COMPILED BY Jo Buitenbach

Glam metallics, neon, ultra-fun graphic prints, a floral-pattern bonanza – the 1980s had it all in excess. Sure, the era garnered a bad reputation because of this more-is-more maximalism, but its many devotees agree that its revolutionary architecture and design have had a long-lasting influence, inspiring culture, art and design today. So tease up your hair and pop in those shoulder pads – it’s time to explore this polarising period and its radical impact.

Walking in Memphis

Memphis Milano is probably the most emblematic design movement of the 1980s. Characterised by strong geometric shapes, bright colours, zany patterns and generally abstract design, some might argue that it’s a little kitsch – but it has a cult-like following. Established in 1980 by the Memphis Group – a collective of designers and architects under the guidance of Italian architect Ettore Sottsass – it was named after a Bob Dylan song, “Stuck Inside of Mobile with the Memphis Blues”.

Its first collection, comprising 55 products, was presented in Milan in September 1981, and introduced the world to a ground-breaking design movement that threw off the shackles of a clean, measured aesthetic and embraced something playful. Most of the pieces were named after luxury hotels, including Ettore Sottsass’s Carlton bookcase.

Another founding member of the group was Nathalie du Pasquier, a French designer and artist based in Milan. While she designed furniture, it’s her striking textiles – including Burundi, Cerchio and Mali – that really catch the eye.

A Postmodern Mishmash

Emerging in the late 1970s, and finding its stride over the next decade, the prevailing architectural style
of the ’80s was Postmodernism. Its eclectic mixture was a drastic reaction to the formality of Modernism and what was seen as its elitist principles. Characteristics of the movement included bright colours (from pastels to neon), eye-catching and playful flourishes, the use of varied materials, and taking inspiration from historic and classic styles of architecture but modernising them.

A leading proponent of the movement was American architect and designer Michael Graves, who designed the 15-storey Portland Building, located in downtown Portland, Oregon. Opened in 1982, the building stood in strong contrast to other offices of the time with its vivid colours, detailed decorations and small windows. It soon became a Postmodern marvel. Graves was also a member of the Memphis Group, and the creator of the totally over-the-top Plaza toilet/vanity in the original Memphis Milano collection.

Another embodiment of Postmodern ’80s architecture is PPG Place in Pittsburgh. Often called the crown jewel in the city’s skyline, it consists of multiple buildings on three city blocks. Designed by Philip Johnson and John Burgee for PPG Industries (who manufacture architectural glass) and opened in 1984, it is a melange of Postmodernism and Neo-gothic style. The main building, constructed from thousands of pieces of reflective glass, is a 40-storey office tower with 231 glass spires, taking its cues from gothic structures and Art Deco skyscrapers.

Shine Bright like a Diamond

Looking closer to home, we have 11 Diagonal Street in the Johannesburg inner city. Better known as the Diamond Building, it was designed to look like a multifaceted diamond by German-American architect Helmut Jahn. Its then-owners, Anglo American Properties, named it “Johannesburg’s premier symbol of achievement” when it was opened in 1984. Its blue-glass surface is striking, reflecting the surrounding cityscape. Perhaps less successfully, the reflection of heat and light has been a vexation to motorists driving past on the M1 highway, as well as to the occupants of the surrounding buildings.

Countryside Craze

In sharp contrast to Postmodernism and Memphis, the ’80s also saw a rise in popularity of a romanticised English countryside style. Another rejection of slicked-back minimalism, it was characterised by floral motifs in a variety of hues, antique brass furniture, and highly patterned wallpapers and linens. Internationally, British brand Laura Ashley ruled the rural roost with its prairie-fied floral dresses and floral chintz decor, while in South Africa, Biggie Best, started by Pru Pfuhl in Cape Town in 1987, was the queen of a dusty-rose quilted realm. The brand’s riot of matching linen, wallpaper, lampshades and tissue-box covers was madly popular.

I want my MTV

On 1 August 1981, MTV debuted with its first music video – “Video Killed the Radio Star” by The Buggles.
But the TV channel didn’t just dish out music content that changed music and youth culture – its logo, designed by Manhattan Design, soon became iconic too. Originally yellow, blue and red, the colours and design of MTV’s branding were continuously played around with, and were often influenced by the colour palette, graphics and patterns of the Memphis movement.

