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My introduction to Ettore Sottsass began three years ago in Brussels, in the Marolles district, when I stumbled upon a space filled with vintage objects, Galerie Watteeu. In the middle of the collection was a mirror with a pink frame that immediately caught my attention. It felt like the perfect selfie mirror. At that time, I didn’t know anything about Sottsass. I wasn’t thinking about starting a vintage store or writing about furniture designers.
A few years later, while working on a vintage collection and searching for new pieces, I came across a magazine rack in the Memphis style. A quick check showed it was a true vintage item from the 1980s, Italy, though the designer wasn’t listed.
While learning more about furniture design, I started exploring the history of postwar Italian design. That’s when I first saw the name Ettore Sottsass. His work quickly stood out. One of the first things I recognized was that same pink-framed mirror from Brussels. It brought back warm memories of that day in Brussels. It really had been a magical day.
The Ultrafragola Mirror, which translates to “Ultra Strawberry” (a perfect name emphasizing the pop-art nature of the piece), was created by Ettore Sottsass in 1970 for Poltronova. It was actually one of Ettore’s first creations in furniture design, and at that time, he wasn’t widely known for it. In the late 1960s, Poltronova was actively looking for fresh voices to produce something different, and that’s how they hired Ettore.
A few years later, while working on a vintage collection and searching for new pieces, I came across a magazine rack in the Memphis style. A quick check showed it was a true vintage item from the 1980s, Italy, though the designer wasn’t listed.
While learning more about furniture design, I started exploring the history of postwar Italian design. That’s when I first saw the name Ettore Sottsass. His work quickly stood out. One of the first things I recognized was that same pink-framed mirror from Brussels. It brought back warm memories of that day in Brussels. It really had been a magical day.
The Ultrafragola Mirror, which translates to “Ultra Strawberry” (a perfect name emphasizing the pop-art nature of the piece), was created by Ettore Sottsass in 1970 for Poltronova. It was actually one of Ettore’s first creations in furniture design, and at that time, he wasn’t widely known for it. In the late 1960s, Poltronova was actively looking for fresh voices to produce something different, and that’s how they hired Ettore.
How I Discovered Ettore Sottsass Without Knowing His Name
Ettore Sottsass and the Birth of Italian Design
Design, Love, and the Memphis Blues: The Story of Memphis Milano
Ettore Sottsass, an Italian architect, received his education at the Politecnico di Torino just before the start of World War II in 1939. He only began practicing architecture after the war, working with his father, who was also an architect.
Today, if you read about him or listen to his interviews, he usually refers to himself as a designer. At the same time, he acknowledges that there was no design industry after the war. There were no designers and no design schools. Design as a field in Italy started with architects, who were mostly intellectuals. Sottsass was one of them.
Focused on design, Sottsass supported himself through his architectural practice, though he struggled. He wasn’t famous and didn’t have large commissions, but he had a very valuable resource - time, so he created work for himself by making small objects with his hands. This made him a perfect fit for Olivetti when, in the 1950s, they were looking for young designers to help develop their new electronics division. Sottsass became widely known thanks to the groundbreaking typewriters he designed for them.
But this recognition didn’t convince him to continue down the path of industrial product design. In fact, he later explained, “I didn’t want to do any more consumerist products because it was clear that the consumerist attitude was quite dangerous. I consider myself not so much as a designer who abides by the impositions of industrial culture, but one who is guided by the relation between objects and persons.”
In the 70s, he became that designer. The objects he was creating were designed to make a person evoke emotions.
Today, if you read about him or listen to his interviews, he usually refers to himself as a designer. At the same time, he acknowledges that there was no design industry after the war. There were no designers and no design schools. Design as a field in Italy started with architects, who were mostly intellectuals. Sottsass was one of them.
