Today for those who want something unusual and bright - a little about Memphis style.
Let me make a reservation right away: these interiors are definitely not for living (although I’m sure there will be those who can live comfortably in them). Rather, they are for admiring (or being surprised and even horrified) and taking note individual ideas and techniques.
Personally, I like two things about him: pure colors(pastel or bright) and just as clean, clear forms and lines. It's hard to tear yourself away from these pictures. But in general, Memphis is not so much about aesthetics as it is about philosophy (like all movements in art). More on this below.
Why philosophy and where does this name even come from? Is this something from Ancient Egypt? But no. "Memphis" is a group of postmodern designers who united December 11, 1980 to look at design as a bold experiment.
It included Ettore Sottsass, Andrea Branzi and Michele De Lucchi. And she gave the name to the group Bob Dylan's song "Stuck Inside of Mobile with the Memphis Blues Again"- her friends listened that evening, sitting at Ettore’s house. Like all postmodernists, members of the Memphis group sought to move away from generally accepted standards and opposed themselves to “good taste” in its traditional sense.
What did they use to do this? Experiments! Experiment with anything: shape, color, material, texture. But there was one thing that united all these objects and interiors (of course, otherwise the style would not have existed): shapes - geometric, colors - bright, materials - high-tech, ornaments - contrasting and colorful. And also the use of so-called "totems"- these are the structures:
"Memphis" existed until 1988. Over these 8 years, designers managed to create several items that have become iconic: an armchair Bel Air...
Bed in the form of a boxing ring Tawaraya Ring...
And a chair First.
And a few more examples:
Memphis design style furniture
Memphis design style is a memorable trend in interior decor. It was created by a group of young designers from Milan under the leadership of the Italian architect Ettore Sottsass. The debut took place in 1981. Memphis had a significant influence on interior design in the 1980s.
Memphis design style at the beginning of its development
The origin of the style
The origin of the name “Memphis” is as strange as the essence of the project itself. Ettore Sottsass was listening to Bob Dylan's "Stuck Inside of Mobile with the Memphis Blues Again." The repeated repetition of the phrase "Memphis Blues Again" was crucial in choosing the band's name.
Unusual shelving unit in Memphis style
Exposition
The Memphis concept was the denial of clear guidelines regarding design. The style promoted freedom of creativity. Memphis finds expression in unconventional shapes, colors and materials. In addition, this direction did not claim to be long life in the world of design.
Decor items convey the concept of Memphis style
An exhibition dedicated to the Memphis style was held at the Dixon Museum, Tennessee, 2014. Karl Lagerfeld's house in Monte Carlo Famous designer Karl Lagerfeld furnished his apartment with furniture designed by the Memphis group. The following images are from Lagerfeld's Memphis 1991 catalogue.
Karl Lagerfeld's apartment in Monte Carlo
Unusual pieces of furniture designed in 1980s Memphis style
Memphis style in modern interior design
In contrast to functionalism
According to Ettore Sottsass, functionalism in design is not enough. Design should be sensual and captivating. Unlike other styles of the postmodern era, the Memphis style seemed least concerned about the intellectual component of its work. The table was designed by Ettore Sottsass for the Spanish company BD Barcelona Design.
Memphis style furniture design
Shelving in panda color
The shelving design was developed by one of the designers of the Memphis group, Paola Navone. Series open shelving began to appear at the Salone del Mobile exhibition in Milan 2015.
Original shelving unit for the living room in panda colors
Followers of the Memphis style
The Memphis design group disbanded in 1988. Today you can find many followers of this eccentric style. Young designers are fascinated by his originality.
Jewelry stand
Unusual lamps
Memphis style armchair
Sofa designed by the designer of the Memphis group
Furniture design that cannot fit into any frame
Kartell and Ettore Sottsass
Italian design house Kartell paid tribute to Ettore Sottsass by organizing an exhibition of Memphis style works as part of the Salone del Mobile. The event featured 10-year-old works designed by Sottsass for Kartell - six vases and two stools. In addition, unique chairs by Mademoiselle Philippe Starck were exhibited.
Works by Ettore Sottsass, presented at the Salone del Mobile exhibition in Milan in 2015
Of course, the Memphis style revolutionized the design world. Thanks to the promotion of bold and bright ideas, this style has gained recognition in many countries.
"Memphis"
“Memphis, ancient Egyptian city (southwest of Cairo). Founded in the 3rd millennium BC. e., a major religious, political, cultural and craft center, the capital of Egypt in the 28th - 23rd centuries. BC e."
