This book launches the concept of Tegendraads Modern as a counterpart to the 1950s (neo)modernism of Good Living. It concerns that form of modernity in design for residential culture that has barely found a place in public collections with a design department. Yet it is the style of design that we immediately and habitually associate with the fifties: the free form and the lust for decoration and color that manifests itself as a celebration of liberation from the straightjacket of basic geometric form, the renunciation of ornament and restraint with regard to color. The world of the palette table, the "Picasso hanging" and the "Appel curtains" is a little-explored phenomenon. This publication seeks answers to questions about where this contrarian design originated, through what channels it spread, who the players in the field were, what it looked like and how it reached consumers. Why did the editors of Goed Wonen so vehemently oppose the existence of this "fashionable modernism"? The fear of losing again the domain of interior design once conquered from women by the first-line modernists seems to have played a crucial role. Against the modernist yardstick of Goed Wonen, statements from alternative magazines on (interior) design from the same period are placed and, in addition, it is examined how trend-following department stores and home furnishers recommend Tegendraads Moderne in their advertisements.