Louise Fili
| Louise Fili | |
|---|---|
Louise Fili
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| Nationality | American |
| Education | Skidmore College, School of Visual Arts |
| Known for | Graphic design |
| Spouse(s) | Steven Heller |
| Website | www |
Louise Fili is an Italian-American graphic designer who is "recognized for impeccable craftsmanship" and "elegant use of typography". Fili is an AIGA 2014 medalist. She has designed close to 2000 book jackets.
Fili said she was “interested in design before [she] even knew what it was”. She recalls carving letterforms into her walls and designing book covers as a child. When she was 16, Fili taught herself calligraphy. She went to Saratoga Springs, New York to attend Skidmore College and study studio art.
In 1973 Fili received a Bachelor of Science in studio art from Skidmore College, where she found her love for graphic design. Fili moved to New York City in 1973, interning at the Museum of Modern Art and finishing her degree at the School of Visual Arts.
She worked as a senior designer for Herb Lubalin from 1976–78, where she found type to be an expressive tool, which set the foundation for her later work. Before working for Herb Lubalin, she worked on book projects for Knopf.
From 1978–1989, she was the art director at Pantheon Books, where she eschewed standard fonts in favor of creating unique typographic treatments for each book jacket. The success of her jacket for Marguerite Duras's bestseller, The Lover, in 1984, led to increased creative freedom at Pantheon. Fili designed close to 2000 books during her tenure at the publisher.
In 1989, she opened her own studio, Louise Fili Ltd, specializing in the design of restaurant identities and food packaging. “There were a few things I did know when I started my business. I knew I wanted to stay small and I always have. I also wanted to focus on the only three things that interest me: food, type, and all things Italian.” says Louise. During that time, there were few female-run companies, so she knew naming the company after herself could be a liability. But she decided to send a clear message: "If you have a problem with my being female, then I don’t want you as a client.” She has designed identities for many New York City eateries such as Picholine, Artisanal, The Mermaid Inn, and Via Carota, and has created packaging for Sarabeth's, Tate's, and Bella Cucina. Her geometric, often Cubist-looking designs show an affinity to European modernism, in particular, the work of Lucian Bernhard, A.M. Cassandre, Jean Carlu and Italian posters of the 1930s.
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