Abstracted loom heddles

Eszter Haraszty was head of Knoll’s textile division from 1950 to 1955. She also served as color consultant to Knoll Associates, and frequently collaborated with Herbert Matter on the company’s promotional materials. Her strong color sense had a major impact on the ‘Knoll Look,’ as she moved the company away from the earth tones popular at the time and developed a coordinated palette of bright, clear colors across the entire textile line.
Eszter Haraszty, Knoll Textiles, photography, Color

A Colorful Identity

From the New York Subway system to American Airlines, Massimo Vignelli is responsible for some of the most iconic and enduring graphic identities of the twentieth century. Born in Milan in 1931, Vignelli displayed an interest and aptitude in design at a relatively early age. At sixteen, he began working as a draftsman at Castiglioni Architects in Milan.
Massimo Vignelli, graphic design, Knoll, furniture, Eero Saarinen, Marcel Breuer, Harry Bertoia, Helvetica, Color, poster

Color in Combination

Weaver and textile designer Dorothy Liebes had twin obsessions: texture and color, both exemplified by this sample from the museum’s collection.
Dorothy Liebes, weaving, Color, texture

Pulsating Life

Gunta (Aldegunde) Stölzl is known for her weaving and teaching at the Bauhaus. Her compelling textile designs, which play on line and color, appeal as independent artworks in themselves.
Gunta (Aldegunde) Stölzl, Bauhaus, textile design, drawing, watercolor, World War I, Germany, Color

The Logic and Magic of Color: An Exhibition Celebrating the Centennial Anniversary of the Cooper Union

Color, permanent collection, color perception, color theory, physics, chemistry

Why Design Now?: Issey Miyake Spring/Summer 2009 collection, Color Hunting

Featured in Smithsonian's Cooper-Hewitt National Design Triennial.
09SS, Color, Hunting, Issey Miyake, Why Design Now