Tuesday 2 December 2014
All you want for Christmas is this
Do you want to buy Hall of Femmes’s books in time for Christmas? Here’s the complete list of book shopping online.
And of course our own little shop.
Wednesday 26 November 2014
Invite us to your place!
Why are there so few women in design history? Does it really matter to anyone if a designer is a woman or a man? Does magic really happen when women designers from a younger generation meet senior women designers? How is knowledge passed on to the next generations? How do you know you’re starstruck? Why would someone spend all their money on making books? What year will the design industry be equal?*
In short: Do you want us to come to your office or school or homeparty to talk about Hall of Femmes? Send us an inquiry at firstname.lastname@example.org
*Sorry, we can’t answer that question. It’s up to you.
Thursday 23 October 2014
L’hommage: Paula Scher > Rosmarie Tissi
We can’t wait until November 12, when Swiss graphic designer Rosmarie Tissi will join us for a design talk at ArkDes in Stockholm. From the Hall of Femmes circle, we asked Paula Scher to tell us more about her admiration for her colleague and friend.
When did you discover Rosmarie Tissi’s design? What impression did it make on you?
I saw Rosmarie’s work in various publications and annuals in the early and mid-80’s, probably in the magazine Graphis. I remember seeing an article on Odermatt & Tissi, and was surprised to find out that Tissi was a woman. I loved it and thought it was very contemporary. I always assumed that everything was designed by men, because in the publications and annuals of that time, it usually was.
Tell us about your first meeting with Rosmarie?
It must have been in Mexico, probably either on a jury of a show, or at a group poster show. She actually liked to travel without Siggi (Odermatt), her by then long time partner. She used to go on extensive vacations by herself, after working all year with him. She didn’t mind traveling alone – I did, but got over it. I remember admiring her independence.
We also were together for a large group poster in exhibit in Teheran in the 90’s, both very upset about having to wear the stupid scarf over our heads every day. It was surprising how much that affected us. I cried the first morning that I had to put it on, and Rosemarie had the same reaction. Some of it was vanity and some of it was rage.
What has your friendship with Rosmarie meant to you as a designer?
Rosmarie was my first female, European design friend. I sometimes saw her at AGI (Alliance Graphic Internationale) where there were very few women members – more so now, but still, not enough. I was inspired by her work because of its modernity, its beauty and precision, but was also inspired by her as a person.
I admired her confidence and independence. She was opinionated about work, and savvy about the design community. I learned that Swiss poster designers are very competitive and not very nice about it, but I remember that she helped younger designers receive recognition.
She also had a clear handle on old boys clubs. When she traveled to conferences and exhibitions, she was often the sole woman among a powerful group of male designers, who considered themselves peers and would even exclude her from the group. She never let it undermine her. She had a strong belief in her own talent and accomplishments, and viewed the work of some of the men for what it was.
What part of Tissi’s work do you find most relevant today?
I suspect Rosmarie is about to have a whole new wave of popularity. Her work still looks incredibly fresh and modern. The color, scale, proportion, use of imagery is impeccable. I also like her type design, she designed three faces that are pretty cool. Her posters are dynamic, powerful and gorgeous. She’s classic.
Do you have anything to say to those who are not familiar with her work?
Sunday 28 September 2014
Meeting Ruth Ansel
Ladies and gentlemen, we proudly present Ruth Ansel, a woman who’s always been at the right place at the right time. Back in the 60’s, when she was just 24, she and Bea Feitler became co-art directors of Harper’s Bazaar. In the 70’s, Ruth was the art director of The New York Times Magazine, in the 80’s, Vanity Fair. Each time, she was the first woman in that position. In recent years, she’s run her own studio – Ruth Ansel Design – designing books like the much-talked about, 20-inch tall monograph on the photographer and artist Peter Beard. Today, Ruth is 70 years old and still working.
Ruth is Grand. Everyone we’ve met has spoken about her with the utmost respect. Ruth is the one we’ve dreamed most about meeting though we hardly dared to think it would ever happen. She’s been known to publish fake e-mail addresses online with the sole purpose of making it harder for people to reach her. A few months ago, we called her up. It was a brief conversation, ending shortly after Ruth sternly told us that she would »look us up«. Several nervous weeks later, we received an e-mail from Ruth in which she praised our work. Throughout our entire career, nothing has been as important as that e-mail. We felt like a door had opened, that we had received an invitation to an important society. Is this what it feels like to be in the »in« crowd?