"Memphis is the name of modern blues"
In 1981, Ettore Sottsass teamed up with two other outstanding designers Michele de Luca and Andrea Branzi to create the Memphis group. The origin of this name is rumored interesting story. They say that it originated in the house of Sottsass. There was a Bob Dylan record playing, “...trapped inside a gas station with the Memphis blues again...” Since no one bothered to replace the record, Dylan sang about the Memphis blues over and over again until Sottsass said, “Okay, let's call it Memphis.” design architecture design memphis
Memphis was based on the idea that existing method design contradicts current state human society. The world around us is changing rapidly, the pace of fashion cycles is constantly accelerating. Design focused on the absolute and eternal is paradoxically short-lived, because the object environment becomes obsolete very quickly, and this “aging” is already programmed into it. design must be brought closer to the needs of society, reconciled with the laws of obsolescence, or, conversely, create an “out-of-fashion” design - in other words, remove formal style-forming features from it and make it timeless.
What was the Memphis style? Its main definitions can be considered the words “frivolously” and “game”. Have you ever watched a child play with blocks? How does he make them up? different designs, uses different combinations, sometimes wild and incompatible. So you can imagine what Memphis looks like.
This style became the herald of “anti-design” - “frivolous”, illogical, colorful, and often emphasizing “bad taste”; it was a real anarchy in design!
It is unlikely that in “Memphis” it will be possible to highlight any features or characteristics that form the style; they simply do not exist. It is focused solely on expressing the designer's identity. But the common unifying factor is the sharpness of the gesture, the bold play with materials, textures and forms, and the masterly mixture of styles. For all this, the style of "Memphis" was attractive, witty and funny. It was skillful balancing on the brink of kitsch, but this is real art - balancing on the brink and not slipping into bad taste. It was like he was shouting, “Don’t take design too seriously!”
First, collections of almost unique micro-batch items were created. However, these collections were presented in so many fashion magazines and advertising publications that they quickly gained wide popularity. In essence, a powerful advertising campaign was carried out to introduce a new design method. And it so happened that from an exhibition phenomenon to which people, at best, just gawk and marvel, the idea of “Memphis” instantly turned into a real factor in shaping the environment.
The creators gave it a loud epithet - “new international style”. And, indeed, very soon the Memphis style became the most influential in world design.
What made this style different from others? Above all, his objects are pleasing to the eye. This is a world of bright pure color. A paradoxical mixture of textures, shapes, materials. Unexpected accents.
As mentioned earlier, the main definition of this style is GAME. Playing with everything you can: playing with colors and shapes. Everything is extremely simple. No deliberate complication of the form. After all, the world is diverse, filled with things and very complex in nature. A person gets lost, it is difficult for him to perceive such a world - the variety of elements of the world turns virtual into virtual noise. Each individual object should be perceived easily. Why complicate the world even more?
In addition - individuality, originality and expressiveness. Each object has its own character. In general, the Memphis style can be compared to slang. Slang can be rude, vulgar, indecent, but it is always extremely expressive and accurate. Memphis formula: absolute freedom creative self-expression and design realism.
One more distinctive feature it was that Sottsass and his like-minded people refused to create things for assembly line production and think only about profit and high sales. In their opinion, modern design should be of high quality and multifunctional. Soon the company Sottsass Associati was created, which dealt with industrial design, interior design, visual communication projects, as well as numerous architectural projects all over the world. The first clients of Sottsass Associati were such well-known companies as Mandelli, Brionvega, Wella. Thanks to this cooperation, there were original models machines, televisions, hair dryers. Designers were looking for new means of expression, practical and inexpensive materials, many have decided technical issues on one's own.
In 1985, the Memphis group held an exhibition called Pets. It displayed furniture, but not just furniture, but furniture with character. This is furniture that comes to life, you can no longer treat it unemotionally, you need to get along with it like pets.
Because of its unusualness and originality, “Memphis” has become a real norm for wealthy society. Having completed its task, creating a new expressive plastic language, a new visual culture, the group ceased to exist in 1989. However, this was not the end of the Memphis story.
In the second half of 1996, a new trend in design emerged - toys became models for the design of household items. Their visual plasticity, the mixture of the simplest forms and primary colors again unexpectedly burst into the serious world of adults, giving them the opportunity to enjoy limitless possibilities Lego constructor. At this moment, the strange, ironic, decorated works of the Memphis studio turned out to be very useful, which simultaneously expressed nostalgia for a bygone childhood and the joy of finally gained freedom, as well as hope for a bright, bright future.
After Ettore Sottsass was proclaimed the spiritual mentor of all followers of the movement “ new design"... he suddenly became bored. He understood well that his main task already done. Now it's time to move on to other things.
Those who had to study Sottsass’s work unanimously admit that he “matured” completely with the onset of the 90s.
