sacred, have also inspired modern designers interested in minimal, earth-grounded forms rooted in place.
Canada and the Far North
Often left out of the antiques conversation, Canada boasts its own design heritage by means of French Canadian folk furniture, Inuit carvings and maritime artifacts from Nova Scotia and Newfoundland. Early Quebecois pieces like painted pine armoires or simple, utilitarian tables demonstrate a regional charm and incredible craftsmanship. Meanwhile, Inuit soapstone carvings, quiet yet powerful, bridge the world of fine art and artifact.
Reframing the Narrative
Several contemporary brands have already embraced a broader, more inclusive view of global design. Ngala Trading Co., for example, stands out for bringing high-end, African-made lighting, décor and furniture to U.S. designers and showrooms. Their deep relationships with artisans and commitment to luxurious, handmade craftsmanship position them as leaders in diversifying global inspiration. Similarly, Arteriors is known for its ongoing collaborations with international makers. Many of their lighting and accessories reflect African, Caribbean and Latin influences, often reinterpreting historical silhouettes through a modern lens. These brands exemplify how honoring overlooked traditions can elevate and expand today’s design landscape.
As manufacturers look to infuse their collections with meaning and depth, the world of antiques must consist of more than the usual suspects. These underrepresented regions are poignantly influential as they offer ways of thinking, making and remembering that deepen engagement with design history.
Understanding and honoring these contributions does more than diversify our visual vocabulary; it expands our collective sense of heritage and possibility. In a time when clients crave connection and individuality, these stories are not only relevant but also essential.
