FRONT
PA S T E L S P O PA N D PATTERNS
THE INFLUENCE OF ETTORE SOTTSASS
Watching The Breakfast Club opening scene, you’re taken through Shermer High School. Close-ups of pen carvings into blue brick walls saying “I hate Mondays” and images of messy prom queen posters overlaid by the voice of Anthony Michael Hall immediately evoke the romanticized, bold, rebellious nature of the 80s. The film chronicles the Saturday detention of a mismatched group of high schoolers. Their refusal to fit into “the simplest terms, the most convenient definitions” is a perfect way to describe the design trend that broke up the cut and dry modernism of the 70s. The 1980s are known for their eclectic patterns and wild color combinations. While the patterns and colors vary, the style is immediately recognizable. This pop culture trend paralleled a trend in architecture, interior, and graphic design. The Chicago Cultural Center is excited to bring you these energetic pieces during our winter installation. Mallory Bolin, Curator of Events The Chicago Cultural Center is proud to display the innovative works of “Pastels, Pop, and Patterns: the Influence of Ettore Sottsass” in the main lobby from November 20– December 16, 2015.
1–2
CONTEN 1.
curator’s introduction
6.
memphis
7.
ettore
11.
history
15.
opening reception
NTS
Ettore Sottsass
Furniture Sketches by Ettore Sottsass, 1984–1993
MEMPHIS The Memphis and San Francisco design movements articulated an important concept for designers: it’s okay to break the rules. While bright pastels combined with overwhelming tactile textures may at first seem outside the realm of pleasing aesthetics, memphis designs have an odd charm to them. Their bold colors and shapes carry a vibe of relaxed coolness. Though they may not be the first thing that comes to mind when one imagines successful minimalism, they convey a personality yet to be found in other design styles. They recall the rhythm of 80s synths and the brazen rebellious feel of 80s cool.
5–6
Carlton Bookcase by Ettore Sottsass, 1981
ETTORE In 1981 Italian designer Ettore Sottsass referred to by The Guardian as “The Godfather of Italian Cool” founded the Memphis group, touting his unique style as “the new international style” (design-technology. org). While Philip B. Meggs states in “Meggs’ History of Graphic Design” that the group was named for its fascination with ancient design combined with pop culture influences, others claim it was named for the “Bob Dylan song ‘Stuck Inside of Mobile with the Memphis Blues Again’ which played during that initial meeting1.”A reaction to the narrow modernist imagery and functional focus of the 70s, Memphis style put form before function. It imposed bold geometry with textural imagery. This movement heavily influenced San Francisco art schools and San Francisco Postmodernism was born. The Bay Area Postmodern style exuded the personality of its California roots, maintaining a “cheerful optimism, a warm sense of humor, and an unbridled attitude about form and space2.” 1. (Gizmodo) 2. (Philip B. Meggs, “Meggs’ History of Graphic Design).
7–8
Poster Collection Michael Vanderbyl Vanderbyl’s use of pastel hues and strict geometry reveal the trends of Postmodern architecture. He combines this imagery with the international typographic style. His focus on interplay between graphic design and architecture highlights the consistent feel of all postmodern work.
9–10
HISTORY In 1980, Ettore Sottsass organized a meeting of several popular designers and architects encouraging them to exchange ideas with the goal of revitalizing the Radical Design movement. The Radical Design movement in architecture mirrored the Anti-Design art movement which worked to subvert expectations using irony and distortion1. Sottsass was an avid supporter of the Anti-Design movement and believed that it had important and lasting social relevance. The group was also inspired by post-modern architect Michael Graves who is world famous for many of his eye-catching buildings. When the group met again in 1981, they compiled a collection of 40 pieces including an assortment of home products. These pieces approached minimalism from a new perspective. Incorporating motifs from Art Deco, Pop Art, and Kitsch, the memphis style produced furniture that has been loathed, misunderstood, and most memorably called “a shotgun wedding between Bauhaus and Fisher-Price2.” 1. The Art History Archive 2. Pellegrin, Bertrand, “Collectors give '80s postmodernist design 2nd look"
Despite is controversial reception, the 1981 exhibition inspired the art schools in the Bay Area. Designers in the area saw a blossoming potential “for innovative form and color1.” Michael Vanderbyl — a multidisciplinary designer — opened his own San Francisco design firm in 1973, and in doing so, placed the roots for the postmodern movement there. Together, Bay Area designers developed a style built on the foundation the Memphis designers had assembled. 1. Philip B. Meggs, “Meggs’ History of Graphic Design”
El Mundo by Dani Aristizabal, 2015
Memphis Numbers. by Alex López Becerro’s studio Muokkaa, 2015 Muokkaa’s Memphis Numbers translate the three-dimensional, tactile feel of Sottsass’s product and architecture work into graphic design pieces. The numbers demonstrate how varied Memphis style is, while remaining a cohesive collection.
13–14
Collection by Valeska Jasso Collado, 2014 Memphis style design has influenced not only graphic design, but architecture and fashion. The Image to the right reveals that modern fashions have been heavily influenced by the pastel color blocking that emerged in 1980s post-modernism. It also demonstrates that Memphis is trendy once again. The ubiquity of its presence is enough evidence that its charm has convinced international populations.
Opening Reception November 20, 2015 • 7–11 pm Chicago Cultural Center 78 E Washington Street, Chicago, IL 60602