Focused on design, Sottsass supported himself through his architectural practice, though he struggled. He wasn’t famous and didn’t have large commissions, but he had a very valuable resource - time, so he created work for himself by making small objects with his hands. This made him a perfect fit for Olivetti when, in the 1950s, they were looking for young designers to help develop their new electronics division. Sottsass became widely known thanks to the groundbreaking typewriters he designed for them.
But this recognition didn’t convince him to continue down the path of industrial product design. In fact, he later explained, “I didn’t want to do any more consumerist products because it was clear that the consumerist attitude was quite dangerous. I consider myself not so much as a designer who abides by the impositions of industrial culture, but one who is guided by the relation between objects and persons.”
In the 70s, he became that designer. The objects he was creating were designed to make a person evoke emotions.
I became especially curious about his time with the Memphis Milano group, the collective he founded in 1980. Ettore gathered a group of young architects and designers, including Martine Bedin, Aldo Cibic, Michele De Lucchi, Nathalie Du Pasquier, Matteo Thun, George J. Sowden, and Barbara Radice. The goal of this group was to break the rules of “good taste.”
Barbara was actually the only one who wasn’t an architect or a designer. She was an art critic and journalist, and most importantly, Ettore’s wife, whom he had married shortly before, in 1976. She was one of the key elements of this group. She authored all major Memphis publications and manifestos, curated and organized their first exhibition as well as many that followed, and preserved Memphis’s legacy long after. Many love stories have led to breakthroughs in art, and this one was no exception. Ettore Sottsass often acknowledged that Barbara Radice played a crucial role in shaping the Memphis Group as we know it today, and she was also the one who came up with the name.
During a party at Ettore and Barbara’s place, Bob Dylan’s song Stuck Inside of Mobile with the Memphis Blues Again was playing, and the word “Memphis” kept skipping on the record. Barbara suggested it as the name for the group. That’s how the name was born in the very sense we know it today. I had used that word so many times to describe a certain aesthetic without knowing where it came from. It turns out it was all thanks to Barbara Radice, Bob Dylan and a skipping record player.
This group created many cult objects that feel more relevant than ever today. Looking through their designs, I started to suspect that the intriguing magazine rack in my collection might be connected to them. I started looking for more information to find out who made it. After some research and countless articles, I finally came across the label Memphis Milano next to the rack. I felt a rush of euphoria — I had been right! The magazine rack in my collection belongs to Ettore.
Barbara was actually the only one who wasn’t an architect or a designer. She was an art critic and journalist, and most importantly, Ettore’s wife, whom he had married shortly before, in 1976. She was one of the key elements of this group. She authored all major Memphis publications and manifestos, curated and organized their first exhibition as well as many that followed, and preserved Memphis’s legacy long after. Many love stories have led to breakthroughs in art, and this one was no exception. Ettore Sottsass often acknowledged that Barbara Radice played a crucial role in shaping the Memphis Group as we know it today, and she was also the one who came up with the name.
During a party at Ettore and Barbara’s place, Bob Dylan’s song Stuck Inside of Mobile with the Memphis Blues Again was playing, and the word “Memphis” kept skipping on the record. Barbara suggested it as the name for the group. That’s how the name was born in the very sense we know it today. I had used that word so many times to describe a certain aesthetic without knowing where it came from. It turns out it was all thanks to Barbara Radice, Bob Dylan and a skipping record player.
This group created many cult objects that feel more relevant than ever today. Looking through their designs, I started to suspect that the intriguing magazine rack in my collection might be connected to them. I started looking for more information to find out who made it. After some research and countless articles, I finally came across the label Memphis Milano next to the rack. I felt a rush of euphoria — I had been right! The magazine rack in my collection belongs to Ettore.
A story about a pink-framed mirror, an anonymous magazine rack, and the Memphis style.
Ultrafragola Mirror,
by Ettore Sottsass for Poltronova
1970 © Archive Maitu
Ultrafragola Mirror,
by Ettore Sottsass for Poltronova
1970 © Archive Maitu
Magazine rack,
by Ettore Sottsass for Memphis Milano
1980s © Archive Maitu
Dressing table and stool “Plaza”,
by Michael Graves for
Memphis Milano
1981, photo by Vlad Iordan,
license & source below.