Ruth Ansel lives in a posh apartment building on Manhattan’s Upper West Side. In her courtyard a film crew is set to shoot a Disney film starring Nicolas Cage. On our way up to the tenth floor, the elevator man asks us if we’re aware that Cyndi Lauper lives in the house. »You know that song ’Girls Just Wanna Have Fun’?« But we’re focused on a different lady.
Ruth Ansel welcomes us into her large apartment, only to disappear into the kitchen. She’s wearing black clothes, Mary Janes, a big orange watch and a turquoise ring. In the kitchen, she’s arranged a lunch buffet of delicious treats; croissants, smoked fish spread, tasty cheeses and small apples. We fill up our plates and ask if she’s interested in food. »Unfortunately«, she replies, not helping herself to lunch. Above the refrigerator there’s a blackboard in the shape of a cat. On it, Ruth has scribbled a Diana Vreeland quote : »Elegance is refusal.« It’s supposed to keep her from sneaking things out of the fridge.
In 1963, when Ruth Ansel and Bea Feitler were appointed co-art directors of Harper’s Bazaar, the leading fashion magazine of its time, they were met with blatant skepticism by a male-dominated media world. Could two twenty-something females really shoulder such an important role? However, it didn’t take long before the duo had modernized the magazine by infusing it with elements of pop art, street fashion, rock and roll music and film. They chose photographers whose work changed fashion photography forever. Furthermore, the graphic design of Ansel and Feitler set a new standard in magazine design, an updated take on Brodovitch’s revolutionary designs from the 40’s and 50’s.
Ruth Ansel ended up in the magazine world by accident. She was born in the Bronx in the late 1930s. Her father was in the china import business and her mom ran a small lingerie shop. From childhood, Ruth took a great interest in art and movies. Along with her classmate Nina Castelli, daughter of Leo Castelli and Ileana Sonnabend , central figures in the New York art world, she spent a summer in East Hampton at age 15. There, she saw the artist William De Kooning paint his »Woman« series in the downstairs guest bedroom where he was living at the time. Jackson Pollock and Larry Rivers often came by for dinner. Together with the Castelli-Sonnabend family, Ruth went to see her first Balanchine ballet performance as well as Robert Rauschenberg and Picasso exhibitions. It was then her love for art took root.
She graduated from Alfred University earning a Bachelor of Fine Arts Degree majoring in ceramic design but soon realized her career opportunities were limited. After a brief marriage, she escaped to Europe to mend her heart and look for adventure. Her plan was to look for work in different countries and eventually end up in Rome. But after eight months of travel she ran out of money and knew it was time to head home. She felt that, as a young woman, she was never taken seriously in her pursuit of a graphic design career.
Ruth shows us into the living room. The sun shines in through an open window. On the walls there are pictures we’ve seen in books, like Richard Avedon’s famous Andy Warhol Factory triptych and his portrait of Stravinsky. Some are signed with personal notes to Ruth. Her white Mac is standing on a desk that stretches along a wall. Every now and then, we hear a little »pling« announcing she’s got mail. Ruth asks us to sit down on the large couch, and adds that it’s quite uncomfortable, so we should help ourselves to plush pillows to put behind our backs.
Large bookshelves hold yard upon yard of bookmarked books and magazines. We would love to browse through them all. One of the lower shelves carries all the magazine issues on which Ruth has ever worked. They’re collected in heavy bound volumes. She tells us that she has one copy of each magazine except for the Harper’s Bazaar 1965 April issue – with the legendary cover where model Jean Shrimpton wears a large pink helmet and blinks with one eye if you tilt the magazine.
– Samira Bouabana, Angela Tillman Sperandio, 2010
Preface: Hall of Femmes: Ruth Ansel, 2010
Editor: Ika Johannesson
Saturday 27 September 2014
Meeting Janet Froelich
Sometimes a good question is more important than a good answer. While everybody can have an answer, questions make you pause and reflect. Janet Froelich’s questions make us doubt and they make us think. They make us smarter and more creative. Her thoughtful, »Could it be…? « tends to trigger a chain of thought that in turn leads to new and interesting queries.
