Official merchandise from Rosendal Garden Party 2022.
Hall of Femmes
Rosmarie Tissi
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Hall of Femmes: Rosmarie Tissi
»For me, it’s been important to combine intuition and logic in order to find simple and powerful solutions.
I have constantly thought of solutions, of challenges for projects in progress. I would rarely slow down if I had a job I couldn’t find a solution for. I couldn’t focus on anything else so I would prioritise a lot of other things in order to keep working, revisit ideas or spreads to find the right path. When the project finally landed and the prob- lem was solved, I could feel a bit empty inside. I don’t know why I’m speaking in past tense, it’s exactly the same now as it was then. I always have to have some project to think about. I would never think to retire, that must be awfully boring.« – Rosmarie Tissi
During the 1960s and 1970s, she was a trailblazer for her time. All around her were strict rules, grid systems and men who completely dominated the business. She continued on her own trail through the 1980s and '90s, turning limitations into opportunities. Today she is a leading female designer, famous worldwide.
This book is part of the Hall of Femmes series, books highlighting the work of outstanding women in art direction and design. Other titles in the series are: Ruth Ansel, Lillian Bassman, Carin Goldberg, Paula Scher, Tomoko Miho, Janet Froelich, Lella Vignelli and Barbara Stauffacher Solomon.
Initiative: Samira Bouabana, Angela Tillman Sperandio (Hall of Femmes) Author & editor: Linda Holster / HolsterGreen Graphic design: Michaela Green / HolsterGreen Dimensions: 130x230 mm Soft cover Language: English ISBN: 9789198757309
Hall of Femmes
Ruth Ansel
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Hall of Femmes: Ruth Ansel
” Magpie aestetic, shameless borrower, intuitive, and deceptively simple.”
Ruth Ansel has been the art director of Harper’s Bazaar (1960s), The New York Times Magazine (1970s) and Vanity Fair (1980s). Each time she was the first woman to hold that position. In the early 1990s, she formed her own design studio. She designed such notable books as The Sixties by Richard Avedon, Women and The White Oak Dance Project by Annie Leibovitz, and a master monograph for Taschen by Peter Beard. She continued to work closely with Richard Avedon and designed several significant portfolios of his work for The New Yorker. Her studio has also designed ad campaigns for such brands as Versace, Club Monaco, and Karl Lagerfeld. Ruth has received the Gold Medal for Design — the Art Directors Club’s most prestigious award — and the Society of Publication Design Award for Continuing Excellence in Publication Design.