Now the designer is no longer interested bright colors and strange shapes, his designs became more mature, thoughtful and technical. The company under his leadership is connected with contracts with such reputable customers as Siemens, DuPont, Abel Print.
Sottsass still works a lot in his Milan studio, comes out with new projects almost every year and does not like to read Italian newspapers, considering them boring. He considers himself a closed and uncommunicative person, admits that he has no friends, but at the same time believes that true bliss is to feel loved.
Ettore considers the Vedic treatises to be the most important things in his life, which he is ready to re-read again and again, reflecting on the endless circle of life; novels by his favorite Russian writers Leo Tolstoy and Ivan Turgenev; poetry of Sappho and French romantics. When asked which of his past projects brought him greater satisfaction, Sottsass prefers not to answer because life is a continuous process, a constant transition from simple to more complex. “One thing I know absolutely for sure,” says the great Ettore, “ good designer must invent things that bring good luck and build houses that protect people..."
The promotion of the “re-design” and “banal design” directions invented by Alessandro Mendini, the creative leader of the studio, became central to the ideology of the Alchemy studio, and Sottsass, who found this approach too limited, left the group. On December 11, 1980, several designers, led by Sottsass, met to discuss the need to create a new direction in design. They decided to create an association, which that same night was named "Memphis", after the title of the Bob Dylan song "Stuck inside of Mobile with the Memphis Blues Again", which was played many times during the design meeting. The name also evoked the ancient Egyptian cultural capital and hometown Elvis Presley, and therefore had double and even triple encryption.
In February 1981, the group met again. By this time, group members had completed over a hundred sketches of bold, colorful designs, drawing inspiration from both futuristic themes and decorative styles of the past, including Art Deco, '50s kitsch, and mocking the pretentiousness of "good design."
In September 1981, the group showed their work for the first time at an exhibition in the Arc "74 showroom in Milan. The collection of furniture, lamps, watches and ceramics presented in Milan was created by an international group of designers whose names have gone down in the history of modern design: Hans Hollein (Hans Hollein), Shiro Kuramata, Peter Shire, Javier Mariscal, Massanori Umeda and Michael Graves The Memphis exhibition became a sensation in the design world.
In the same year, in order to promote the new direction, the book “Memphis, the New International Style” was published. The Artemide company, which had been producing items created by the group's designers since 1982, provided Memphis with its showroom in Milan, where the designers exhibited their new creations. From 1981 to 1988, the group's exhibitions were successfully held in London, Montreal, New York, Paris, Stockholm and Tokyo.
The Memphis style has become a real anarchy in design. It is difficult to identify “formative features” in it, since it is focused exclusively on expressing the designer’s originality. But the common, unifying thing is the sharpness of the gesture, the bold play with materials, textures and forms, the masterly mixture of styles. For all that, Memphis' style was attractive, witty and funny. It was like he was shouting, “Don’t take design too seriously!” Everything was garishly colorful, artificial and playful. One of the designers’ favorite materials was laminate, which they valued for its “lack of nobility.” From the bars and ice cream parlors of the 50s and 60s they brought it to residential buildings. Glass, steel, galvanized, aluminum, as well as laminate, began to be used in new semantic combinations. Collages built on the principle of chaos were used. Many of the objects looked like children's toys. Memphis design is a world of bright, pure color. The juxtaposition of colors is sharp, on the verge of kitsch, but this is where virtuosity is expressed - balancing on the edge. A paradoxical mixture of shapes, textures and textures, materials. Unexpected accents.
"Playfully", Sottsass and his like-minded people solved serious problems: they refused to create things for the assembly line and think only about profit and high sales. Modern design, they said, must be of high quality and multifunctional. It is not surprising that such well-known companies as Mandelli, Brionvega, Wella became the first clients of Sottsass Associates. Original models of machines, televisions, and hair dryers appeared. Designers were looking for new means of expression, practical and inexpensive materials, and solved many technical issues on their own. Unlike the Alchemy studio, the Memphis designers immediately set themselves the goal of establishing a connection between the design object and the consumer. In their activities, they used new knowledge in sociology and marketing: They sought not just to supply the market, but to target certain social groups. This ultimately led, both aesthetically and conceptually, to a new understanding of design.
The mixing of themes and indirect citation of past styles used by the Memphis designers contributed to the creation of a post-modern design style. The band members always recognized that Memphis was a "passing fad" due to changing fashions, and in 1988, as the band's popularity began to wane, Sottsass disbanded it. Despite its brief existence, the "Memphis" phenomenon, with its youthful energy and ironic approach to design, proved to be central to the creation of the international Postmodernism movement. "Memphis" paved the way for anti-functional trends in European design, which were called "new design".