Janet Froelich is one of few American women we’ve met to without hesitation call herself a feminist. »It’s not something I think a whole lot about, it’s part of who I am and how I see the world.« In fact, she began her successful career at a feminist publication, Heresies, when she – after 10 years as an abstract painter – swapped solitary hours in the studio for all-nighters and collective discussions about photos and headlines. At the time, in the 1970s, art direction was not a high status profession. She says they called it commercial art and in the world of fine arts, from which she came, that was perhaps the least well-regarded thing there was. »I mean it’s not like it’s art«, Janet might say of her work.
We meet for the first time in 2009, at a fancy hotel on Union Square where we are supposed to have breakfast together. The music is loud and our waiter tells us it is impossible to lower it, right before he pours coffee into a cup full of tea. Janet is polite but strict when she draws his attention to his mistake and asks for a new cup. In one fell swoop she demonstrates her abilities as a leader in her way of deftly taking charge of the situation. We’re impressed. To us, Janet Froelich is the epitome of a professional woman in New York. Elegant, cool, friendly and appropriate.
Ever since she was a girl, Janet Froelich has had a powerful drive, a competitive spirit and a will to always do better. She says she doesn’t know where it comes from, but over the course of our conversation she draws parallels between athletics and the professional world and says that everybody should be involved in sports at some point in their life. That is where you hone your competitive instinct, set clear goals and learn to lose. The latter is something she thinks women are often less good at. In part due to the fact that it was more common for boys than girls to grow up with sports, at least in her generation.
Over that breakfast, she tells of a fresh start in her career. She is beginning a new job that week; after 22 years as art director and creative director at The New York Times Magazine and T Style, she is moving to Real Simple, a lifestyle publication for working women. She is full of anticipation and yet again, we are impressed.
Janet Froelich was born in Brooklyn and raised in the suburbs of New York. She studied fine art at Cooper Union and later pursued a M.F.A. at Yale. It wasn’t until she came into contact with and worked for Heresies that she found her calling in graphic design. With bare-bones qualifications she got a job at the Daily News Magazine, which in time lead her to the position of art director at The New York Times Magazine, and later The New York Times Style Magazine .
The New York Times magazines have won countless prizes under her leadership. Her style is visually strong and extremely catchy, but always intelligent and elegant. Janet tells us that the big difference between The Times magazines and Real Simple is that while the first is a supplement in a newspaper, the latter is sold on the newsstand, which has presented a big challenge. It seems paradoxical to us that The Times Magazine would be a publication not intended for the newsstand, since we feel we would be drawn like magnets to each and every cover if we saw it on the shelf. The endless variations on the T in T Magazine, by various creators is genius and brings out the collectors in us.
Our meeting with Janet Froelich planted a seed. Once back in Sweden we don’t quite know what to do with our project, but Janet’s interest and questions have made us confident that this is important. We are egged on by her urging that something concrete must come of our informal meetings with nine of the world’s foremost (female) designers in New York.
Another idea that takes root is Janet’s thoughts on women and athletics. When we get home we start working our bodies, spending more time at soccer fields, boxing rings and gyms. It turns out to be surprisingly easy to compete with men in the only realm in which there are biological differences in the basic conditions for success. When we take on the men at local gyms doing push-ups, we feel that competing on equal ground in design should be easy.
– Samira Bouabana, Angela Tillman Sperandio, 2013
Preface: Hall of Femmes: Janet Froelich, 2013
Editor: Sarah Clyne Sundberg
Friday 26 September 2014
Meeting Lillian Bassman
»I think you’ll fall in love with Lillian.« This is how Stephen, Lillian Bassman’s assistant, begins a letter to us before our meeting in New York. As it turns out, he’s right. To meet Lillian Bassman is to fall in love and we’re hardly the first ones. In every book and interview we’ve read, it’s obvious that Lillian is irresistible.
