Search result for: the-last-thing-you-aquired-
| # | Post Title | Result Info | Date | User | Forum |
| Why does Pearsall get overlooked? | 1 Relevance | 13 years ago | keewee | General discussion | |
| Stepped outside my genre and read the 2000 book about collecting early American furniture by Leigh and Leslie Keno. An underlying theme in that book (though not directly stated) is how important it eventually becomes to Americans to collect American furniture. For the Keno's that meant unearthing, researching and bringing market Newport cabinet maker pieces, Goddards, etc., that were being made as our country was forming. This pattern repeated itself when the Mid Century collecting trend started. Eames was definitely more important and desirable than Danish modern. The market for Eames subsequently crashed when all the reproductions came out. (Victim of its own popularity.) Following this, it's a mystery to me why Adrian Pearsall barely gets a nod anywhere in the annals of MCM history. He's definitely grown more popular to collectors recently, but it's been late in the game. Disappointingly though, he still gets neglected by scholars. He too had his own workshop (Craft Associates) before he closed shop and started to design for some of the bigger manufacturers. He worked with Kagan and trained as an architect. In other words...he has a pretty good pedigree. His Craft Associate pieces seem infinitely more collectible to me than say, a no name Drexel. Any ideas as to why he never gets a nod from the people that write books and articles on MCM? (He isn't in the designer list on this site.) I personally find a couple of his designs stunning...the dining table, globe, chaise lounge. Considering the fact he's American and had his own design shop Pearsall may end up being the "sleeper" in MCM design that many wished they snapped up while they could. He's is definitely rarer than the scads of Danish pieces that are around and think collectors would want him just on that basis alone. Maybe it's just the case of a couple of authors failing to put him on the cover of the latest MCM book or his designs failing to be replicated by DWR and being in shop windows on every street corner and therefore no one seeing him as the "hot" thing. | |||||
| Well, you asked, so I guess I should answer... | 1 Relevance | 16 years ago | fastfwd | General discussion | |
| Well, you asked, so I guess I should answer... Ark - If I want to see uninteresting stock photos of expensive items, I can read the Robb Report [I mean, I COULD read the Robb Report, if I could keep from gagging]. Prefacing those same photos with "I own and enjoy two of these, and I paid 27.666 cents on the retail dollar for them. P.S. Australians are criminals. P.P.S. I win, you lose" doesn't make them any more interesting. What IS interesting is the conversation that usually develops when people post actual photos of the items that they actually own. There's often a lot to say about the other stuff in the background of the photos, or questions that arise about aspects of the item that aren't visible in the stock photos. Take your post at the top of this thread. You say that you've found hi-fi equipment that complements modern and post-modern design, but the photos you posted don't show the equipment in any context whatsoever, let alone in a modern or post-modern interior. BORING... Wouldn't it be more interesting to post real photos that show how those speakers fit with your other mirror-image furniture pairs, or how the turntable's glass platter echoes the porthole windows in the wall above it, or how the sleek lines of the amp somehow work with the craziness of your Memphis collection, or even how you've cleverly hidden the wires? (Or whatever; I don't know whether you have portholes or Memphis pieces.) This forum's for sharing and learning, right? Maybe I'm missing something, but I don't see what we can learn from stock photos posted more-or-less without comment. Plus, there's the credibility thing. If I were the guy who was recently asking how to get deals on expensive furniture, I'd pay a lot more attention to your advice if I could see that you actually seemed to have put it into practice. Of course you don't NEED to prove anything -- and of course you could fake it anyway -- but nevertheless, real photos would make an impression that no amount of talk can. And finally... I'm not unconcerned about security, but "I won't post real photos for security reasons" doesn't make any sense to me. If I write, "I own and enjoy a Honda automobile," why is it safer to post a stock photo than to post this one? Tell me quick; I'm going to be here at work for another couple hours, and I don't want my car stolen before I leave. | |||||
| Translations in design | 1 Relevance | 18 years ago | Gustavo | General discussion | |
