Posts Tagged ‘Pirelli’

Design | Forgotten Swiss Lamm that Roared in Italy

Friday, June 26th, 2015

Fashion 1960, for professional travellers, la Rinascente, 1960
Museum für Gestaltung Zürich, Poster Collection

Lora Lamm – La vita è bella
Museum für Gestaltung Zürich
Zürich | Switzerland
Until 16 August 2015

The garden – the house in the country – the city terrace, la Rinascente, 1956
Museum für Gestaltung Zürich, Poster Collection

The celebrated department store chain, La Rinascente, founded in 1917, (in Thai ownership since 2011) remains little known outside of Italy. With the exception of Switzerland, the same can be said of Swiss polymath designer / illustrator / art director, Lora Lamm.

La Rinascente was one of a number of innovative companies, including the tyre manufacturer, Pirelli, that during the post-war period latched on to the idea – pioneered by Olivetti – of establishing in-house advertising and PR departments that would develop a rapport with a new breed of designers with whom they collaborated to produce highly-creative advertising and promotional material.

Lamm, though often previously overlooked – she doesn’t rate a Wikipedia entry – whose work was synonymous with La Rinascente’s success during the period, was a major contributor to Italian design in the 1950s and 1960s. This month, in recognition of her contribution to the advancement of Swiss design both nationally and internationally, the Swiss Federal Office of Culture has awarded her the annual Grand Prix Design Award 2015.

Sales, 1957
Museum für Gestaltung Zürich, Poster Collection

Fashion spread, la Rinascente, c 1960
Museum für Gestaltung Zürich, Poster Collection

Roles, Pirelli, 1961
Museum für Gestaltung Zürich, Poster Collection

Lamm (b 1928), studied graphic design from 1946 to 1951 in Zürich under, among others, the former Bauhaus master Johannes Itten, and was afterwards drawn to flourishing Milan, which was enjoying an economic boom. After gaining a foothold at Studio Boggeri, where well-regarded Swiss designers were already working, she later moved to Panettone Motta Milano as a packaging designer. In 1954, on the recommendation of the Swiss graphic designer Max Huber, who was already an established designer at La Rinascente – he had designed their logo – Lamm was taken on by the company, where she was soon made responsible for the design and production of the store’s in-house magazine, Cronache.

Inspired by the latest graphics produced for international department stores in New York and Tokyo that she mixed freely with the rational, modernist influences she brought from Switzerland, Lamm rapidly imposed her own design vision that served the management’s purpose of attracting female clientele to La Rinascente.

Schools department, la Rinascente, 1958
Museum für Gestaltung Zürich, Poster Collection

After Huber left the store in 1958, Lamm was put in sole charge of the creative department, producing the company’s catalogues, posters, advertisements, invitations, mailers, packaging and other publicity, but still found time to carry out freelance work for Pirelli, Elizabeth Arden and Olivetti.

The light, positive feelings embodied in her work for the store characterised by illustrations of charming, child-like simplicity, and by fluid and elegant typography, was carried through to her posters for Pirelli. Here she juxtaposed whimsical illustration against perfectly-drawn black, scraper-board images of tyres, and often used photography.

In 1963, Lamm returned to Zürich, where she still lives and continues to work.

Lora Lamm – La vita è bella, currently showing at the Museum für Gestaltung Zürich’s Schaudepot is an exhibition concerned almost exclusively with the designer’s poster work. A limited selection of original Lora Lamm poster designs is available to buy via the Swiss gallery, Artifiche.

All posters designed by Lora Lamm, © the artist, courtesy of Museum für Gestaltung Zürich

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Books | Taschenzine

Thursday, November 24th, 2011

Taschen Booklist
Winter 2011/12

Taschen do something very clever. The book publishing house that proudly boasts it was established as long ago as 1980 and, as it says on the cover of its Winter 2011/2012 Booklist, ‘is for optimists only’, likes to surprise and even to shock. While many publishers have cut costs by putting their lists of forthcoming books exclusively on-line, Taschen’s, published biannually, which arrived here in the middle of this week – only 30 high street shopping days to go until Christmas! – takes the form of a well-produced magazine.