We visit Ms. Bassman in her combined home and studio on the Upper East Side. The building is a former carriage house and a black-and-white stone pattern covers up a hole in the floor. We learn that this is where they used to drop down hay to the horses in the old days. Now her son Eric lives on the ground floor, where Lillian and her husband Paul Himmel, who passed away in 2009, used to share a workspace. When we arrive she’s wearing a light blue man’s shirt with her bare feet up on a stool watching a World Cup match, England versus Algeria. Following a brief illness she now needs extra oxygen delivered through her nose via a plastic tube. In spite of the tube Lillian looks cool. It’s summer and her daughter Lizzie offers us iced coffee. We’re afraid that the noise from the fan will drown out the sound on our recording.
Over the past few years there has been a Lillian Bassman revival of sorts, and several books and photo exhibitions of her work have popped up around the world. She began photographing in the late 1940s, and for two decades her work appeared in almost every issue of Harper’s Bazaar, as well as in countless advertisements for high end brands. Her pictures capture the postwar feminine ideal, with long necks, sweeping skirts and narrow waists. It’s said that Carmel Snow, the legendary editor at Harper’s Bazaar, admired Lillian’s ability to make even the simplest piece of clothing seem glamorous. The women in her pictures are inaccessible in a way that’s very sexy; and even though they’re obviously posing, you get the feeling that they don’t know they’re being watched. They ooze integrity.
In the beginning of the 1970s, however, Lillian abruptly lost interest in fashion photography and turned to more personal art projects. She destroyed many of her negatives, but some she boxed up and deposited in an old unheated coal shed behind the house. She continued to shoot commercially and spent two years designing her own fashion line. 30 years later, an artist renting the downstairs studio stumbled upon the boxes while clearing out the shed and Lillian began revisiting her old work. It could be that Lillian’s great success as a photographer casts a shadow over her brief, yet important role within graphic design. In this book we would like to draw attention to that period.
At the end of the 1940s, as the art director at two of the most influential magazines of all time, Harper’s Bazaar and Junior Bazaar, she has a unique insight into the golden age of American magazine culture. The post war era was defined by its belief in the future, an optimistic and experimental climate that never ceases to appeal to art directors. Perhaps that fascination has reached its pinnacle today. After all, we live in a time when aesthetically, we are looking backwards rather than forwards. For years Junior Bazaar was solely a subsection within Harper’s Bazaar, a space dedicated to more youthful style tips and fashion. But from 1945–1948 it was an independent magazine. If we had been teenagers in the 1940s we would have bought every single issue. These days they’re not only hard to find, but also very expensive. When we lament this to writer Vince Aletti, famous for his enormous collection of fashion magazines, he replies: »I know. I’m the one who’s buying them.«
Though Alexey Brodovitch, Lillian’s teacher and mentor, is usually credited as the sole creator of Junior Bazaar, in fact it was Lillian who designed the magazine. Her life story reads like a movie and stretches across the entire 20th century. And because both Lillian and her husband were photographers, there are thousands of pictures from their lives. She describes her childhood as very liberal with a hard-working father and an independent mother clearly, the apple doesn’t fall far from the tree. She tells us how she and her older sister used to run around naked in the house and sleep on mattresses directly on the floor.
Lillian was just five years old when she met her future husband, Paul when he tried to drown her at the beach on Coney Island. Ten years later they became a couple and moved in together, while Lillian was still in high school. To us, her parents, who were emigrés from Russia and the Ukraine, seem like »real hippies«. Lillian corrects us: »No, they were bohemians.« Later, when we refer to her work as »punk «, she does it again »It was avant garde«.
When we leave the free-minded Lillian we are in an almost euphoric state. We walk along Lexington Avenue and dream about being a fly on the wall at the Bassman’s. Suddenly, the world feels like an open playground, ours for the taking.
Samira Bouabana & Angela Tillman Sperandio, 2010
From Hall of Femmes: Lillian Bassman
Editor: Ika Johannesson
Buy the book here.
