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Camiseta Cinelli Crest Gris
Camiseta con el icónico escudo de Cinelli. Este escudo es el original con el que Cinelli comenzó su larga historia de diseño en el mundo de la bicicleta, concretamente de 1948, cuando fabricaban bicicletas en un pequeño taller de Milán.
«The Cinelli (MILANO) head badge was originally cloisonne (fired glass on brass) and 55mm tall. Shortly thereafter (c.1953) it was hand-painted with enamel and 56mm tall. In approximately 1958 it was reduced in height to 51mm. In 1978, it became a decal. The design featured a knight’s helmet, inspired by a family heirloom, with a red lily – symbol of Florence – and a green serpent, symbol of Milan.»
From one logo to another
The original Cinelli logo, created by Cino Cinelli and used up until 1979, consists principally of two elements: the “biscione” and the “giglio”, both traditional heraldic symbols. The “biscione” is the traditional symbol of Milan and can represent either a snake giving birth to a child which would draw on the most ancient symbols of the fertility of the land, or the more heraldic interpretation of a snake eating a baby; the snake which will then be killed by a Knight of the Visconti family, governors of Milan from 1277 to 1447. The “giglio” on the other hand is traditional crest of Florence, there is no certain known reason as to how this official image was born but it is thought that it is due to the florid abundance of flowers of the Iris Germanica type, from which the symbol draws inspiration, growing in the areas surrounding Florence . Cino Cinelli, being Tuscan but working in Milan, combined the two elements for his headbadge, traditional heraldic imagery at the time, being the most common point of inspiration for bicycle headbadges; a reference to the bicycle’s historical role as usurper of the horse.
One of the first things Antonio Colombo did on taking over Cinelli in 1979 was to commission a new logo for the company. Colombo felt that, at the time, all bicycle logos were similar (heraldic) and difficult to distinguish between one and the other. He wanted a new logo that represented his design-orientated vision for the company. A logo which would visually distinguish this, unique vision for the cycling industry. He asked two young graphic designers, now internationally renown as amongst the finest of the era, to propose a new logo for the company. These were Bob Noorda (who sadly passed away little more than a week ago) and Italo Lupi; the latter of whom’s contribution was eventually selected.
Lupi’s logo used as its foundation the Standard Bold typeface and modified the space between the letters to create an iconographic effect. The outline of the C is, famously, winged, and according to Italo, when asked about this recently, inspired by very traditional British locomotive design, something which, to Lupi, seemed correct as reference point for a bicycle, just as the heraldic elements had seemed correct to Cino 30 years previously. The pantone of the elements within the C has, according to Italo, no reference whatsoever to any cycling tradition or the world champion bands; that red, yellow and very particular “rotten” green also draw on historical British locomotive decorations; the fantastic enamels of trains of the 30s..
Italo’s collaboration with Cinelli continued well into the 80s, his great experience in not only logo design, but also placement (honed in many years as Artistic Director of Domus) being called upon in all variety of Cinelli products such as Laser posters, catalogues and apparel. In 1983 he designed a new logo for Antonio Colombo’s famed Milanese bicycle stores (no longer in his ownership) “ GranCiclismo”, a logo which according to Colombo was “old style before old style was OK” and was thus later in part replaced by the design of Japanese fashion drawer Ko Yayima.
The “winged-C” now stands as one of Lupi’s most famous and iconic design logos and his graphic design and placement for the Cinelli flagship frame, the Supercorsa, has remained completely unchanged for more than 30 years making it the longest running production model in the history of road cycling.
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