Carlton bookcase
by Ettore Sottsass for
Memphis Milano
1981, photo by
Jean-Pierre Dalbéra,
license & source below.
Casablanca cabinet by Ettore Sottsass, 1981
Super lamp by Martine Bedin, 1981
Kristall Table by Michele De Lucchi, 1981
First chair by Michele De Lucchi, 1983
Papilio Table by Alessandro Mendini, 1980s
photo by Francesco Bini,
license & source below.
The Memphis Influence Beyond Furniture: ESPRIT COLLABORATION
After the Memphis Group shook up the design world in the early 1980s, Sottsass, already a successful designer, continued working in architecture. One of his interesting collaborations was with the fashion brand Esprit in the mid-1980s.
At the time, Esprit was seen as innovative — not just in fashion, but also in branding and store design. It was one of the first mid-range fashion brands to take design seriously and involve architects in creating its retail spaces.
Sottsass was invited to design a series of interiors and facades for Esprit stores. The result was a mix of bold colors and playful shapes that reflected the Memphis spirit.
While researching this collaboration, I came across a great article that shows some of the original store designs, one of the few sources still available today. In one of the photos, I noticed a veneer pattern that I had seen many times in modern interiors and even considered using in a project. In the Memphis context, it felt completely natural. It turned out the veneer was by Alpi and was actually designed by Sottsass himself — it's called “Sottsass.” The connection made sense once I saw it.
Today, the link between Esprit and Sottsass isn’t widely known, since the brand has gone in a different direction. But at the time, this kind of collaboration between a designer and a retail brand was quite forward-thinking.
As far as I know, none of the original interiors have survived. The store in Cologne, now a Wempe jeweler’s shop, still has some elements — like the stairs and terrazzo — but most of the design is gone.
At the time, Esprit was seen as innovative — not just in fashion, but also in branding and store design. It was one of the first mid-range fashion brands to take design seriously and involve architects in creating its retail spaces.
Sottsass was invited to design a series of interiors and facades for Esprit stores. The result was a mix of bold colors and playful shapes that reflected the Memphis spirit.
While researching this collaboration, I came across a great article that shows some of the original store designs, one of the few sources still available today. In one of the photos, I noticed a veneer pattern that I had seen many times in modern interiors and even considered using in a project. In the Memphis context, it felt completely natural. It turned out the veneer was by Alpi and was actually designed by Sottsass himself — it's called “Sottsass.” The connection made sense once I saw it.
Today, the link between Esprit and Sottsass isn’t widely known, since the brand has gone in a different direction. But at the time, this kind of collaboration between a designer and a retail brand was quite forward-thinking.
As far as I know, none of the original interiors have survived. The store in Cologne, now a Wempe jeweler’s shop, still has some elements — like the stairs and terrazzo — but most of the design is gone.
Esprit Headquarters in Dusseldorf, Germany
Architect: Ettore Sottsass, 1985
scan by Daniel Letson,
license & source below.
Esprit Headquarters in Dusseldorf, Germany
ALPI Sottsass Veneer
Architect: Ettore Sottsass, 1985
scan by Daniel Letson,
license & source below.
Esprit Headquarters in Dusseldorf, Germany
Architect: Ettore Sottsass, 1985
scan by Daniel Letson,
license & source below.
Esprit Flagship store in Cologne, Germany
Architects: Ettore Sottsass and Shuji Hisada, 1986
scan by Daniel Letson,
license & source below.
© Archive Maitu
The Planet of Ettore Sottsass
That’s how a chain of coincidences led me deeper into his world. It turned out Sottsass had been present in my life long before I ever knew his name and learning that name helped me piece everything together.