Thursday 25 September 2014
Meeting Carin Goldberg
To step into Carin Goldberg’s home in Brooklyn, in a classic brownstone neighborhood with tidily kept gardens, is to step into a small design museum. Her house, where she also has her studio, is full of books and objects, cordially arranged according to their colors, patternsand materials. It looks appetizing, full of layers that beg to be delved into. The first time we visit her she offers us tea and biscuits served on mint colored china . It’s our first interview for this project and we’re so nervous that we forget to introduce ourselves. Though if there’s anyone who will calm you down, just by her mere presence, it’s Carin Goldberg. She has a warm personality and a dry sense of humor. We have already engaged in small talk for quite a long time when she kindly asks us who we actually are. Could we perhaps tell her a bit more about our project? Studying Carin Goldberg’s career as a designer, is like taking a truly contemporary history class. It begins at a time when graphic design was artisanal when work was created by means of pen, paper, scissors and glue and leads to our computer dominated present. During her three decades of working in the field, there’s been a steady change of direction from print to more digital content. But in Carin’s opinion, the communicative role of the designer remains the same .
Carin, a born-and-raised New Yorker, quickly realized what the industry asked of her: to be »a cool, irreverent, experimental, hungry, talented smart-ass«. She was educated at Cooper Union in New York where she graduated in 1975 with a degree in fine arts. Her path as a designer then began at CBS Television where she worked for Lou Dorfsman, who was chief designer in charge of the company’s visual communication for over 40 year. After that she moved on to CBS Records Advertising , followed by a short period of working for Atlantic Records before going back to CBS to the Records Packaging Department.
In the early 1980s she established her own business, Carin Goldberg Design, where she continued to work for the music industry but also became, above all, one of America’s most successful book cover designers. She has designed over a thousand covers for Random House, Harper Collins and most major U.S. publishing houses. Perhaps she conveyed her zeal from the art world and the music industry to the more conventional literary world? In any case, she was quickly identified as one of the stars of a rising 1980s art movement, alongside graphic designers like Paula Scher and Louise Fili, that was celebrated for its eclecticism and humor. Carin has said it was simply a reaction to the aesthetic ideals of that time, »smacking tasteful type on a gorgeous photograph. We were bored with that and wanted to actually make stuff paint, cut, paste and play«. But what she didn’t know was that this movement would soon be labeled »postmodernism«. And that it would stick with her throughout most of her future professional undertakings, in spite of her own dislike for the term.
One example is the heated debate following Carin’s cover design for a new edition of James Joyce’s Ulysses. The publisher wanted something that resembled the 1949 edition, and so Carin made a pastiche of the modernist typography posters and built the design upon a large »U«. This upset the influential designer Tibor Kalman who accused Carin and her colleagues of being »pillagers«, and an aesthetic discussion within the design world began. One that still, in a way, goes on. Nevertheless, Carin kept cool. »While I was busy pillaging history, Tibor was busy pillaging the vernacular. We were all pillagers«, was her riposte.
For Carin, all this belongs in the past. Along with the fact that she designed the cover for Madonna’s debut album one of the most, especially from our generation’s viewpoint, iconic artists ever (so we keep asking her until she agrees to talk about it). She prefers to look ahead, not back, emphasizing her desire to move forward. In recent years she has, for instance, expanded her work to include publicationdesign and brand consultancy.
The second time we see her it’s been a year and a lot has happened. Carin has been awarded the Gold Medal by the American Institute of Graphic Art (AIGA ), for »sustained contributions to design excellenceand the development of the profession«. She has also received the Art Director Club’s Grand Masters Award, for those whose careers in creative education have impacted upon and inspired generations of student creatives. As if that weren’t enough, she’s working hard on her retrospective, which opens at the Centredu Graphismein Échirolles, France, in November 2010. »I’ve hit my prime«, she says smiling, in what we perceive to be an ironic tone. And it seems only right that, for someone with such a long career, the awards are great in terms of acknowledgement and yes, lovely to glance at from time to time but they are perhaps not the drivingforce. This seems especially the case for Carin Goldberg, who appearsto have a distinct and very holistic approach to success at work, in life, and everywhere in between.
Talking to her is almost like having therapy. Design therapy. She believes that it’s the designer’s responsibility to come up with solutions, and her own ability to do so is palpable. She has an aptitude for educating and since the 1980s she has taught at The School of Visual Arts in New York, where her classes are filled with diligent students. And as Carin facetiously remarks, it’s yet another opportunity to be »arrogant, emphatic, brilliant, bossy, nurturing, thoughtful, smart, and silly«. As we sit in this decorative home full of books, pictures and flea market finds, we realize that it says a great deal about graphic design, the ability to observe, make a selection, disentangle, and place everything in context thus making the viewer look at something differently. And above all, it says a lot about Carin Goldberg. The epitome of an experimental yet disciplinary aesthete, who truly lives for, and with, her profession.
