Sacco (Gatti, Paolini, Teodoro by Zanotta 1968)
Blow (De Pas, D’Urbino, Lomazzi by Zanotta 1968)
Fiocco (G14 by Busnelli 1970)
Joe (De Pas, D’Urbino, Lomazzi by Poltronova, 1970)
Serpentone (Cini Boeri by Arflex 1971)
Anfibio (Becchi by Giovannetti 1972)
beyond Zanuso and Sapper double-cube radio (1965) and televisions (1969) by Brionvega and the famous Sottsass “Valentine” typewriter by Olivetti (1969).
As we can easily under stand, Pop Design provides an opportunity to design supporting companies such as Arflex, Artemide, Cassina, C&B, Danese; Flos, Kartell, Olivetti e Zanotta to outline clearly their image. For example the partnership with designers (Giò Ponti among them) allows a quantum leap in Cassina, a former artisan enterprise, whose production will include in a few years classic modern movement re-editions (Le Corbusier and Charlotte Perriand designs) as well as more sperimental projects like AEO (by Radical designers Archizoom 1972).
The same track was pursued by Artemide, providing the basis for its future lighting production leadership; by Arflex, testing soft material shapes in Cini Boeri designs; by Zanotta, getting its avant-garde company reputation with the edition of Sacco and Blow; by B&B with Gaetano Pesce designs (UP using vacuum-sealed technology); by Flos that will achieve the most important Italian design lamp collection cooperating with Castiglioni brothers and with Afra and Tobia Scarpa.
1973 oil crisis will simbolically mark the end of an endless development pattern illusion with clear social and ideological consequences, to which design movement will react working out a new model that will be called post-modern.
If modernism was considered as “International universal style arising from the use of new building means and aiming to social changes, both in pattern and taste”, “Post-modern” will include several aspects distancing from the former utopia and using a partly modern and partly slightly different language.
The italian design movement will replace Modernism solid model with Post-modern abstract one, substituting quotes, used in architectural design, with research and design of new industrial products, and creating a “Neomodern” current.
Main characters of this process are two offices: “Alchimia”, with Sottsass, Mendini, Navone, De Lucchi and many others and “Memphis”, founded by Sottsass in 1980. In the standard furniture production it is stimulating to check the creative path towards the new “avant-garde” of two leader companies such as Zanotta and Driade.
Zanotta, after the 60’s success, experiences a short crisis that will be overcome through new design leading exponents (Sottsass, Mendini, Branzi) cooperation and with a the corporate image updating.
Driade, after the Oikos production commercial turn (design Antonia Astori, 1973) tried an experimental route, expecially in the soft upholstery, but without success until the first Philippe Starck products launch, that will represent an important turning point: probably these products will be sold more thanks to their designer’s fame than for their quality or their design.