Whoever came up with the concept and put it together – probably Benedikt Taschen himself, who edits it – pays close attention to getting the details right. The cover is printed web-offset and the inside pages using the gravure method – only suitable for runs of over 300,000 copies due to the substantial costs involved (some of these having clearly been off-set by the inclusion of genuine, up-market advertising for the likes of Mercedes Benz, Chopard, Pirelli and Maybach) – giving it the familiar, floppy feel of news-based magazines like Stern, Paris Match, The (UK) Sunday Times Style section, The New York Times Magazine or even SAGA.

The cover shot is more than a little cheesy; it has a low-budget tang to it. It says this is a popular magazine; it’s inclusive, not exclusive; there’s something for everyone here. The cover type is overly colourful and looks like it might have been done in a rush to meet a tight deadline, however, the company name TASCHEN is subtly lacquered-over – perhaps to convey just a hint that what one is looking at is not all that it appears. Inside, looking for all the world like a list of features with page numbers, there’s – what could be more natural – a contents page. What could be a jauntily written editor’s intro, actually is just that and is signed off by Herr Taschen himself. The ‘features’ are mostly lavishly-illustrated using photographs or illustrations from the approximately 120 books individually listed at the back with prices. But there are what must be specially commissioned illustrations of the famous from Moby, Quincy Jones and Mario Testino to Rem Koolhaas, Pamela Anderson and Diane Keaton, each with a nice quote about their favourite Taschen book alongside them. These attempt to demonstrate the reach and ground this once best known for its cut-price art book publishing house has gained over the past twenty-five years. Taschen himself makes an appearance photographed, paparazzi-style, in a series of black and white images, most memorably in a full-bleed double-page spread with director Billy Wilder and photographer Helmut Newton at the 1960-built architectural landmark, Chemosphere house, in the Hollywood Hills in 1999. Newspaper USA Today’s quote about the Billy Wilder’s Some Like It Hot book – from Taschen, obviously – appears alongside: ‘A Wilder gift you couldn’t find for film fans.’ There’s a fashion ’story’ about photographers Inez van Lamsweerde and Vinoodh Matadin’s work – limited editions to 1,200 copies of the book are available, numbered and signed by the artists. This is up-market stuff but the way it’s packaged makes it feel democratic, accessible to the masses. Wine and food are covered; cars too. There’s sexy glamour from Bert Stern’s historic last sitting with Marilyn Monroe and a design ‘feature’ about information graphics. The Man from La Mancha, about a book on Pedro Almadóvar opens on a dramatic spread image with sparse headline, standfirst and quote, which is followed by a substantial text written by the director. There’s quite a lot of film-based stuff; Movies of the 2000 [sic] – the title of which must be a dodgy bit of translation from the presumably original German into English – opens with a complex double page spread of small film-stills and screaming headline, which, if this was in a real magazine, might be expected to lead somewhere, but doesn’t. There are a couple of spreads – please excuse the pun – about The Big Book of Pussy – the offending organ having been masked out by little, yellow smiley faces – immediately followed by a spread of illustrations of Toucans,’Big-billed technicolor marvels’, which at first glance might be taken for a special offer of the type one associates with sets of decorative plates, had the book cover not been slipped in at the bottom.

The tone and pace of the content is keenly balanced, some items picture-lead, others text-heavy, some short, some long, in such a way as to convince anyone casually flicking through the pages that he’s holding a real magazine. There’s no crossword or puzzle page but there is a game that encourages the reader to search for the character Faulpeltz – familiar, apparently, to past recipients of this publication – hidden within the pages of the magazine: the successful participants earning the chance of winning the Taschen sweepstake or book tokens. This is psychologically-clever salesmanship. First-timers are drawn in, made to feel comfortable in familiar territory – it’s the game that advertorial plays, when it apes the editorial of the magazine it appears in – until suddenly the penny drops and you feel rather let down, fooled. Make no mistake; this ‘magazine’ is 100% advertorial. But maybe in this particular case you can convince yourself to rest easy – this is a smartly-executed joke – you might have been fooled but now you get it and it’s so well done that you’re not ashamed at all that you were had. On the contrary, you begin to appreciate the level of intellectual thought and creative consideration that went into this fine thing. You want to tell all your friends about it: do a blog post on it – exactly what they want you to do. You might put it aside – you never know, one day it might be a collector’s item, and be worth something. Anyway, that’s what I’m going to do with mine.

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