| Translations in design The designer as a translator. I don't have my own complete definition on design-designers yet, but "designer as a translator" I think is the one that fits better by now. I Thought opening a new thread on this issue, but also fits here. Dear Robert, Their was a sentence, there. . . in the gold Eams, you said: "Just another 'Concept over Execution' in the name of 'Art' The concept should never be more important that the execution..never ..ever" I loved when I read it, and agreed. Clever point. But later, not necessary agree that ALWAYS is the best to archive. Translations can be form: the low to the high the rich to the poor the poor to the rich thousand etc Considering the design as a translating process, the final product depends on the translating message and the translator. Some times this process is made "alone". Or in popular ways. (Excellent!, No bad translators needed 🙂 But sometimes there are some translation needed in some areas. I'm specially interested following this process. But I can't remember now all those examples (!) Campana brothers said they have lot of Inspiration on poverty. They said, that poor have very cleaver ways to fix and do thing. They are extremely creative as a solution to the lack of resources. I feel very near that point: Argentina (with Uruguay) were the South American countries with wide middle class, almost no poverty. (similar to Canada and Australia). But now, thanks to some policies by IMF, World bank, and others, We have now here the possibility to see a common image of latinamerican poverty, that we didn't saw before. I can be proud to definitely find and see every day people as "garbage pickers", turning that in a "profession", called "cartoneros" that became as Urban recyclers. This can be seen in the trendiest neighborhoods. Kontrast Concept! That, that, inspires me a lot. Why the need to look at "pretty designs". Why not to look at real problems, for real people. Well, some of you, could not see this problems. But, please, look at the newspapers!. The world is imploding, For Americans, Obama /Mc Cain/Palin, as all we see, ohhhh Oh, the "stocks" faaaalling. Oh, how many designs! how many designs! I see lots of lamps there! Translators needed! | |||||
| green fatigue | 1 Relevance | 19 years ago | finch | General discussion | |
| green fatigue To be honest, I think a different approach is needed when promoting ideas on carbon footprints and sustainability, lest one come off sounding sanctimonious -- a problem I think a lot of environmentalists have when appealing to the hoi polloi. Personally, I feel I'm uniquely conscionable when it comes to matters of environmental/economical natures, yet even I find myself feeling bogged down at the sometimes preachy green hype on this forum and elsewhere, and I wonder if its the most effective way to get such a vital message across. One trap to avoid is overstating the impact of one poison over another just because it doesn't figure into our lives personally; even for the most dogmatic, there remains a litany of less overt but equally or more negative detriments to the environment than an incandescent bulb or a two stroke engine. If you purchase Chinese made CFLs, (or any other product from mainland China), you are not only contributing to human rights violations and our own massive trade deficit, but also to our carbon emission load, thanks to the barges used in their transport; if you consume beef you are contributing in a very real way to global warming according to a UN report released in '06 which cited the raising of animals for food as one of the largest sources of carbon dioxide and the single largest source of both methane and nitrous oxide emissions -- surpassing the carbon footprint of all the cars and planes combined. That goes for the purchase of hides and leather goods, too (excepting horsehide). I also see almost zero dialogue on the detriments of overpopulation. Cranking out a few less juniors a year surely couldn't hurt the environment, even if it is unorthodox to even suggest such a thing as family planning or contraception. I think the most we can push for is perhaps more judiciousness when it comes to choosing one's poisons, or at the very least, better moderation of poisons. Now you just have to figure out a way to make it sexy and affordable. Guilt and altruism are failed marketing strategies and ones that I fear may lead to a public bog down. | |||||
| Dux dining set... Walnut, right? | 1 Relevance | 9 years ago | mgee76 | General discussion | |
| So a client tells me he has a DUX dining set in Teak with ten chairs that he wants refinished. Wants the leaves to match the rest of it. He emailed me some pictures from inside his garage and I went to look at it and pick up the table a couple of days ago. I left the chairs because they wouldn't all fit in my truck and they honestly just looked like they needed a decent oiling job. So I get the thing home and take it apart... and I'm realizing that it is Walnut. Right? I sent these pictures to another refinisher who has experience with this stuff and asked him what he thought. He's pretty confident that the legs, apron, and top are Teak. He typically knows his stuff... so am I insane here? I think this is Sylve Stenquist for Dux and I've seen this table listed online in what is certainly Teak, and I've seen the chairs the client has in Teak. But I've also seen these chairs in what I am pretty certain is Walnut. Super golden Walnut, like this table, but still. So... 1) please tell me this is Walnut, and 2) does anybody have a catalog or idea where I might be able to verify that this was offered in Walnut? The real problem for me is that I hastily picked this table up and didn't take any pictures of the chairs or really examine them too closely, since he said it was all Teak and it all kinda looked like that in the garage there (plus he wasn't there himself, his wife and infant were). He has ten chairs, but only six of them originally came with the table... he purchased four new singles. I'm somewhat nervous that he purchased four Teak chairs and will want them to match the other six, which are probably Walnut. This is already too long so here are the pictures. The flash makes the wood darker than it really is, but shows the grain better... the top is very light gold. The first picture depicts this the best. | |||||