Tuesday 23 September 2014
Meeting Paula Scher
As designer Paula Scher enters the room, we see that how she
describes herself fits: »Short, with a big personality.« Even the
dog she’s brought along is big. We stare at the dog and then make
ourselves guilty of one of our stupidest interview openings yet.
Us: »Hello. We met Carin Goldberg yesterday. (Pause.)
She has a dog too.«
Paula Scher: »Oh really? She’s a friend of mine, we’re the dog-ladies.«
Us (gravely): »Okay.«
It’s the first time we’ve met Paula – in real life, that is. We’ve spent
quite some time with her already, in our office; we’ve read her book,
once, twice, three times. We’ve quoted it. We’ve taken her truths
to heart, and used them when talking to clients, pretending they’re
ours. But now everything feels different. We’re at her workplace,
Pentagram, in New York, one of the world’s most renowned design
agencies. We’ve taken pictures of ourselves at the entrance, posing
under their big red banner. We’ve waited in the conference room for
half an hour, nervously poking around Pentagram’s book shelves,
and unwinding a little leafing through the magazines. Suddenly she’s
standing there: a small woman and a big design star. With a big dog.
Paula Scher began her career in the record business in the 1970s.
After the interview we take out a record we’ve brought, the Yardbirds
from 1977, and ask if she could sign the sleeve. Paula is overjoyed, as
she has no examples of her own (during her years with CBS Records
she designed over 150 records a year), and is pleased to discover
that the record is »… really well designed and hasn’t aged a bit«. She
wonders if she can buy it, or exchange it for something. We give it to
her, and get a proof copy of the same sleeve in return.
It was at CBS Records – in this hierarchical organization – that Paula’s
interest in power structures and workplace psychology began, an
interest we return to during the conversation. To analyze the social
game between customer and designer she wrote her own book,
Make it Bigger (Princeton Architectural Press, 2002), in which she
punctures the myth that design is something created in ivory towers.
Design, according to Paula Scher, is about people.
A year later, we hear by chance that Paula Scher is lecturing at a
design seminar in Norway. We ask to meet her there for a follow up
interview and, despite the sudden eruption of the Icelandic volcano
Eyjafjallajökull clouding half of Scandinavia, all three of us make it.
We meet in the not yet open bar of her hotel. It must look better in
the evening; the daylight is merciless. In decor of varying flesh-tones
and pile-covered sofas, we welcome a design queen.
The interview feels more relaxed than last time. Paula talks about
growing up in a suburb outside Washington DC with a cartographer
dad and a teacher mum. The structure of how you were supposed to
look and behave was rigid; she felt suffocated by the suburban ideal,
and criticized for who she was. She responded by rebelling, and we
think that she still burns with a desire to be contrary.
Later in the evening we meet Paula in the bar again, where she and
the other speakers from the seminar have got together for a drink.
The positive feeling from earlier in the day disappears immediately as
we fall back into usual social patterns. We get shy and embarrassed,
creep silently in and take a table some distance away. The young
men in the group, on the other hand, make a grand entrance: greet
everyone cheerfully, say what they’re called, what they do. They have
styled glasses, are charming and self-assured. We’re stiff and acting
But even so, when one of the guys leaves Paula’s table, we take our
chance and quickly sit there. She says hello with a hug and a kiss.
Later she asks nicely to borrow a pen and writes in red ink on a napkin
the names of those women she thinks should be added to our list
for the Hall of Femmes book series. The napkin is immediately worth
At the table a discussion rages on about money and the future of
design. Paula is confrontational and hungry for debate. The men
around her sigh, tell her everything she’s said is wrong, and explain
how things really are. But it’s clear that they have great respect for
her, and it shows in her flashing eyes that she’s never going to let
them be right. At the same table sit two women, 30 years younger,
struck dumb. One of them’s gripping a napkin like it was a life-buoy.
