The Memphis Group's influence on 1980s aesthetic

I had always presumed that much of the 1980s aesthetic had drawn inspiration from Mondrian and the De Stijl movement.

However, last summer, a friend alerted me to a video that had appeared on YouTube.  Created as part of an article in Vox magazine, this video explains the significance of the Memphis Group -- an Italian collective specialising in postmodern furniture, fabrics, objects and architecture.

After reading the article it became clear that the Memphis had played a crucial role in the evolution of this 'look', defining many of the key characteristics that we associate with it.

The group's founder, Ettore Sottsass, had been responsible for a couple of designs that -- at first glance -- appear to have jumped straight from the Eighties.

Ollivetti Valentine portable typewriter (1969) by Ettore Sottsass

The bright, primary red glossy plastic flat surfaces of the Valentine typewriter would not be out-of-place in a 1982 Habitat catalogue; yet this was designed 13 years earlier.

Bacterio (1978) by Ettore Sottsass

The Bacterio pattern is obviously based on the appearance of micro-organisms under a microscope, but reverses the usual light-shaded-worms-on-dark-background to create a pattern reminiscent of zebra stripes or leopardskin.

The use of reds, yellows, white & black and triangles & circles follows a path traceable from the work of Russian avant-garde artist El Lissitzky (a role model for the Bauhaus movement).

Tahiti lamp (1981) by Ettore Sottsass

The group emphasised primitive geometric shapes, derived from Art Deco influences.  This can be seen prominently in the work of Californian designer Peter Shire, whose Bel Air chair design became a signature object for the collective.

Bel Air chair (1982) by Peter Shire

Michele de Lucchi's Lido sofa again shows the importance of primary colours and high-contrast patterns -- although looking somewhat like it's constructed from liquorice allsorts.

Lido sofa (1882) by Michele de Lucchi

Memphis' style isn't to everyone's tastes.  Fashion designer Bertrand Pellegrin, writing in the San Francisco Chronicle, described it as:

"a shotgun wedding between Bauhaus and Fisher-Price"

Prior to watching the Vox video, I had been unaware of the Memphis Group or its impact, especially in 1980s graphic design.  This major omission has now been corrected.

If you haven't seen the video then I strongly recommend watching it.