| Pegboard - I hear what... | 1 Relevance | 17 years ago | NULL NULL | General discussion | |
| Pegboard - I hear what... Pegboard - I hear what you're saying and I understand your point of view. We started off selling funky styled furniture - the shoe chair, for example, and funky sofas and lounges. We still sell those but over time our customers asked about the reproductions, so we started selling those. We're in the business to supply products to our customers that they want. We have been doing it for 8 years and we take pride in selling high quality products and making sure our customers are happy with their purchases (crazy concept). As each generation passes, the newest generation takes things from the previous generations and makes them better. Led Zepellin, considered by many to be the best rock and roll band of all time, "stole" riffs from dozens of different artists much in the same way that the furniture designers of the 20's took bits and pieces of prior works from the 1800's. Anyway, I'm open to hearing yours and other people's arguments. It's always good to understand where people are coming from when their opinion differs from yours. Maybe one day we will switch to licensed suppliers of reproductions. However, given our customer demographics, we believe that the products we are currently selling are fitting our customers needs of quality and cost. I know people hate to hear this but the last thing on most of the original designers' minds was creating a luxury brand, which is what has happened with these large corporations licensing their products. I know what it costs to make a lot of these products and I know what these corporations are marking up their products by. I hope in the future more people on this forum will be open to the possibility that (a) companies like ours can actually sell high quality reproduction pieces at reasonable prices and (b) just because a large corporation has licensed a product does not mean that the company's reproduction is any more "original" than another company. I know those are not possibilities that all people agree with, but I'm just asking to keep an open mind. I wonder how people will feel when one day those licenses expire... Again, thanks for your feedback. It's a hot topic that people are clearly passionate about... | |||||
| I've never removed paint from | 1 Relevance | 10 years ago | Spanky | General discussion | |
| I've never removed paint from a Nelson Bubble lamp but I've stripped paint, using a variety of solvents, from a ton of other things over the years and have also wrecked a few plastic items by using the wrong solvent on them. These lamps are some kind of plastic, according to the manufacturer. I don't know what type of plastic specifically but that might not even matter. Methylene chloride stripper will remove the paint easily but it melts certain kinds of plastic, nylon, and maybe some other synthetic materials. I would avoid using it on plastic. Acetone (nail polish remover is mostly acetone) and lacquer thinner will also melt certain plastics. Paint thinner might be ok on plastic but I don't think it has any affect on latex paint or on cured oil-base paint. Bleach is for lightening pigments, not removing paint. Hot water will soften and expand dried latex film but it seems to be less effective--possibly totally ineffective-- when the pain is old and cured to a harder film. It may be worth a try. I've been able to peel latex foam off of various materials by soaking in hot water for awhile--it turns into a rubbery film that peels cleanly off. But this may not be enough if the paint is old! Still, it's probably the safest way to go to start. I don't think hot water will hurt the lamp at all, but again, I don't own one so I am not positive about this. The one thing I have had the most luck with is denatured alcohol. It will dissolve dried latex paint. From what I've read, it is safe to use on plastic, but you may want to do more research on this, including testing it yourself on various plastics. If it does end up being the way to go, I'd recommend stripping a small area at a time by laying half a sheet of cheap paper towel on the surface and wetting it with alcohol. Rewet as needed (it evaporates very fast) until the paint can be wiped off. Put the alcohol into a squirt bottle so you can apply it where you want it, otherwise you'll waste a lot of it. AGAIN---this advice is based on general knowledge gained from experience removing dried latex paint from things OTHER THAN THE NELSON LAMP, so proceed with extreme caution. And do a lot of other research. | |||||
| There is something... | 1 Relevance | 17 years ago | koen | General discussion | |
