The Panton Chair was designed by Danish-Swiss designer Verner Panton in 1967. The Panton Chair is still the most beautiful modern design chair that was ever created. One The Panton Chair was one of the first chairs exhibited in the Museum of Modern Art, New York. Today the Panton Chair belongs to the classics of modern furniture design.


A beautiful, well-designed, perfectly-balanced modern design icon. If money is no objection, make sure you get the original pure-white high-gloss chair which is a real museum piece.

Available from:
http://www.nova68.com

We should have had colonies on the moon by now. This ad from 1968 stated 'Women of the future will make the Moon a cleaner place to live". It didn't exactly pan out as we thought it was going to be...just yet.

The Illustrated Man, a very unusual movie from 1969, features a great space age interior set. What where they smoking? That's what you will think when you start this movie, but hang in there and you will be rewarded with this fantastic all-white modern sixties interior. The modern space age house of the future has a special virtual reality room in which people can transfer back (or forward) to any time. The movie has plenty psychedelic moments over a difficult to understand story line. A must-see cult icon for die hard space age fans. You can currently view the movie on Netflix "Play on Computer".

Great for fans of Eero Aarnio, Harry Bertoia, Wendell Castle, Joe Colombo, Curtis Jerre, Guzzini, Arne Jacobsen, Laurel, Erwin and Estelle Laverne, Ueli Berger and Eleanora Peduzzi Riva, Martinelli Luce, Neal Small, Olivier Mourgue, Eero Saarinen, Verner Panton, Space Age, Kartell, etc.

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Raymond Loewy DF-2000 Modern Furniture Series

Raymond Loewy DF-2000 Modern Furniture Series


Raymond Loewy DF-2000 Modern Furniture Series




Raymond Loewy DF-2000 Modern Furniture Series


We always loved these vintage out-of-production pieces designed by Raymond Loewy. The Raymond Loewy DF2000 cabinet series was manufactured by "Doubinsky Frères" in France around 1965. How did an American industrial designer like Raymond Loewy end up with a French manufacturer? Nobody seems to know.

If you love space age modern furniture, you will be hard-pressed to resist them. Unfortunately they have some design issues; they are super heavy and each of the feet was 4-parted in a star shape pattern needing an additional metal plate to hold them together. We have been waiting for someone to release them again with the slight improvements that are needed. So Vitra, Knoll, Herman Miller, etc...if you are reading this...

Mod Fashion Paco Rabanne Tunic Dress.
Designed by Paco Rabanne in 1968.
The above example fetched $24,900 at a Christie's Auction in London.

Source

'Mystic Eye' Mod Poster Dress Fashion
Designed by Harry Gordon
Manufactured by Poster Dresses Ltd in London
1968


'Mystic Eye' Mod Poster Dress Fashion
Designed by Harry Gordon
Manufactured by Poster Dresses Ltd in London
1968

These amazing mod fashion Poster Dresses were designed by British designer Harry Gordon in a series of five different designs. Released by Poster Dresses Ltd in London. Five poster dress designs included the 'Mystic Eye Dress', 'Giant Rocket Dress', 'Rose Dress', 'Pussy Cat Dress' and 'Hand Dress'. Not much is known about this particular Harry Gordon. A Google search reveals at least 100 people with the same name in the UK. But this peculiar Harry Gordon left us with an impressive series of beautiful mod fashion dresses, so where ever you are, Harry Gordon, thanks a bunch.


'The Cat' Mod Poster Dress Fashion
Designed by Harry Gordon
Manufactured by Poster Dresses Ltd in London
1968

Imprinted with oversize photographs, front and back, designed in London, England. To suit your current mod mood. The manufacturer stated "Toughness is woven into the non-woven fabric for long, l-o-n-g wear, and should you tire (which is doubtful), just cut open all the seams and hang it on your wall as a poster, or cover pillows."

'The Rose' Mod Poster Dress Fashion
Designed by Harry Gordon
Manufactured by Poster Dresses Ltd in London
1968

They were made with a blend of 75% rayon and 25% nylon. The manufacturer stated that they were also washable. not be confused with the paper dresses. If you have one of these in your closet, please do not toss and neither cut 'em up for use as a poster .

These mod fashion paper dresses now are highly collectible and can fetch well over $3000.

'Big Rocket' Mod Poster Dress Fashion
Designed by Harry Gordon
Manufactured by Poster Dresses Ltd in London
1968

That is hardly a bargain considering they were sold for $2.98 by the USA importer 'Madison House' in 1968. But if you insist to have all this fabulous eye candy, you may try your luck at Christie's London, vintage boutiques, flea markets, or online auctions.

