Left of Center

margetlarsen

Marget Larsen

Many of you have written me and asked, “Sean, WTF? What happened to Burning Settlers Cabin?” The simple answer is that I have four jobs: AdamsMorioka, Art Center, AIGA, and Lynda.com. As you know, I was also in Berlin for three months for the Art Center TestLab. And, of course, I have a very busy routine hanging out at the country club drinking martinis, tennis lessons, and playing golf every afternoon. But now, I’m getting a handle on it all and back to bring optimism back to the world.

In between my freshman and sophomore year at college, I was asked to interview at Landor and Associates for an internship. The interview was remarkably humiliating. The first comment being, “Uh, you might want to consider cleaning up the rubber cement on your projects, and using something other than a chainsaw to trim them.” The downside was no internship. The upside was a great lesson that my sloppy, messy CalArts portfolio wouldn’t fly in the actual professional world.

In my head, I imagined all the work in San Francisco to be like the remarkable packaging Marget Larsen did there. Her projects for Joseph Magnin were light and playful and people coveted them. They have a tinge of counter-culture, Victorian eclecticism, and clear Modernism. Most importantly, they were fun. They didn’t look constipated, uptight, and angry. It was clear that the designer enjoyed making them. Today, when every project is run through ten committees and budget is the highest concern, it is hard to imagine anyone giving the green-light to a box that turns into a Thonet chair or multi-colored set of game boxes. Larsen’s work is ground-breaking and was widely imitated. She had the misfortune of working at a time when few women in the profession were recognized on a coast where only “far-out and wacky” work was produced.

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