Saratoga Line Chest of Drawers by Massimo and Lella Vignelli for Poltronova, Italy, 1960s

For over 50 years, Italian-born husband-and-wife team Massimo and Lella Vignelli collaborated on a variety of now iconic design projects spanning the product, print, interior, exhibition, and industrial arenas.

Massimo Vignelli was born in Milan in 1931. He studied architecture at the Accademia di Belle Arti di Brera in Milan from 1948 to 1950, before going on to study at both the Politecnico in Milan (1950–53) and the University of Venice (1953–57). While still a student, he designed lighting for renowned Murano glassmaker Venini.

Lella Vignelli (née Valle) was born in Udine, Italy in 1934. She studied architecture at the Massachusetts Institute of Technology (MIT) in Cambridge from 1955 to 1958, and, before returning to Italy, worked as a junior designer for Skidmore, Owings & Merrill. In 1962, she graduated with a degree in architecture from the University of Venice.

Having married in 1957, the pair established the Lella and Massimo Vignelli Office of Design and Architecture in Milan in 1960, focusing on office accessories, home products, graphics, and furniture. The studio’s clients included Pirelli and Olivetti, among others. In 1965, the Vignellis moved to Chicago and founded, along with six other designers, Unimark International (1965–71), which specialized in corporate graphics. Clients included the likes of American Airlines, Knoll, Bloomingdales, Ford, and Saks Fifth Avenue. Notably, Massimo’s prolific print work championed the Helvetica typeface, encouraging its eventual widespread popularity in the US. In 1971, the couple established Vignelli Associates (known from 1978 on as Vignelli Designs) in New York. They continued to work together until Massimo’s passing in May of 2014.

The Vignellis can be credited with helping to bring contemporary Italian design to the US. Their shared aesthetic celebrates balance, elegance, and simplicity, and embraces the notion that a designer should be able to design anything and everything. Notable projects include, among others, the stackable Knoll Handkerchief Chair (1982–87); colorful, molded melamine Heller Stacking Dishes (1964); and the 1972 New York City subway map. In addition to their design work, both have taught, lectured, written, and served on a variety of juries and boards throughout their careers. Their work has been exhibited internationally in a variety of exhibitions, including, in 1980, a retrospective at New York’s Parsons School of Design. In 1982, the Vignellis were awarded the AIGA Gold Medal. In 2008, the couple donated their complete design archive to the Rochester Institute of Technology in upstate New York; the archive is now housed in a 2010-erected building of their own design, the Vignelli Center for Design Studies.

Italian furniture manufacturing company Poltronova was founded just north of Florence by Sergio Cammilli in 1957. Cammili had a background in art, and many believe it was the founder’s remarkable openness to bold creative expression that led the company to become one of the most daring in 20th-century Italian design.

Soon after launching, Cammilli was introduced to young designer Ettore Sottsass, who was at the time designing ceramics for Bitossi, also located in the region around Florence. By 1958, Sottsass was hired to be Poltronova’s artistic director.

In the early years, Poltronova concentrated on producing stylish, modernist furniture, often made in wood and sharing many features in common with midcentury designs from Scandinavia. Both Cammilli and Sottsass, however, had ambitions to do something more experimental.

In 1966, Cammilli and Sottsass visited the Superarchitettura exhibition, presented at Galleria Jolly 2 in Pistoia. This era-defining project was organized by Superstudio and Archizoom—two counterculture student groups from the University of Florence’s Faculty of Architect; it’s now seen to be a landmark moment in the development of Radical Design movement. Cammilli and Sottsass immediately changed the direction of the Poltronova, began working with young, iconoclastic designers, and helped to usher in the postmodern era in design.

Notably, Archizoom designed the company’s new factory in the 1960s and programed events at the headquarters, which included a poetry reading and meditation workshop led by poet Allen Ginsberg.

Poltronova produced a number of iconic designs, such as Mario Cerruli’s Mobili Nella Valle Series (1966); Archizoom’s Superonda Sofa (1967) and Mies Lounge  (1969); Superstudio’s Guerpe Lamp (1967); Ettore Sottsass’s Ultrafragola (1970); and De Pas D’Urbino & Lomazzi’s Joe Chair (1970), to name a few. Other major designers who have designed for Poltronova include Gae Aulenti, Angelo Mangiarotti, Giovanni Michelucci, Paolo Portoghesi, and Massimo Vignelli. Many Poltronova works were included in MoMA’s landmark 1972 exhibition Italy: The New Domestic Landscape.

After Cammilli and Sottsass left Poltronova in the 1970s, the company’s management changed hands a number of times, and the focus switched to producing more commercial collections. By the mid-1980s, Poltronova was struggling to survive. Thankfully Roberta Meloni, trained architect, stepped in to advocate for the preservation of the Poltronova archive. She acquired a managing interest in the 1990s, and in the new millennium she was named CEO. Today Poltronova’s legacy has been secured through Meloni’s company Centro Studi Poltronova, a multifaceted organization that manages archives, promotes study and public exhibitions, and produces iconic Poltronova designs on a made-to-order basis.

You can find our interview with Ms. Meloni here.

 * All images courtesy of Centro Studi Poltronova