Based on materials:
“History of Design” volume 2, S. Mikhailov
Design of 20th century, Charlotte & Peter Fiell, Taschen, 2005
Etc. Denying " good taste", bourgeoisism and consumerism, focusing on everyday life, the authors of "Memphis" used inexpensive materials (laminate from bars and cafes), were fond of comics, collages, asymmetrical shapes, open colors. Most of the Memphis objects resemble toys: fun game, freedom, anarchy - the theme of their anti-design - illogical, anti-modern, original.
For memphicists form did not have to follow function.They exhibited prototypes, something that had become common for design shows thanks to Memphis.Previously, every piece of furniture offered had to be ready for mass production, so manufacturers took little risk for something new.
He is considered to be the first devoted fan of the group: he furnished his then apartment in Monte Carlo exclusively with the works of the Memphicians. After In 2007, when Sottsass died, Memphis began to creep back into the design world.In 2014, the American brand asked to create a collection for it.That same year, Sofia Coppola admitted that she was obsessed with Memphis when she was young.In November 2017, the family sold his art collection to , where it was revealed that Bowie had amassed more than 400 Memphite works after meeting Sottsass in the '80s.
One of the main and youngest members of Memphis was French. In the interview, she answered Alina Pinskaya’s questions: “We met in Martin’s Parisian apartment,” says Alina. - An idealist who does only what she loves, she gives the impression of an independent person who lives in harmony with herself. She is distinguished by her lightness and youthful perception of the world, but also by strength of character along with categorical judgments.
Designer Martin Bedan.
gallerist, blogger
Art critic, curator, founder of the Palisandr gallery. Specialization - post-war design and abstract painting of the second half of the twentieth century.
“Martin Bedan carries within himself a ceaseless, innocent courage that ultimately becomes a symbol of freedom, luminous and transparent.” Ettore Sottsass.
Doesn't Ruhlman exist today? I think there are excellent craftsmen who are very focused on their work and make exceptional furniture. , For example. The era of great speculation in design is over - dead. When the Memphis items from David Bowie's collection were sold, it was clear that they bought primarily Bowie's scratches on the items, and not the items themselves.
"Memphis" - a protest against elitism? No, because if we consider ourselves intellectuals, we automatically become part of the elite. It was a protest against the market that generates consumption. A small group of people of all ages: I was in my 20s, I was in my 60s, we came together with the goal of creating design in a kind of manner of “resistance” to the ideas of marketing and fashion. The objects of radical designers are close in spirit to art. Non-functional follies, like a pincushion lamp. But the problem is that Memphis has become trendy. Our protest suddenly created icon things. They were never super-commercial, but everything went against our original idea... We were also very close to conceptualism: for example, I painted chairs made of straw that had to be set on fire before sitting down.
How can we become “radicalized” in this day and age? Don't buy anything (laughs).
Riveria carpet, Nathalie du Pasquier. Estimate 800–1,200 f. Art. Sold for £27,500. Art. Sotheby's. David Bowie collection.
“I think the era of great speculation in design is over—dead.”
Tell me, how do such “groupings” happen? How does this relate to the individualism inherent in everyone? creative individuals? Then in Milan there were four or five major designers. was still alive, I knew him, but he hardly worked anymore. There was Achille Castiglioni, there was Sottsass (who then mainly worked for Olivetti). There was also a younger intellectual who published the magazines Casabella and then Domus. And there were young people like me. I went to study architecture in Florence at 18 and joined the radical Superstudio movement even before Memphis. At that time there already existed “Archizum” in Italy, “Archigram” in England - very European phenomena, a rebellion against the totalitarianism of industry, marketing, and consumption. Almost all the Memphis members knew each other. , like me, for example, I also studied in Florence.
Riviera chairs, design. Michele de Lucchi. Estimate 500–700. f. Art. Sold for £8,125. Art. Sotheby's. David Bowie collection.
We were invited to exhibit at the Milan Triennale in 1977. There I met Sottsass. And then I drew a Super lamp, making a model out of cardboard, since there was no money for more. Sottsass asked me: “Tu qui sei?” (“And who are you?”), to which I replied: “I am no one, and who are you?” That’s how I, at 20, as a student, like other young designers, went to Milan to work with Sottsass. He had no money - we weren’t paid. We ate sausages and had fun. In addition, many had additional classes - I, for example, wrote for French publications. You could say that this was a group of “survival” youth around Sottsass. We were very happy with him.
Sofa Lido, design. Michele de Lucchi. Estimate 1.5–2000. f. Art. Sold for £16,260. Art. Sotheby's. David Bowie collection.
