Metafora coffee table by Massimo and Lella Vignelli for Casigliani, 1979.

Massimo Vignelli and Lella Vignelli’s legacy can be seen everywhere in the logos of Bloomingdale’s, Ford and American Airlines, among others. In addition to their work in branding, they were prolific creators of modernist home furnishings, products and interiors for the likes of Casigliani and other brands. The duo’s collaborations, which span 50 years, have left a profound mark on design and wider visual culture.

After meeting in Italy, Lella (1934–2016) and Massimo (1931–2014) 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 the Vignellis' elemental graphic designs, the couple's Kono (1984) and Pisa tables (1985) cull the form of the table down to geometric shapes. Both pieces were created for Casigliani — Lella and Massimo began to collaborate with the Italian brand during the late 1970s. The company’s founder, Maurizio Casigliani, personally visited the couple in New York City and invited them to design a line of furnishings made with Carrara marble for the brand.

Vignelli furniture 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 he 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.”

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