| There is something... of a contradiction in design that does not work. When using the word design and designer it is generally to qualify the product as being better than the run of the mill industrial product. It goes without saying that all products are in some way or another "designed" but when the product comes on the market without a designer?s name it usually means that either the designer feels that he was manipulated to much by either engineering or marketing or both and does not want to take responsibility for the end result or...it is indeed the result of a collaboration of so many people that the box would not be able to hold their names...a product is not a movie. In my mind a well designed product is a product that works well, offers the service that it is supposed to render for a long time and is pleasing to look at, if possible so pleasing that it both encourages to handle it with care and to maintain it as long as it's technical life will last. I do not consider Philippe Starck's way of squeezing a lemon or orange as good design. It certainly was an important cultural statement and it certainly attracted attention to the fact that products have different levels of significance, and function is only one of them. In exaggerating the "sculptural quality" of the product to the extend that it became in fact a small piece of art for the kitchen, Starck made the point quite eloquently and certainly convincingly. Is it design, no, design is that specific art of combining sometimes contradictory goals into the kind of harmony that reflects the state of the culture at the time it was created. Designed products are seldom the ultimate solution, but they certainly show how far a given culture has come in reaching the ultimate solution. So "designed" to me always works well...but so few products are really "designed". Is the Smart car a good example of bad design?I do not know. Mercedes has certainly lost much of the engineering power that used to be the corner stone of their reputation. It is difficult to say what would have been the result of the same sub-sub compact idea in the hands of their more talented colleagues of Audi, but I agree with SDR it is the first of a new archetype and most of the time it takes a few generations of cars to get the thing really in tune with it?s own ambitions. I had the opportunity to drive them a few times and it is a pleasant experience once you are adjusted to the fact that some European truck drivers come so close that they can certainly see your feet. | |||||
| Virginia Maid swivel coffee table and end tables set. | 1 Relevance | 12 years ago | mgee76 | General discussion | |
| We picked up this very nice set of tables at an estate sale recently and have been trying to investigate their history for a couple of days now with little success. They are similar to the Acclaim tables that Lane was apparently making at the same time, but they are stamped with the plain 'Virginia Maid' logo, without the 'by Lane'. The serials indicate they were manufactured in '62, which I guess means they were made at the same time as the Acclaim line? The only thing I can find about Virginia Maid is that it was a Lane trademark, but little else. This is the only picture or link with the same coffee table that I could find: http://www.1stdibs.com/furniture/tables/coffee-tables-cocktail-tables/mid-century-walnut-coffee-table-expandable/id-f_1014394/ The side tables look like this: http://westerlycreative.blogspot.com/2013/12/virginia-maid-end-table-with-drawer.html Anybody know anything about this line of furniture? Virginia Maid seems to be known mainly for their chests, but it seems like they were making Acclaim-like furniture for at least ten years (found later coffee tables and side tables with the 'by Lane' added to the logo from '72). Any history about this company and the difference between or relation to the Acclaim line would be very helpful and appreciated. Thanks. Edit: first post, deciding to add images if people are against copying and pasting links. http://www.trademarkia.com/virginia-maid-71555679.html | |||||
| cont. | 1 Relevance | 18 years ago | dcwilson | General discussion | |
| cont. What happens historically, is that all these ideas for global change of the real estate industry are stymied, but over time, they are broken down and integrated in pieces incrementally in a way that the system can absorb the shock of the change. Walk in any subdivision house in California and there is drastically more componentization observable today than 20 years ago. But it is not glamorous. A shower/bath which used to involve separate tub, tile and plumbing fixtures, to be installed by various trades persons, is now a single fiberglass insert. Windows have become units that are inserted instead of carpentered on site. Cabinet systems replace custom cabinets. And on and on. And what is most misunderstood by proponents of manufactured housing is that subdivision homes ARE manufactured housing already. There are 4-6 floor plans in a subdivision. Everything in the house has been milled somewhere in the exact quantities needed to build the exact houses that will be built. Everything has been thought through a million times to lean up the process. 2 x 4 studs ARE manufactured. They are cut to lengths that will make using nail guns on site and hand saws incredibly fast and easy to use and to make assembly quick as a wink. Watch how fast these guys can build houses when the demand is there. They go up FAST! And, the materials are incredibly easier and more cost effective to ship than a finished house, or even halves of finished houses. Proponents of manufactured housing really have to wake up to the concepts of shipping and warehousing and distribution systems. Product designers of furniture understand the concept of break flat furniture that fits in boxes and occupies a minimum amount of space in a box car or tractor trailer truck. Why can't they grasp this most basic thing regarding just how efficient it is to ship the studs in a house BEFORE they are assembled, rather than afterwards? | |||||