One day everyone went to Corsica in my family home. Armed with notebooks, we drew a lot - objects, furniture. One day they laid out drawings on the floor, and Sottsass said: “We need to do something about this!” We returned to Milan with the drawings, to the song of Bob Dylan Stuck Inside of Mobile With The Memphis Blues Again, chose the name “Memphis”... Our community was very closed. I then lived with Michele de Lucchi, Natalie (du Pasquier)- with George Sowden. It was something like a kibbutz.
Kettle Colorado, design. Marco Zanini. Estimate: £300–500 Sold for £10,625. Art. Sotheby's. David Bowie collection.
In 1990 I left Milan, but we always stayed in touch. And this is still true. Michele (Michele de Luca was Martin Bedan's husband for 12 years) and now he can ask me, “Is there any news from Natalie? I haven’t seen her for three months.” With Barbara (Barbara Radice, wife of Ettore Sottsass, journalist and “chronicler” of the association) We also communicate constantly.
Bookcase Adesso Pero, design. Ettore Sottsass. Estimate: 5-7 thousand pounds. Art. Sotheby's. David Bowie collection.
Why were there only two women in the group (not counting Barbara Radice)? The group was very closed. At first she was also with us. We lived in the same area, worked in the same basement, and froze together in Ettore’s office. It was a family story and, of course, it was pure avant-garde. Like a train: if it rushes without stopping, no one can jump on or off it. Many wanted to join and sent drawings. And no one said “no”, it’s just that what they sent was a copy of “Memphis”... We decided to stop when we started repeating ourselves - the concept was blurred and it was no longer avant-garde.
Dining table Madras, design. Nathalie du Pasquier. Estimate: 1-1.5 thousand pounds. Art. Sotheby's. David Bowie collection.
What was the situation in the group? Were there those with whom you found it easier to work, and vice versa? We were like a rock band: we had a lot of fun, had parties. Everyone drew something in their corner, then we showed it to each other. Sottsass was the intellectual center, the conductor. Very organized, strong spiritually. Extraordinary. At the same time, he was closed - he didn’t really like meeting new people.
Orinoco vases, design. Masanori Umeda. Estimate 400-600 f. Art. Sold for £6,250. Sotheby's. David Bowie collection.
Were the Japanese “rockers” too? It's hard to imagine. Tell us about them. Umeda sent Sottsass a telegram with the words: “I am a student from Japan, I want to work with you. I’ll come back after the summer.” Sottsass did not understand then why they had to wait so long, since it was only February. But Umeda explained that he would arrive by ship, and in winter it was unsafe, so he would board the ship in June, but would only be with us in September. He was very funny. Shy. did not live with us - he periodically sent his drawings. But he became a close friend, part of my family, he came to Milan. He was just like us - he loved to drink and dance. The relationship with him was especially deep.
Super lamp, design. Martin Bedan. Estimate 250–350 f. Art. Sold £11,250 Art. Sotheby's. David Bowie collection.
How did the Super lamp come about? While studying in Florence, I began to invent objects. I realized that they must be “different”, like some kind of viruses: you place a thing in space, and it “charges” it with itself. My father was a design engineer. I loved everything related to technology, mechanics, light bulbs, etc. In addition, I always traveled, lived on the move... So I came up with the idea of a lamp that you can take with you. My big lamp with the “small” name Lampe de Poche (flashlight) appeared on paper at the time of "Memphis", but was first published in an edition of six copies only recently. I didn't choose the name. When we did the first Memphis exhibition, there was a vote. I don’t remember whose idea it was, but we decided to give our creations the names of the hotels we stayed at. I remember this Super Hotel in New Delhi. From there, Carlton (the famous Sottsass bookcase - editor's note) etc. And yes, if you want to find an authentic, first version of my lamp, 1981 or 1982, then the body was metal, not plastic.
Shelf Carlton, design. Ettore Sottsass. Estimate: 5-7 thousand pounds. Art.
What are your favorite Memphis items? I have two pieces - a Kuramata terrazzo table and another small Ettore table. There are other objects of Ettore, but not of the time "Memphis".
Kyoto table, design. Shiro Kuramato. Memphis. Terrazzo.
Collectors have an interest in original Memphis items. How to distinguish them? The 1981 Memphis objects have labels attached with two small screws. It is clear that they are already very shabby. If the plates are new, this is not an early edition. And one more very important detail to identify the first things - upon closer inspection of the surface, ... laminated mosquitoes are visible. We did these things in the summer near Turin and there were swarms of mosquitoes (laughs). But remember, the main thing in an item is not the label, but the designer’s thought.
