The ‘Carlton’ room divider (Object No. 86/1015), researched by Collections Research volunteer Jade from the Powerhouse collection, was designed in 1981 by Ettore Sottsass for the Memphis Group and quickly became one of the most recognisable icons of postmodern design. Made from MDF and finished in brightly coloured laminate, its inverted triangles, distorted pentagons and ten vivid colours create a playful architectural presence, complete with a small figure – like form perched at the top.
Although Sottsass disliked how swiftly the Carlton became the symbol of Memphis, it was soon collected by major museums worldwide. Its longevity reflects his belief that design should shape atmosphere and emotion, rather than pursue perfection. Memphis’ launch in 1981 ushered in a joyful and rebellious design sensibility that rippled across interiors, graphics and fashion.
Ettore Sottsass’ path to Memphis was shaped by decades of experimentation. After the Second World War he worked as an architect and, from 1947, ran his own Milan studio creating ceramics, furniture, interiors and more. His international experiences – including work with George Nelson in New York (aka Herman Miller) – broadened his design language. By the late 1950s he had become a leading designer for Olivetti, where he helped bring colour and style to office equipment and created influential works such as the Compasso d’Oro-winning Elea 9003 computer and the now – iconic 1969 Valentine typewriter.
When Sottsass founded the Memphis Group in 1981, he channelled this lifelong curiosity into an entirely new design movement. Memphis challenged the idea that furniture must be purely functional, instead embracing bold colours, clashing patterns and playful forms. Although controversial at the time, Memphis has since become globally influential.
Thank you to Jade for her thoughtful research into this iconic object.
Blogpost by Karen Griffiths, Volunteers Program Officer