Ettore Sottsass didn’t believe in the word “creativity” as it is commonly used. He saw most art as the work of craftsmen rather than creators. To him, creativity was more a condition created by markets than an inherent quality of art or design. I believe this is one of the reasons his influence extended beyond furniture, design, or architecture — it reached into fashion, philosophy, and other disciplines, leaving a lasting mark on how we think about design and culture today.
When I explore an artist’s work, I’m always curious not only about the works themselves but also about how the artist thinks and why their works are the way they are. That’s how I came across a book by Sottsass called There is a Planet. The title comes from an exhibition celebrating 100 years of Ettore Sottsass at the 2017 Triennale di Milano. The exhibition was curated by his partner and longtime collaborator, Barbara Radice, who also edited the book of the same name. The phrase There is a Planet originates from a photographic project Sottsass began in the late 1970s, reflecting his deep interest in the human experience, nature, and everyday beauty.
Unlike most books about him, this one isn’t focused on furniture, interiors, or architecture. It is a quiet collection of photographs he took over the course of 40 years of travels; images of houses, people, objects, and everyday scenes from around the world. Each chapter begins with a short note or sketch, offering a glimpse into how he saw things. It feels almost like a personal, reflective visual diary.
We liked it so much that we added it to our Library.
Ettore Sottsass didn’t believe in the word “creativity” as it is commonly used. He saw most art as the work of craftsmen rather than creators. To him, creativity was more a condition created by markets than an inherent quality of art or design. I believe this is one of the reasons his influence extended beyond furniture, design, or architecture — it reached into fashion, philosophy, and other disciplines, leaving a lasting mark on how we think about design and culture today.
When I explore an artist’s work, I’m always curious not only about the works themselves but also about how the artist thinks and why their works are the way they are. That’s how I came across a book by Sottsass called There is a Planet. The title comes from an exhibition celebrating 100 years of Ettore Sottsass at the 2017 Triennale di Milano. The exhibition was curated by his partner and longtime collaborator, Barbara Radice, who also edited the book of the same name. The phrase There is a Planet originates from a photographic project Sottsass began in the late 1970s, reflecting his deep interest in the human experience, nature, and everyday beauty.
Unlike most books about him, this one isn’t focused on furniture, interiors, or architecture. It is a quiet collection of photographs he took over the course of 40 years of travels; images of houses, people, objects, and everyday scenes from around the world. Each chapter begins with a short note or sketch, offering a glimpse into how he saw things. It feels almost like a personal, reflective visual diary.
We liked it so much that we added it to our Library.
Author - Ksenia Vauchskaia
Photo credits:
Carlton bookcase - photo by Jean-Pierre Dalbéra,
via Flickr, licensed under CC BY 2.0
Casablanca cabinet - photo by Francesco Bini
via Wikimedia Commons, licensed under CC BY 3.0
Dressing table and stool “Plaza” - photo by Vlad Iordan,
via Wikimedia Commons, licensed under CC BY-SA 4.0
Esprit showrooms - scans by Daniel Letson from “International Contract Design Volume 1″ 1988.
These images are low-resolution excerpts used for commentary and historical reference only.
All rights remain with the original publisher.
This article is intended for educational and informational purposes only.
All image credits are provided where applicable.
If you are the copyright holder and have concerns about the use of any material, please contact us.
Photo credits:
Carlton bookcase - photo by Jean-Pierre Dalbéra,
via Flickr, licensed under CC BY 2.0
Casablanca cabinet - photo by Francesco Bini
via Wikimedia Commons, licensed under CC BY 3.0
Dressing table and stool “Plaza” - photo by Vlad Iordan,
.jpg){kind=link}
via Wikimedia Commons, licensed under CC BY-SA 4.0
Esprit showrooms - scans by Daniel Letson from “International Contract Design Volume 1″ 1988.
These images are low-resolution excerpts used for commentary and historical reference only.
All rights remain with the original publisher.
This article is intended for educational and informational purposes only.
All image credits are provided where applicable.
If you are the copyright holder and have concerns about the use of any material, please contact us.
