The affect of the Sixties and the Hippie Movement on long-term socio-political change has been argued to death, but what cannot be denied is the long lasting effect the movement had on our popular culture. The catalytic mixture of drugs, music and art promoted a creative stimulation which has not be seen since. Even the late, great Steve Jobs articulately believed: “taking LSD was one of the most important things of my life. It shows you that there’s another side to the coin”.
"taking LSD was one of the most important things of my life. It shows you that there’s another side to the coin”.
For us, LIMITED | SUMMER OF LOVE is not an attempt to eulogise the idea of free sex or glorify dropping acid. What we have endeavoured to do with this range is take the principles prevalent at the time, interpret our personal understanding of them, and showcase to you how culturally significant they are to the present.
Josef Alber's work, theories, and the creative brilliance in 'The Interaction of Colour' inspired the creation of two of our kits in the Summer of Love; Morning Glory and Koolaid. Albers is also one of two artists in this collection from Berlin's Bauhaus Design School.
It’s hard to imagine life without the thought provoking Albers. The way we look at colours side by side was illustrated and simplified by Alber’s simplistic, squared artwork. He showed how any one colour can look different when paired with another. While Albers expressed this through his simplistic square artwork, our interpretation has been to show this relationship in the gradients adorning Morning Glory and Koolaid. The primary colour's story is entirely dependent on the colour dispersing it.
Allen Ginsberg's poetry was made famous by his activism targeted at the Vietnam War. Ginsberg is widely regarded as the author of the phrase "Flower Power".
Not so much a design philosophy but a symbol that embodies an entire era and the united pursuit of peace. The sunflower became the symbol for people’s discontent to a war they didn’t want to be involved with. Ginsberg challenged war's inherit psychology of fear and violence with the innocence and approachability of a flower, disarming the political narrative with one of peace and understanding. As the message spread, the flower was quickly thrust into the world of fashion, giving rise to what has effectively become the stereotypical costume for that era. For us, Ginsberg’s message remains as beautiful as the flower's original form.
The second of our Bauhaus-schooled artists, Wassily Kandinsky, was instrumental in defining geometric artwork. Kandinsky demonstrated the design as more than just repeating shapes by defining shape and colour as a method of placement.
The Bauhaus Theory is almost impossible to define and to do so would almost certainly devalue the significance it has and still poses society. To champion Bauhaus you need only look at the students that used to grace the halls of its Design School in Germany. One of those students, Kandinsky, emphasised the importance and value of every single object. So much more than a geometric arrangement, he intricately positioned and spaced objects, all while obsessing over the colour that supplies that object life. Our interpretation of Kandinsky’s Bauhaus theory, seen in Big Digger and Mountain Girl, is to demonstrate the importance of a two-colour palette showcasing an intricate arrangement of lines, rectangles and squares.
At its core, the notion of Psychedelic art was to visually replicate what it was to experience tripping on acid. The artform became extremely diverse, from spinning wheels to tie dyed gradients. The constant in this diversity was the theory that artist Victor Moscoso lived by; that intense colour combinations gave rise to the intense hallucinations people craved. Our interpretation of psychedelia has been to take the organic process of tie dying and to apply a reduced contrasting palette.