Amazing space age flying saucer shaped architecture. The organge structure was made by Hitachi to present the products of the future at Japan Expo 1970. The geodesic dome is the MIDORI-KAN Astrorama,a multi-dimensional world.



MIDORI-KAN Astrorama

Sound played a big role at EXPO 70. Back at EXPO 58 (Brussels) the Philips Pavilion (designed by le Corbusier) featured a "poemeelectronique" with "music" (actually a collage of many different sounds) composed by Edgard Varese. The recorded sound was directed through 425 loudspeakers according to a program that ensured that each performance was spatially different. At EXPO 70 the German Pavilion featured an auditorium housed within a 30m diameter geodesic sphere designed as an "electrical space-sound studio" incorporating various experimental techniques for "future concepts" of opera theaters and concert halls. The facilities included 500 loudspeakers and complex sound mixing and routing equipment.


As 1970 represented the 200th anniversary of Beethoven's birth, the space was used for live concerts and recorded music of both classical and modern composers. The most notable of the latter was Karl Heinz Stockhausen who personally conducted performances of his electronic compositions every day for several months of the EXPO. He used what he called a "sound mill" (rather like a hand coffee-grinder) where turning the handle directed sounds to different parts of the sphere.


Most pavilions wanted to ensure that as many visitors as possible could move through their exhibitions. This meant that if any kind of "show" was to be given, there had to be sufficient space for the audience; so, for example, if the target was 1,800 visitors per hour, a two minute show would need space for at least 60 viewers. The UK pavilion, which, like its predecessor at EXPO 67, made good use of audio-visual displays integrated into exhibition settings, was one of many to exploit the relatively new technique of multi-image projection using multiple electronically controlled slide projectors. The pavilion included a 16 screen (32 projector) display devoted to the arts, and featuring leading British artists, sculptors, architects and actors of the day; but to meet the visitor flow requirement it was only a few minutes long.


Many of the foreign exhibitors used multi-image slide technique. It was particularly suitable for relatively small pavilions like that of Ireland, which had a most engaging show based on excellent photography of the country. The Scandinavian Pavilion had a show using over 60 projectors, but unfortunately their clever ideas did not really work with the Japanese Public. Visitors were given a "fan" (in fact a white card) and if they held it correctly they could read projected captions on it that described the images on the overhead screens.

This approach could have worked well in an exhibition with few highly motivated visitors; but the Japanese visitors, mostly in organized groups with a flag-bearing leader setting the pace, simply did not have the time to work out what they were supposed to do.


EXPO 70 was really notable for the presence of the big Japanese corporate pavilions. Many of these worked on a "timed show" basis. While this allowed proper shows of some length to be given, it did limit the throughput of individual pavilions. Many of the pavilions were obviously inspired by the success of the multi-screen films that had been seen at EXPO 67, and were determined to go one better, with varying degrees of success.


Typical was the combined Toshiba and IHI Pavilion. Here 500 visitors at a time were loaded onto a circular platform that then rose 5.5m up into a 26m diameter theater space. An 18 minute film show was presented on nine screens, each 9m wide at base and 7.5m wide at the top. During the show, entitled "Light for Man", the audience platform rotated.


The Gas Pavilion had a multi-screen film show "symphony of laughter" shown on four screens to audiences of 380 at a time. The arrangement of a long narrow screen on the floor, two tall vertical screens and a conventional front screen was reminiscent of the "Labyrinth" pavilion seen three years before at EXPO 67. The Automobile Pavilion had a 35 minute four screen show called "240 hours a day", a humorous science fiction film presented on three screens side by side and a portrait format screen in the ceiling.


In 1969 Sony had developed the U-Matic range of videocassette based professional video recorders. Although tape is not ideal for exhibition presentation, and would have been very expensive at the time, it is clear that color video presentation was used at EXPO 70, for example the Telecommunications Pavilion is described as having 200 color TVs showing pictures of babies. It is not clear how many separate video sources were used, but it is at least probable that a number of early U-Matic machines were used (otherwise studio TV recorders or telecine machines would have been necessary; the alternative of lots of live babies on camera seems unlikely!).

The Telecommunications Pavilion demonstrated Japanese expertise in long distance communication by having "video telephones" demonstrated on giant TV screens. Live hook-ups to Tokyo, Kyoto and Japan's southernmost point, Tanegashima Island, were shown on giant projection screens -- a 13m*9m black and white image and two 6m*4m color images, all using the Swiss Eidophor projection system.

EXPO 70 was a true space age architectural dream world with many rewarding exhibits to see if you had the stamina. Each country had its own fashion dress code.

These fabulous mod fashion outfits were used at the Japanese Pavilion of the Japan Expo 1970 in Osaka. They look very stylish, very much in line with the creations of Paco Rabanne and André Courrèges.