The Ultimate Strawberry
The Ultimate Strawberry
The visionary designer Ettore Sottsass Jr. was a vital individual who contributed significantly to the postmodernism movement during the late 20th century through his rich legacy in the field of furniture design, art, and architecture. Sottsass brought his visions into life by combining a variety of mediums, cultures, and influences. Amongst his iconoclastic creations of furniture designs, one in particular stands as a testament towards liberation, the Ultrafragola Mirror. Seen in figure 2. This mirror reflects the serpentine female curvature while antagonizing the idealized vision of what a mirror should look like. It pushes beyond the parameters of utilitarian art of Marcel Duchamp and Jasper Johns while demonstrating an unrestrained way to perceive life through the senses. The groundwork for the Ultrafragola mirror was laid in the 1960s.
Ettore Sottsass Jr. was raised in Milan and graduated from Turin Polytechnic in 1939. After spending most of World War II in a concentration camp, Sottsass returned to Italy. For some years he worked with his father, Ettore Sottsass Sr., who was an important figure in pre-war Italian architecture (Donatello). In 1958 onwards, Sottsass Jr. served as an artistic director for Poltronova, where he designed furniture items which were to provide inspiration and direct reference points for the experimentation of the Radical Architecture movement (Donatello). One of these radical designs, in particular, proved to be one of the utmost enduring examples of progressive ideation, the Ultrafragola Mirror. The Mirror was designed for the Mobile Grigi series of the complete bedroom and living room furnishings for Poltronova, a niche producer of contemporary furniture. Poltronova started in Tuscany during the early 1960s and focused on different, experimental methods, bringing together the polycentric soul of Italian design that contradicted and opposed trends. The brand was made up of some of the leading advocates of New Design who were then called radicals (Donatello).
The Ultrafragola Mirror was designed in 1970 and consisted of vacuum-formed opaline acrylic, pink neon tube lighting, and nickel-plated brass. See figure 8. Not only was this mirror designed for the function of reflection but more specifically for the reverence of a woman's sensuality. Ultrafragola translates to "The Ultimate Strawberry," a reference to the women who would view themselves within it. Sottsass referred to her as a “Show-stopper with its sensual wavy form!” (1stdibs). The frame's sinuous profile suggests long wavy hair and the wavy form of a woman’s body (Property Furniture, 2016). Both in its name and in its flowing shape, this evocative and erotic 'vanities' is a tribute to women's sensuality that was realized in the materials that were shamelessly new (Property Furniture, 2016). This avant-gardist floor length mirror is a blend of functionality with a visual flair using a variety of mediums that blurs coexisting cultural expressions.
Ettore Sottsass Jr. exemplifies the utilization of inspiration within his design of the Ultrafragola Mirror from Pop-Art such as the painting Cold Shoulder by Roy Lichtenstein. Cold Shoulder consists of Ben-Day dots, oil, and magna on canvas. The 1962 painting was drawn using precise techniques and handmade imitation of mechanization. See figure 3. Lichtenstein Cold Shoulder painting similar to Ettore Sottsass Jr’s Ultrafragola Mirror, because both retain symbolism and portray a deeper message, the power of the woman. Lichtenstein gives the authority to the woman in his painting during the 1960s, while Sottsass references the female in a more sexual subliminal manner but also in a way that empowers the woman's prowess. Women during this era were often targets of sexism and rigid gender roles. That was often exhibited in daily media, art, and society in a demeaning manner.
During the 1960s the world was filled with commercial images: on television and billboards, and in magazines and newspapers, commercial art was used to sell everything (Gale Library of Daily Life), Lichtenstein utilized these commercial techniques, and combined comic book cartoon imagery to create a new form of art. Often making serious matters in society comedic to evoke the viewers’ thoughts (Döring, Jürgen, and Claus von der Osten). Sottsass Jr’s framework also oriented around his personal search to pursue a new visual language for modern design. He accomplished this by creating something new with familiar objects (Julier, Thames & Hudson). Inner twining provocative, rebellious exuberance with the intention of deliberately defying the authority Modernism held (Marrell). Pop Art in the 1960s paved the way for postmodernism in the 1970s because both were formed from the reaction to the current times in society.
