#SPACE AGE FASHION DESIGNERS TV#

Some of the most iconic graphic design works from the Space Age period actually come from science fiction novels and pulp magazines. NASA also designs special patches for particular missions, representing the mission’s purpose, and even some robotic probes in space have specially designated patches.

The NASA seal, used for formal purposes such as awards and ceremonies, is a “dressed up” version of the original logo, taking a more illustrative form in comparison to its minimalist counterpart. The logo was retired in 1992, and the classic “meatball” was brought back.

In 1975, NASA replaced the logo with a text-based “worm” type composed of red connected letters. Its iconic blue circle, white text, and red aviation symbol was nicknamed the “meatball,” while the sleek, modern symbols represent a planet, the stars, aeronautics, and space travel. The NASA insignia, perhaps one of the most famous and widely recognized symbols of Space Age design, was created by James Modarelli in 1959. In this same period, French designer Pierre Cardin stepped into the world of furniture, using his avant-garde fashion eye to translate ideas from fabric onto sculptural forms that utilize monochromatic color schemes, curved and wavy lines, and deconstructed layers. Similarly, Eero Saarinen’s “Tulip Chair” for the Knoll company features modernist lines and experimental materials, while Frank Lloyd Wright’s gorgeous Taliesin 1 armchair resembles a blooming origami sculpture. Important works in the Atomic Age style include Charles and Ray Eames’ “Tandem Shell Seating” chairs, which use sweeping curves, vivid colors, and gravity-defying construction to capture the complexities of the age within a functional object. The current resurgence of these mid-century space-inspired designs is called retrofuturism. In addition, star and galaxy motifs emerged in this movement, which share many similarities with mid-century modern movement of the same period, as well as Googie architecture. Atomic Age design concerns itself more with the science of atomic particles, mimicking images of particles to reproduce in textile patterns, industrial materials, countertops, wallpaper, and dishware. Space Age design is often associated with pop art due to its mainstream nature and placement in common spaces such as bowling alleys and diners. Generally speaking, Atomic Age design was concerned with larger structures in the realms of architecture and industrial design, while Space Age design was more concerned with consumer-accessibility, spreading into areas like fashion, interior design, and even animation and illustration styles. Now as a new space race unfolds, this time with a human mission to Mars on the horizon, we take a look back at fashion’s enduring love affair with outer space, in which art imitates life forms – whether alien or astronaut – and celestial bodies alike.In design, this period birthed two well-known stylistic movements, known as the Atomic Age and Space Age. But even decades after we first set foot on the moon, the cosmos has remained a mainstay of inspiration for a variety of fashion houses. Whether it was a chain-mail shift dress, a bulbous helmet or a pair of stark white boots, the sartorial legacy of the ’60s and ‘70s was defined by a space-race exuberance. For fashion designers Paco Rabanne, Pierre Cardin and Thierry Mugler, it became the rocket that launched a thousand looks, as they centered whole collections around an intergalactic vision of the future. The success of the Apollo 11 mission in 1969 only whetted appetites further.

#SPACE AGE FASHION DESIGNERS TV#

Kennedy’s vision of man reaching the moon soon spawned a throng of TV shows and films – including cartoon sitcom “The Jetsons” and the “Star Trek” franchise – all of which looked to cater to America’s newfound interest in space travel. The anticipation of this next stage of humanity left an indelible impression on culture, too. The 1960s space race was more than a measure of scientific progress.

Space age fashion designers