1980s Replay

In homage to the decade’s aesthetic, VISI compiled a list of contemporary artists, designers and brands who will quench your thirst for OTT ’80s design.

The Memphis Milano brand is still going strong, and its work is available in unlimited series as a result of the ethos that “design should be a means of communication, not an elitist art”. So whether you’d like a few metres of a beautiful fabric, a 1981 D’Antibes cabinet by George J Sowden or Peter Shire’s Bel Air armchair, they are only a click away. | memphis-milano.com

Architect Michael Graves may have been responsible for some major buildings, but it’s his iconic Alessi kettle that will go down as his magnum opus. The Whistling Bird teakettle (or 9093 kettle) was launched in 1985, and has been the Italian brand’s number-one seller for 30 years. In keeping with the playfulness of ’80s design, the bird atop the spout sings when the water boils. | spilhaus.co.za

If you’d like to line your walls with striking, ’80s-style art, look no further than Camille Walala. This French artist is known for her huge, colourful geometric public interventions, which often take the form of murals and immersive 3D installations. Her work is inspired by both the Memphis movement and Ndebele art, and her limited- edition prints are available online. | camillewalala.com

American potter and designer Jonathan Adler is known for smart luxury products that don’t take themselves too seriously. So much of his work has an irreverent ’80s feel that he’s been labelled Neo-Memphis, along with a new set of artists creating in the style. His Globo collection – specifically the Globo console – is an overt nod to the Memphis movement. jonathanadler.com | skins.co.za

Swiss watchmaker Swatch isn’t afraid of a trend, or of bright colours or nostalgia, for that matter. Founded in 1983, the company recently introduced its new NEON range – a popping collection inspired by the neon colours of the 1980s and ’90s. And the brand’s Jean-Michel Basquiat collab celebrates the work of the late American artist, who rose to success in the 1980s as part of the Neo-expressionist movement. | swatch.com

Tom Dixon’s S chair is a true icon of ’80s style. This important piece of 20th-century design can be found in the permanent design collection at MoMA in New York and V&A Museum in London – and being produced by Cappellini in Italy (and available from Créma) in an array of colours and materials. | cremadesign.co.za

Swedish lighting company Swedish Ninja is all about colour, shape and multifunction, creating work that adds a fun, modern-day Memphis feel to any home. The Candy collection features wall lights in what Swedish Ninja calls “PickNmix”, encouraging you to choose from 10 different colours and endless variations, and put them together yourself. The OH MY mini sculptures will add a playful touch to your tchotchke collection. | swedishninja.com

If an overtly glam look is more up your alley, and living on the set of legendary ’80s soap opera Dynasty sounds appealing, the Angel View server by local bespoke design company NOWA is for you. Come worship at the altar of glam! | nowa.co.za

Thanks to a host of TikTok influencers, cottage core – an aesthetic inspired by countryside living – is big. And if you want to fill your home with a maximalist garden of sweet prints, then you’re in for a treat. The Laura Ashley brand is celebrating 70 years in the business, and has reached back into its impressive archive to create a limited-edition collection that focuses on historic prints, including the Wood Violet wallpaper in Ochre Yellow, which was first introduced in 1981. | lauraashleyusa.com

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The post ’80s Mixtape: Delve Into Retro Design appeared first on Visi.

Local ethical jewellery atelier, PICHULIK, has created two limited edition earrings exclusively for the VISI Shop in celebration of Women’s Month.

Founded by Katherine-Mary Pichulik, this local ethical jewellery and accessories atelier is inspired by ancient traditions and cultures from around the globe, while celebrating femininity and wisdom through considered design. In celebration of Women’s Month, PICHULIK has collaborated with VISI on two limited edition earrings inspired by the Memphis Milano design movement.

PICHULIK Lucchi Earrings

VISI Collab: PICHULIK Lucchi Earrings

Delicious colours of these earrings are contrasted in this sporty and energetic statement earring.

This collab is no longer available.