Preface Hall of Femmes: Paula Scher, 2011
Editor: Maina Arvas
Sunday 21 September 2014
Meeting Tomoko Miho
After having tried to get in touch with Tomoko Miho for months, we’re standing in a clothes store on Broadway when the phone rings. It’s Tomoko, and she tells us she’s been in hospital for some time. Without going into details, she explains that the situation is serious, and we understand that there’s little hope that things will improve. But the main reason she’s calling is to say that despite her illness (or maybe because of it) she’s decided that she wants us to make her book, and she’s looking forward to starting work on it as soon as possible. This is the only time Tomoko mentions her illness and, although we’re in close contact we never bring up the subject again. From now on, we just talk about work, and over the following months, the book slowly takes shape.
Tomoko’s friend Eric Breitbart helps her go through the countless boxes of work materials and transparencies that have been stored for years in a room in her apartment. Despite her illness, her stubbornness and her devotion to her work remain intact, as does her need for control and her obsession with details.
Tomoko Miho was born Tomoko Kawakami in 1930s California, where her parents of Japanese descent ran a flower shop. Part of her childhood was spent in one of the camps in the Arizona desert where Japanese Americans were interned after the bombing of Pearl Harbor, during the Second World War. When we ask how this shaped her, it becomes clear that it’s something she doesn’t want to talk about: »Those were difficult times but we all came out well in the end«. After studying at the Minneapolis Art Institute, and then at the Art Center School in California, Tomoko Miho decided she wanted to be a designer. She became one of the best we’ve seen.
We meet Tomoko Miho for the first time in her apartment on New York’s Upper East Side, across from Central Park. The mood is polite nervousness. With her reserved manner, Tomoko feels more Japanese than American. She offers us green tea. Afterwards, we learn that she has deliberated for two months over whether we should or shouldn’t meet. It seems that she never makes hasty decisions.
By the time we leave, we’ll have a notebook full of names. It’s the names of people that Tomoko has been inspired by or worked with: George Nelson, Herman Miller, Frank Gehry, Lester Bookbinder, Ray and Charles Eames, Isamu Noguchi, Buckminster Fuller, Irving Harper, John Massey, Lella and Massimo Vignelli. She spells each of them out carefully for us, »N-O-G-U-C-H-I«, but of Tomoko Miho herself we learn very little. For several hours she skillfully avoids talking about herself, and the only thing we actually learn is that she was married to a man who worked in Chicago, and that one of her brothers was an architect. Optimistically, we schedule a follow-up interview to find out more.
However, what we’ve experienced on this first visit is the charm of browsing through her work, which we’ve previously only seen in pictures, and we’re utterly fascinated. Tomoko Miho is a dedicated modernist and, despite the formalized idiom, her work has a spiritual dimension that greatly moves us emotionally. With her creative solutions and her self-will, Tomoko Miho is a designer’s designer. Although we know that what we’re seeing is the result of many hours of work and the fine tuning of details, it looks so free and easy. Influenced by her Japanese background, she’s an architect in paper, even applying spatial solutions to printed matter. Nothing follows a standard format; her posters are often built on several levels, with different folds and layers. The tactile qualities that arise through particular choices of materials and print techniques can never really be reproduced accurately in pictures.
As so often during the Hall of Femmes project, it feels like we’ve opened the lid of a treasure chest and found something far too valuable to be seen only by us. We want to make this book about Tomoko Miho because we want to show the world everything she’s done. We think that a museum should purchase all of her work. We’re beginning to dream of mounting an exhibition ourselves.
Standing in the doorway to say goodbye, Tomoko takes us by the hand and says, »Everything is history now, and then it all carries on«. When we get out on the street, a downpour has started and we just cry.
We take great pleasure and pride in the fact that Tomoko, after much consideration, decided that this book was worth pursuing, even though she wouldn’t get the chance to see the final result. We hope we’ve managed the task and the responsibility well, and that as many people as possible will become familiar with Tomoko Miho’s work, and be as inspired as we were; her contribution to our design history is significant. Her archive is now part of the design collections of the Rochester Institute of Technology.
