21st Century and Contemporary European Scarves
21st Century and Contemporary French Scarves
Early s French Scarves
Early s French Scarves
ABOUT ELAINE LUSTIG COHEN
Elaine Lustig Cohen (American, –) found her way to graphic design through her marriage to the legendary American modernist Alvin Lustig (American, –). She managed her husband’s design studio from until his death, serving as a secretary, production assistant, and draftsperson.
After Lustig died, Cohen established her own design practice, carrying on work with many of the studio’s clients. Her book covers employ abstract structural elements, expressive typography, and conceptual photographs to interpret the books’ contents.
Cohen worked for corporate and institutional clients during the s, including General Motors, the Jewish Museum, and the Museum of Modern Art in Rio de Janeiro, Brazil. She pioneered the practice of architectural signage, collaborating with Philip Johnson, Richard Meier, Eero Saarinen, and other leading architects. With Johnson, she designed signs for the Seagram Building, the Kline Geology Laboratory, and other projects.
Elaine married Arthur Cohen, publisher of Meridian Books, in They later opened Ex Libris, a rare bookstore specializing in publications and documents from the European avant-garde. By , Elaine focused her talen
Hermès Celebrates Elaine Lustig Cohen’s “Centered Rhyme” Scarf in Support of The Glass House
Widely known for her pioneering design projects, the late Elaine Lustig Cohen shined as an immensely talented graphic artist and creative mind. Her first client in , architect Philip Johnson, famous for his The Glass House, gave her a start by commissioning her to design the lettering and signage for New York’s iconic Seagram Building. Thereafter, she created an array of legendary content for countless cultural institutions, publishers, and architects, such as Lincoln Center, Richard Meier, Yale University, and the Cooper Hewitt National Design Museum. She held bold colors and linear patterns dear, changed the way European modernism was perceived in an American context, and was included in numerous public and private collections before becoming the recipient of the AIGA Medal for her lifetime achievements.
In , Cohen presented an exhibition at The Glass House in New Canaan, Connecticut, showing early paintings and graphic design projects of hers. In attendance was Pierre-Alexis Dumas, the artistic director of Hermès, who was especially inspired by her crème, jau
The House of Seagram directory,
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Scope and Contents
The Elaine Lustig Cohen Collection contains two series: Clients and Personal. The Clients series encompasses most of the collection and focuses on Cohen's work as a graphic designer from the mid s to the late s, with much of the documentation consisting of letterheads, book covers, and catalogs. Her book cover designs for Meridan Books are well represented. Cohen counted cultural groups and galleries as her main clients, with these chiefly represented by Kootz Gallery, Jewish Museum, Sona, and the Museum of Modern Art. Other notables include architects Eero Saarinen and Philip Johnson and consist of letterheads and signage for buildings (GM Technical Center and Seagram Building, respectively). Lastly, the collection includes a small number of graphic identification projects that were never realized: Federal Aviation Agency (photocopies), Lincoln Center (designed with Ivan Chermayeff and Tom Geismar), and Monsanto (photocopies).
Personal records include catalogs for posthumous exh
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