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Marke Österreich
Rainer Dempf

Vichy Pattern: The name Vichy Pattern refers to a range of patterns found in woven textiles. Most typically, these feature stripes of colour which alternate with gaps of equal width and which are usually overlaid with a second, perpendicular weave. Typical colours for such patterns are red, blue and their pastel shades, together with a white background. The fabric is produced on a loom by alternating strips of weft and warp of equal width and is widely used as a simple, minimalist and richly contrasting design highly suitable for such items as bed-linen and pyjamas (and particularly favoured for use by the military). These patterns were then taken up by the fashion industry in the 1950s – since when they have come to be regarded as classics.

Vichy Stripes: Alternating stripes of background and foreground colours of the same width. Can be arranged vertically or horizontally: Such fabrics are commonly used in gentlemen’s shirts.
When featuring broader stripes, this fabric becomes associated with the clothing worn by inmates of concentration camps during the Third Reich.

Vichy Checks or Gingham: A fabric featuring a lattice of opaque strips. The result is a chequerboard design with white, half-coloured and – at the meeting points between the opaque stripes – fully coloured squares. [Source: Wikipedia].

Rainer Dempf (*1961)

The starting point and focus of the work of Rainer Dempf are lettering and his investigations of individual fonts. Born in 1961, the designer and photographer is a typographic experimenter who has developed a personal design approach out of his love of baroque fonts and the “American sans serif”. Alongside his book designs, Dempf’s work centres on magazine typography. During the 1980s his photographs had a key influence on not only the appearance of Vienna’s listings magazine “Falter” but also, to a certain extent, on that of the city itself. The same can be said of such current work as his posters for the Viennale Film Festival or for the city’s Gartenbau cinema. This relationship between typeface and the face of the city was also central to “Delete!”, Dempf’s spectacular and radical (albeit temporary) “de-lettering” of the public realm in 2005. As part of the artistic duo Steinbrener/Dempf, he succeeded in freeing Vienna’s Neubaugasse from all hints of commercialism for a period of two weeks by covering all signs and advertising hoardings.