– Samira Bouabana, Angela Tillman Sperandio, 2013
Preface Hall of Femmes: Tomoko Miho, 2013
Editor: Maina Arvas
Buy the book here.
Sunday 24 August 2014
L’hommage: Thomas Kracauer > Deborah Sussman
Deborah Sussman at the opening of the exhibition Deborah Sussman loves L.A. Photo: Laure Joliet.
On the 20th of August, graphic and environmental designer Deborah Sussman passed away, at the age of 83. The Brooklyn born designer was the woman behind groundbreaking work in environmental design, just recently acknowledged in a retrospective exhibition called Deborah Sussman Loves L.A – her designs still being very much part of the landscape of her adopted home town. Her most famous work includes the large scale graphic identity for the 1984 Olympics in Los Angeles, which paved the way for a whole new platform in graphic design as part of the public space. She also worked at the Ray and Charles Eames office, and founded the agency Sussman/Prejza in 1968, together with her architect husband Paul Prejza.
Since Deborah Sussman’s name has probably been less known than her iconic work to most, a few enthusiasts started fund-raising to make a show in honor of her achievements. The exhibition took place at the WUHO Gallery in Los Angeles earlier this year, just months before her passing, and became noticed far beyond the channels of the advertising/design industry. The exhibition was curated and organized by Catherine Gudis, Barbara Bestor, Thomas Kracauer and Shannon Starkey.
Considering us big fans of Sussman and her work, Hall of Femmes took great interest in the exhibition this spring. We contacted the fellow admirer and graphic designer Thomas Kracauer, to find out more about the show. Here he talks about the project and about spreading the creative spirit of Sussman to the next generation:
What was your relation to Deborah Sussman’s work before this project?
Before we started talking to Deborah about her work, and digging through her archives, I was only familiar with the work she carried out for the 1984 Olympics and a few recent projects around Los Angeles. I have always gushed over the Sonotube designs. Before seeing them at the Getty last year at the Overdrive show I wasn’t aware of that every day I encounter signs, buses and structures in Los Angeles designed by Deborah and her office.
How did the idea for this exhibition first arise? What was your interest in the project?
It was the architect Barbara Bestor’s idea to do a show about Deborah’s work; we just didn’t know what kind of show. After collecting material we decided to focus on her work from 1953 to 1984, Eames Office to the Olympics. When the project started I was extremely excited to get to design an exhibition about such an important character in Los Angeles design – she was one of the best subjects to design an exhibition about since a lot of her (and Paul’s) work was spatial. It was great material to craft messages in space.
There seems to have been a bit of a buzz about the exhibition even before it opened, because it was crowd funded – what were the advantages of doing the project this way?
I think the buzz wasn’t because it was crowd funded, but because it was a long time coming for a dedicated show about Deborah’s work. The 1984 Olympics was her most well known contribution to the city, and now a new generation was able to experience her work from the 50s, 60s and 70s.
Barbara Bestor said in an interview that part of the intention with the exhibition was to bring the designer’s work into the Pinterest age – what would you like for people to see and take away from the exhibition? The element of joie de vivre that is so apparent in all her environmental work.
The title of the WUHO Gallery show was Deborah Sussman Loves LA – how would you describe Sussman’s Los Angeles?
So much of Los Angeles is Sussman’s. Driving through downtown you can see her work at Grand Avenue Park and signage for office buildings. On the highway you’ll drive past a FlyAway bus with the logo designed by S/P (Sussman/Prejza). Santa Monica and Culver City’s urban branding were done by S/P, and soon you’ll be able to see their work in the Willowbrook neighborhood. Many Metro stations are coated with S/P designs. Every show about the Eames has echoes of Deborah’s contributions. It’s actually really hard to go a day in Los Angeles and not see Deborah’s (S/P’s) Los Angeles. And that’s just what you can see today. Her work on such culturally significant stores as Standard Shoes, Joseph Magnin and Zody’s were dazzling Angelenos in the 60s and 70s… Deborah has always been a pioneer in improving the visual culture, street culture and shopping environments of Los Angeles, and we’ve all benefited. She was incredibly generous with her creativity.
Deborah Sussman at the Eames office. Photo from this video.
Standard shoes store
1984 L.A Olympics graphic identity
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