Memphis Milano was established to counter the linear minimalism of 1970’s design. An inaugural meeting of 22 Italian designers and architects, spearheaded by Ettore Sottsass, was conducted in 1980 to discuss methods of infusing individualism and personality into conformist design. They debuted their controversial style in the 1981 Salone de Mobile in Milan. This eye-catching exhibition globally revolutionised design philosophy.

 

Many characteristics of the avant-garde Memphis style are identifiable in previous movements. It combines the excessive decoration and sharp geometry of Art Deco with bold colour contrasting noticeable in De Stijl and Pop Art. For example, Ettore Sottsass’s Carlton storage product embodies this concoction of design movements. Constructed from cheap materials like MDF and plastic laminate, it has seemingly random geometry and colours. This creates a multifunctionality by acting as a bookcase, room divider, and chest of drawers.

 

Memphis encouraged using experimentative geometry and colours to create unorthodox forms. Anthropomorphism and zoomorphism was frequently incorporated to create a sense of companionship with the product, as seen in Ettore Sottsass’s Tahiti Lamp and Martine Bedin’s Super Table Lamp. Characterised by asymmetrical features and abstract patterns, they boldly contradicted the minimalist form follows function design philosophy that had been injected into contemporary design. Many products were named after luxury hotels and constructed from inexpensive materials like terrazzo and plastic laminates to parody high-class culture.

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The majority of design since WWI had focused on minimalist functionality such as the Bauhaus with its form follows function design philosophy1. This is largely attributable to post-WWII material shortages causing a global need for utilitarian design4. Whilst the Bauhaus was characterised by machine aesthetic and negligible ornamentation, 1980’s postmodernism became a counterculture towards its slick, monochrome, conformist nature. Prioritising form over function, Memphis design flaunted shape and colour for an emotional response. It therefore had a cultural influence, inspiring TV sets like Pee-Wee’s Playhouse and Saved by the Bell 5. Famous singer David Bowie owned a 400-piece collection of Memphis furniture5. Its unique playfulness was key in attracting support.

 

However, Memphis styling faced heavy criticism regarding the aesthetic of plastic laminating and clashing colours in contrast to its monochrome, antecedent design movements. Sottsass separated in 1985 to develop Sottsass Associati, and the group disbanded in 1987 as public enthusiasm for Memphis faded due to its impracticalities for everyday use.

 

It experienced a noticeable resurgence in 2007 when Sottsass died, causing a nostalgia for the Memphis style. It has since been used as inspiration for modern day interior, graphic, and fashion design1. For example, Christian Dior’s 2011 fall collection, worn by celebrities like Katy Perry, featured vibrant patterning, sharp colour contrasting, and geometric headgear2. Memphis design is also occasionally miniaturised for 1980’s retro bursts of colouring to guide the viewer’s attention in illustrative design4.

 

In the 1980’s postmodern era departing from modernist utopian visions of minimalist simplicity6, Memphis encouraged designers globally to re-evaluate design. Its lasting impact can be seen in its instant recognisability, showing how it became a 1980’s postmodernist ‘zeitgeist’ that is now appreciated for revolutionising design philosophy.