Modernism architecturally dominated movement which, with “form follows function” as its creed, sought to reject the historic and eclecticism of the nineteenth-century design – as the dominant design movement of the twentieth century. In its place, the work of Sottsass exemplified, for the 1970’s community, a new “Postmodern” approach, characterized as embracing irony, pluralism, pastiche, nostalgia, and historicism, and asserting the superiority of “meaning” over formal values (Marrell).
After WWII emerged a setting for a rationalistic utopia. The colorful, richly ornamented, and unconventional objects of the earlier twentieth century were still seen as inappropriate. Modern was considered the only suitable style of postwar (Horn). Rationality, uncluttered and pure contemporary was what reigned supreme during this time. This clean-lined style that maintained a pure rigidly and dead serious quality was being questioned by the early 1960s and even more so in the 70s by society along with artists like Sottsass Jr. (Horn). Throughout this decade a counter style was taking form it is described as an exaggerated, picturesque Modernism, full of exuberant colors, and bizarre, but dynamic forms. With the postwar communications boom, the West rediscovered the East, especially during the 1960’s. Although the modern glass-and-steel aesthetic was very prevalent in large western cities (Horn). Eastern and African design traditions that the hippies and black libertarians were being explored along with other non-Western ways of living (Gale Library of Daily Life). The rigid Modern aesthetic didn’t make much sense to those experimenting with mind-expanding drugs who saw more to their existence than the rational grid that Western Capitalist civilization had paved over (Gale Library of Daily Life).
Ultrafragola Mirror was created during a time of increasing production of mechanized and artificial goods. Growing commercialism in the society that brought mass production and the use of plastic in all types of design. Sottsass Jr’s Ultrafragola Mirror much like Marcel Duchamp “readymades” (see Figure 11) were designed off the conventional artistic beaten path. Both had a unique point of view emerging from personal campaigns against a rigidly ideological style (Labaco). Sottsass Jr. aim was to exemplify how designs can serve as a vehicle for expression and communication with the viewer or user. Sottsass and Duchamp used mass-produced everyday objects and took them out of their usual context. Through Sottsass art, craft and design he refuted the accepted standards of what ‘good design’ should look like, by embracing the familiar and equally rejecting traditional associations with mass-produced materials and objects (Julier, Thames & Hudson).
Plastic had just been invented and was being manufactured in excess for a variety of goods. Sottsass implemented plastic but opposed to using the generic plastic for his Ultrafragola mirror he used vacuum-formed opaline acrylic. This is a form of fiberglass, fiberglass is fiber-reinforced plastic that is flattened into a sheet called a chopped strand matt (Labaco). Ettore Sottsass Post-Modern Ultrafragola Mirror rebuffs and embraces the world surrounding him during this era. He incorporated elements from the mass environment such as traffic lights, signage, and mechanical equipment. By bringing together a variety of influences and materials such as fiberglass, neon tube lighting and nickel-plated brass he accomplishes a design in which elevates the object beyond its everyday function (Julier, Thames & Hudson). Accomplishing a mirror design previously unseen in the art world. This design emphasizes the powerful sense of the future, the new and the need for a break from the past. Each decade plays off one another, blurring the distinctions between what is perceived as only a piece of art and what is perceived as an individual communicating the need for change and progress for the entire collective. The Post-Modern Ultrafragola Mirror was only brought to life because of “new realists” works like Cold Shoulder, by Lichtenstein. Only because of the movements like Pop-Art were artistic designs like the Ultrafragola Mirror able to come into existence in such an expressive way.
In 1960 the Cold War and Vietnam War were unfolding and had an impact on the way people saw the world. The movements like Civil Rights and sexual revolution brought a new view on different cultures, African Americans and women – which opened the doors to new approaches and ideas for artists and artwork around the world (Gale Library of Daily Life). The technology was a fundamental part of the 1960s. With the accessibility of travel by plane and automobiles, cultures began to become more intertwined with one another. The far-reaching use of television and telephones in the home widened an audience to events occurring around the world on an international spectrum. This was a time art and culture emerged from dynamic alternative forms. “Artists during this time believed that the heightened focus on consumer goods deadened the soul and many artists used their art to question and criticize consumerism” (Gale Library of Daily Life). Although there was a great rejection of the unoriginality consumerism brought, some artists during this time did conform to consumerism for inventiveness. The postwar world was too big and complex for any chief design preference to wholly rule (Horn). Consumerism and counter-culture were unfolding through 1966 -1970 in Italy as well, bright colorful home goods, dashing automobiles, and stylish clothes were seen everywhere. “A style hurricane hit Italy.” The increase of interest in Italian line was closely linked to materialism and changing pattern of mass consumption both Italy and the industrial world, it also directly correlated to the changing economic, industrial and political patterns and events unfolding within Italy. By the mid-1960s Italy was enduring through a recession due to inflation because of this, design became an essential means of survival (Sparke).
