Tag Archives: Ettore Sottsass


ETTORE SOTTSASS AND THE SOCIAL FACTORY “connects Sottsass’ production to momentous postwar economic and social changes,” and is on view in Miami until October.

“During il miracolo economico, Italy went from being a low-cost manufacturer to an economy that used design to create premium products it could sell around the world. Fiat would stop building the faintly comic Topolino in 1947, and move towards the formal brilliance and technical innovation of the Cinquecento in 1959… In the space of twelve years, Ettore Sottsass went from building workers’ housing and designing fruit bowls made from knitted wire to being called in by Olivetti to design a computer.” —Deyan Sudjic*


Through October 6.

Institute of Contemporary Art

61 NE 41st Street, Miami.

*Deyan Sudjic, “Post-War to America,” in Ettore Sottsass and the Poetry of Things (London: Phaidon, 2015), 104.

From top: Ettore Sottsass, Monumento di Merda Alle Patrie, 1966, photograph © Silvia Ros, courtesy of Kim and Al Eiber; Ettore Sottsass, Mobili grigi, 1970, fiberglass, manufactured by and courtesy Centro Studi Poltronova, photograph by A. Fioravanti and Sottsass, © 2019 Artists Rights Society (ARS), New York, and ADAGP, Paris; Ettore Sottsass and the Social Factory, 2019, Institute of Contemporary Art, Miami, installation views (3), photographs courtesy and © Silvia Ros;


MG Poster 025

MILTON GLASER POSTERS, a 700-page compendium of over 400 works by the master, is out now from Abrams.


Thick as a brick, this compact, paperbound edition is an essential reference for anyone interested in the history of graphic design.

MILTON GLASER POSTERS—427 EXAMPLES FROM 1965 TO 2017 (New York: Abrams Books, 2018)


See: anothermag.com/milton-glaser-on-his-legendary-posters

Milton Glaser, from top: Ad for Ettore Sottsass’ Valentine typewriter for Olivetti; Dick Gregory and Townes Van Zandt event poster; Mahalia Jackson concert poster; cinema poster for Phoebus Palast; 10th Montreux International Festival.

All images © Milton Glaser.


“There’s this weird thing about liking what other people don’t like…. When someone says ‘That stuff is ugly,’ I am immediately drawn to it because it just means it’s challenging.

“Take Memphis furniture and objects…. They were the scourge of the design world for the longest time, and I always found it to be the most legitimate design movement since the Bauhaus. It was a worldview of what design could be….

“When I was 16, I worked at Fiorucci. Ettore Sottsass and Alessandro Medini and Nathalie du Pasquier had all worked for Fiorucci [as design directors], and I knew immediately that what they were doing was looking back at [1950s] Americana.” — JimWalrod (1961–2017)*

Walrod—an interior designer, collector, architectural historian, former co-proprietor of Form and Function, co-curator of Paul Rudolph: Lower Manhattan Expressway at The Drawing Center, consultant to Ang Lee on The Ice Storm, design advisor to David Bowie and Mike D (among many others), collaborator with André Balazs on the interiors of the Standard Downtown in Los Angeles, Apartamento contributing editor, and author of I Knew Jim Knew—died unexpectedly last month.

*Patrick Parrish, “Jim Walrod: Under the Radar & Over the Top,” Apartamento 10 (Autumn/Winter 2012–2013): 60.

Also see:





Jim Walrod , I Knew Jim Knew (2014). Image credit: Powerhouse Books.

I knew Jim knew

I knew Jim knew



BOOKS BY ETTORE SOTTSASS, edited by Giorgio Maffei and Bruno Tonini. Published by Edizioni Corraini.

For sixty years, the designer-sculptor-architect Ettore Sottsass wrote, published, designed, illustrated, and edited numerous avant-garde literary and design books and periodicals. This edition, published in 2011, brings together the great artist’s engagement with print.

See: artbook.com/9788875702762.html