Massimo Vignelli for Heller Dinnerware Collection, Italy

Massimo Vignelli and Lella Vignelli are legendary names in branding and were prolific creators of home furnishings, products and interiors. The duo’s modernist furniture collaborations, which span 50 years, have also left a profound mark on design and wider visual culture. Furniture created by the couple is often labeled as Massimo Vignelli’s alone, though he fought to have Lella recognized for her work, even throwing away magazines that neglected to give her due credit.

As Massimo wrote of their lifelong collaboration in his book Designed By: Lella Vignelli: “It is not holding a pencil with four hands that makes a partnership; it is sharing the creative act and exercising creative criticism which is reflected in the end result.”

After meeting in Italy, Lella (1934–2016) and Massimo began working together in 1961 and a decade later formed Vignelli Associates in New York. A self-described “information architect,” Massimo was committed to streamlining complex ideas into clear, visually arresting forms. (Witness the graphic identity that he cocreated with Bob Noorda for the New York City Transit Authority as well as his influential 1972 subway map.) The Vignellis’ most recognizable piece, for example, may be the Handkerchief chair, a stackable office chair made of compression-molded plastic that has the look of a cloth floating in air. It was created for Knoll in 1983 after they designed the brand’s logo.

Evidence of the couple’s influence can also be found in their Saratoga line (1964), the first collection of lacquered furniture, which helped herald in the trendy “glossy” look of the decade (and beyond). When the Vignellis created the Poltrona Frau Interview chair in 1988 for an Italian television station, it became widely sought after, “which goes to show you the power of the TV media,” the couple once said. Much like their elemental graphic designs, the Kono (1984) and Pisa tables (1985) — both created for Casigliani — cull the form of the table down to geometric shapes.

Many of the Vignellis’ designs are considered modern masterpieces and are included in the collection of the Museum of Modern Art in New York and other important institutions.

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Ironically, Dansk Designs, the tableware company practically synonymous with Danish design (“Dansk,” in fact, translates to “Danish”), was the brainchild of an American couple, Ted and Martha Nierenberg. 

The Nierenbergs, who founded the business in 1954, initially worked out of the garage of their Great Neck, Long Island, home and marketed their serveware, tables, decorative objects and other products largely in the United States. But they had a secret weapon: Jens Quistgaard.

After demonstrating artistic talent at a young age, the Copenhagen native was gifted a forge and anvil so that he could work in his mother’s kitchen. Quistgaard built toys, jewelry and hunting knives under his father’s tutelage. Later, he spent years learning from local artisans how to produce wood, metal, ceramic and glass models. Quistgaard’s career path solidified during his apprenticeship as a silversmith with legendary Danish silver firm Georg Jensen.

The Nierenbergs discovered the sculptor and designer on their honeymoon, which they’d spent traveling through Europe searching for top-quality goods that might form the basis of a business. 

After they hired Quistgaard and launched Dansk, their products swiftly came to epitomize the best of accessible Scandinavian design for mid-century American consumers, who fell for the firm’s staved-teak salad bowls, colorful casseroles and stainless-steel flatware, all of which managed to look handmade despite being mass-produced.

The long-distance relationship flourished for 30 years, during which millions of Quistgaard pieces were manufactured in the company's factories.

The designs for Quistgaard’s Købenstyle line and other collections during the mid-1950s were revolutionary, with bowls built like barrels and charming, lightweight monochrome tableware in enameled steel. Quistgaard’s work married function with striking, sophisticated form. He utilized exceptional materials in the creation of his coveted cookware, barware and serving pieces, opting for warm teak and exotic woods and reintroducing steel as a go-to option for kitchen wares.

Quistgaard’s postwar-era Scandinavian modernist work is still exceedingly popular in living rooms, dining rooms and kitchens in the United States, Europe and Japan, particularly in the homes of mid-century design enthusiasts. 

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