Exports became immensely vital, Italian technical works could not keep up with many countries, this stressed the importance of design making it more crucial (Sparke). Italy’s reputation of tastefulness, the sophistication of color, line, and commitment to modernity was known on a worldwide spectrum, and it became the means by which the country could maintain its position in world trade (Sparke).
During the late 1960s, the creation of alternative Italian design emphasized more on the ideas it stimulated. This was the result from debates in the previous decade about the “crises of conscience” and “crises of the object.” The crises of design values were sparked by social, political and economic events of the later 1960s. “Italy’s rapid industry growth along with the social and cultural changes after WWII lead to lack of efficiency to compete as effectively abroad (Sparke). Due to the industrial growth that consisted of automation and the de-skilling of the Italian workforce, many workers left these large corporations to pursue alternative means of earning money” (Sparke). Members of the design world devoted their efforts to communicate the dissatisfaction with the status quo that Italy and much of the design world had fallen into. “This undermined the ideology of Italian formalism and addressed the inadequacies of the modern aesthetic to encourage a movement towards change” (Sparke). Although at the time there was no real name given for this movement it later became known as Postmodernism.
Postmodernism came into style when the value for mass-produced goods and popular design was beginning to go out of style. With the culture of consumption, economic growth, and globalization came the need for diversity to challenge artistic and cultural agendas similar to the 1960s (Gale Library of Daily Life). The Postmodernism movement was an oppositional stance that challenged modernism, which embraced idealism and a picture-perfect vision of what life and society should be. Postmodernism emerged from skepticism and a suspicion of reason (Tate). The Postmodern aesthetic reflected this idea with depth in multifaceted and opposing forms of expression (Tate).
Anti-authoritarian by nature, postmodernism cannot be recognized by one single style and has many faces. This style broke the established rules of what style and was created to be ironic (Milton, Rodgers, and King). It presented a new era of open-ended and free design. Due to easier access for travel, postmodernism transcended geographical boundaries. Although postmodernism cannot be defined or categorized into one characteristic. There are a couple that can give one an understanding of what this movement purposed like liberal ethics, objectivity, inclusiveness, globalization, self-conceptualization, and anti-authoritarianism.
These ideals were projected in the design of the Ultrafragola mirror by Ettore Sottsass. After his travels in both India and the U.S, Sottsass incorporated altar-shaped forms and superstructures into household furniture (Mesi). In which he referenced counter-cultural manifestations by combining the worlds of Italian design, American pop culture, and Eastern mystical spiritualism (Mesi). For example, Sottsass was also inspired by American minimal sculpture. See figure 9 and 10. The reference of repetition from minimal works by Donald Judd is implemented on the layers of the vacuum-formed opaline frame. See figure 5. There is a strong indication Sottsass was inspired by works of Jasper Johns especially the “Pink out of a corner” 1963 (See figure 10) because of the pink neon fluorescent tube lighting Johns used, is also replicated for the lighting used in the Ultrafragola mirror. Sottsass utilized this “anti-commercial” color, to sidestep the conventional pattern of furniture manufactures and consumption of the time (Sparke). Eastern mystical spirituality retains a resemblance in the design of the Ultrafragola mirror in the interpretation of the mirror. The mirror radiates light and suggests a reflection back to the viewer of mental and psychic life (Julier, Thames & Hudson) It caters to the senses opposed to the mind, to push the user deeper into feeling opposed to thinking. Sottsass designs for Mobile Grigi series proposed a new Pop-inspired environmental aesthetic which moved beyond the limitations of craft and emphasized dominance over form (Sparke).