These camel and aqua earrings have been inspired by architect and designer Michele De Lucchi. He was a prominent figure in design movements such as Cavart, Studio Alchimia and Memphis, and has designed numerous lamps and furniture pieces for brands like Artemide, Olivetti, Alias, Unifor, Hermès and Alessi.

PICHULIK Mendini Earrings

VISI Collab: PICHULIK Mendini Earrings

Delicious colours of these earrings are contrasted in this sporty and energetic statement earring.

This collab is no longer available.

These orange and blue earrings have been inspired by architect and designer Alessandro Mendini. He played an important part in the development of Italian, Postmodern, and Radical design. In 1978 he joined the Studio Alchimia as a partner and worked closely with Michele De Lucchi.

PICHULIK Wonder Workshops

This August, to celebrate Women’s Month and the new space, the brand is launching its Wonder Workshops and Experiences – a series of special intimate gatherings to be hosted at their Atelier in collaboration with talented women from the PICHULIK community.

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The post VISI Collab: Limited Edition PICHULIK Earrings appeared first on Visi.

This global group of ’80s designers challenged the design status quo with a dazzling and ultimately influential range of furniture and objects.

The Memphis Group of design took its name from the lyrics of Bob Dylan’s Stuck Inside of Mobile with the Memphis Blues Again, a song that was played on repeat the night of the international group’s first meeting in Milan in 1980. Considering the juxtaposition of extravagant fantasy and age-old mysticism embedded in the objects created by its members, its name seems rather appropriate if one recalls that Memphis – home to Elvis’ Graceland – was named after Memphis, the ancient capital of Egypt.

Launched during the Milan Furniture Fair of 1981, with 40 pieces by the likes of Marco Zanini, Michele De Lucchi, Martine Bedin and Nathalie du Pasquier, the Memphis Group created an uproar – both of disgust and delight.

Here were odd, unexpected forms of decor – some of indeterminate function – painted in audacious colours like blinding fuchsia and popping pastels, in which plastic laminate and terrazzo found bizarre unity. At the time, Modern and Minimalist design still reigned supreme, and puritanical ideas about form and function prevailed. Furniture was clean-lined and spare, pattern and ornamentation were minimal and material was based on hierarchical conventions – marble for sophisticated living-room tables; laminates for kitchen floors. If colour was introduced to interiors, it would be a “safe” primary hue.

But architect and designer Ettore Sottsass, regarded as the group’s protagonist, was interested in enriching objects rather than paring them back. His fascination with Eastern and African spiritual traditions, Pop design and the arts-and-crafts movement resulted in individualistic, curious-looking creations such as his tendril-like Ashoka lamp of painted metal, and colour-loaded Carlton storage unit resembling a human-tree hybrid. Memphis member Andrea Branzi said the aim of such designs was “recuperating decoration and colour as signs of freedom and nobility of creative invention” while “going beyond ergonomic limits and concentrating on an affective relationship between man and his things”.

Even single-colour pieces, such as Matteo Thun’s nude porcelain vases, maintained this notion of challenging perceptions in their almost cartoonish shapes.

It was fine that Memphis wasn’t embraced by the masses, because its principle of being partly handcrafted and produced in very small quantities was a precise reaction to the limitations and repetitiveness of mass production at the time. It’s something we can relate to in a country where handcraft is part of the cultural narrative, and where vibrant tones and heritage patterns are ingrained in our collective psyche. Trend analyst Li Edelkoort highlighted the similarities when she curated Totemism: Memphis Meets Africa at Design Indaba 2013. Even now, seven years on, and more than 30 years since the Memphis Group disbanded in 1988, parallels can be seen here at home.

Atang Tshikare’s graphic surface patterns could be the modern-day counterpart of Du Pasquier’s expressive motifs, while Porky Hefer’s Molecules collection of colour-loaded leather-pod seating, recently launched at Design Miami, is sure to have Sottsass et al. wishing Hefer had been part of their ’80s crew. In a world tackling grievous issues, it’s a relief to know that furniture can still be zany enough to make us smile.

Looking for more on design? Read all about the Bauhaus design movement.

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