The Ultrafragola mirror was a design that had not been previously seen in the art world because of the influences, techniques, and mediums used. The symmetrical Ultrafragola mirror weighs 170 pounds, is 40.5 inches wide, 6 inches deep, and 77 inches high. The mirror’s heavy in weight because of the thermo-mold frame in opaline fiberglass, mirrored glass, wood, nickel-plated brass, and fluorescent tube lighting materials used. See Figure 4. Lighting fused within the mirror makes the object multi-functional because of the fluorescent tube lighting within the fiberglass frame. This type of lighting is created by a low-pressure mercury vapor gas discharge. The color Sottsass Jr. designed Ultrafragola mirrors frame is intended to be white for the pink neon fluorescent lighting to be seen through the fiberglass body – emanating a pink hue (Sparke). See Figure 1.
The freestanding mirror’s frame is contoured by layered flowing lines that create a rhythmic undulating effect. Sottsass flowing lines and soft curves resemble reference to the whiplash curves from decorative styles such as Art Deco (Milton, Rodgers, and King). The focus of this mirror is not the fluorescent light infused vacuum-formed acrylic frame. See figure 8. In my opinion, I think the Ultrafragola Mirror is a living sculpture, coming alive anytime someone stands in front of the center of the glass mirror. Whoever stands in the middle of the layered wave frame is at the center of their own attention. The ultimate personal voyeur tool that will make any room look like a masterpiece, and any reflection a player in their own collection of art. It is the 60s version of the selfie. Sottsass used psychological, spiritual, emotional, sensory, and erotic functions to express and embrace his intentions for the viewer to look beyond form (Weinberg).
When Sottsass designed the Ultrafragola Mirror he intended this piece to carry meaning and yet carry an exciting, sensual, and modern simplicity. In the home, the object would assume a ritual value as if it had sprung from the ancient oriental cultures into the present (Labaco). Although, the Ultrafragola Mirror is one of many postmodern examples of works that dubbed Sottsass as one of the most innovative designers of his generation what distinguishes this piece from the rest is the fact Sottsass used a combination of historic styles, counter-cultural, and new materials in a purposeful way to reveal design in its deepest expression, and go beyond the parameters of the clichè Modern design. Ettore Sottsass Jr’s Ultrafragola Mirror is a testament of liberation during the late 20th century because it reaches beyond the parameters of utilitarian art, signifying a new way to perceive life through the senses.
Works Cited
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Döring, Jürgen, and Claus von der Osten. Roy Lichtenstein Affiches. Éd. Prisma, 2013.
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Labaco, Ronald T., and Dennis P. Doordan. Ettore Sottsass: Architect and Designer. Merrell Publishers in Association with Los Angeles County Museum of Art, 2006.
Mesi, Rainer. “Ettore Sottsass: Austria's Anti-Design Hero.” Culture Trip, 27 Oct. 2014, theculturetrip.com/europe/austria/articles/ettore-sottsass-austria-s-anti-design-hero/. Date Accessed: 9, September 2018.
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Raizman, David. History of Modern Design. 2nded. Pearson, 2011.
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"Sottsass, Ettore (b. 1917)." The Thames & Hudson Dictionary of Design Since 1900, Guy Julier, Thames & Hudson, 2nd edition, 2004. Credo Reference, https://search.credoreference.com/content/entry/thdesign/sottsass_ettore_b_1917/0?institutionId=909. Accessed 11 Sep. 2018.
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Figure 1. Ettore Sottsass Jr. Utrafragola Mirror. 1970
Figure 2. Ettore Sottsass Jr. Utrafragola Mirror. 1970.
Figure 3. Roy Lichtenstein. Cold Shoulder. 1963.
Figure 4. Ettore Sottsass Jr. Utrafragola Mirror. 1970.
Figure 5. Ettore Sottsass Jr. Utrafragola Mirror. 1970.
Figure 6. Ettore Sottsass Jr. Utrafragola Mirror. 1970
Figure 7. Ettore Sottsass Jr. Utrafragola Mirror. 1970
Figure 8. Ettore Sottsass Jr. Utrafragola Mirror. 1970.
Figure 9. Donald Judd. Untitled. 1969.
Figure 10. Jasper Johns. Pink out of a corner. 1963.
Figure 11. Marcel Duchamp. Fountain. 1917