| Dear Joyce... | 1 Relevance | 21 years ago | koen | General discussion | |
| Dear Joyce... Thank you foryour nice words on my conference. I must confess that I am less comfortable speaking in public than a decade or so ago, so I am happpy you still found it inspiring. The reason why I spoke about these projects was that I am convinced that in design one has to be judged by ones actions not by what you have to say. After starting reading "Cradle to Cradle", or Remaking the Way We Make Things by William McDonough and Michael Braungart I put it down and started reading another book that I expected to be interesting. I am not as thrilled about it as when I started so I might go back to "Cradle to cradle". The reason why I put it down is not that it is not overflowing of good intentions, or that it is boring, quite the opposite. The problem i have with it are the half-truths. It is a catchy idea to print on polypropylene and point out in the first pages that recycling paper is nice but...yes the fibers get shorter and the quality deteriorates. In other words it is not really a full recycling....good point Than again one has to say exactly the same thing about polypropelene. Each time you re-heat a thermoplastic you lose some of it's initial qualities...my problem is that I did not read that anywhere in the same introduction. The question becomes: is it ignorance or is it intentional, but in both cases it is mis-information. I hate to do this to people that are obviously good willing and thinking in the right direction, but these are complex questions and godd willingness is not enough. My second point is that there is a fair amount of historical background, most of it is common knowledge and does not deserve to be printed over and over again. Then when it comes to the more practical parts it turns into a smart sales speech for their design office, with very little new and useful information. If you do research and after having done so, you make the results public you should behave like any other researcher: be open about it and disclose whatever you have found. If it is new in a way that can be protected, so be it. protect it and disclose after you have been assured that the idea or information is yours. In reading this I got too much the impression that they seem to suggest that they know a lot more than what is in the book. I do not think that we will solve the problems that we are facing by only suggesting. We have to share! and as much as possile. Let me promise you that I will take it up again and read it from cover to cover and give you a better answer. Thanks again! | |||||
| The only trick to stripping | 1 Relevance | 10 years ago | Spanky | Repair | |
| The only trick to stripping shellac or lacquer is to make sure the solvent is on there long enough to dissolve the finish. Both alcohol and acetone evaporate very quickly and you will most likely need to rewet the surface more than once before the finish is finally dissolved. If you start wiping it off before it's completely dissolved, then yes--it will still be gummy and you will need to scrub with steel wool or scrape with a scraper. If you wrap it first with a single layer of paper towel (I've tried multiple layers and it didn't seem to make any difference), the evaporation will slow down a bit and the solvent will stay in in contact longer with the finish, giving it a little more time to work. The wrap also makes rewetting easier; the solvent soaks into the paper towel instead of just running off the surface. (Both solvents have a very low surface tension too.) It took me awhile to figure this all out. I spent a LOT of time scrubbing and scraping thick old shellac until I realized all I had to do was wait a little longer and rewet the surface a few times. (The same thing applies to removing wallpaper paste. It has to be reconstituted completely before it can be wiped off easily. Steam will saturate it in seconds and then one swipe with a wet sponge and it's gone.) Both these solvents, especially shellac, will dry the wood out, so only leave them on long enough to dissolve the finish. Even that will leech a lot of oil and moisture out of the wood (though I've never had a problem with it loosening the joints--it doesn't penetrate that deeply.) So yes, you will need more coats of oil than you would normally. This is a Wegner CH23 that i did awhile back--it had been varnished so i had to strip with methylene chloride but this is what alcohol does to wood, too. But I think all i had to do was 2 coats of oil so it wasn't nearly as dry as if I'd used alchohol. And these are some Wegner Cowhorn chairs that I restored. They'd been shellacked several decades ago and the finish plus whatever products had been used over the years on them had darkened them to the point of nearly obscuring the grain! I don't have pics of the stripped wood but it was like the above. I put two coats of oil on and they still looked very unevenly dry-ish, so I used a different brand of oil that had added varnish. That did the trick. I can't remember if it was one coat or two with that oil--maybe two but definitely not three. | |||||
| Found Eames Lounge Chair. Real or Repro? Please Help | 1 Relevance | 15 years ago | MerryBlvd | General discussion | |
| Update: Thanks to everyone for your input so far. The ottoman does not swivel. My loc is US. I added 3 pictures of the cushion removed to the Flickr set: http://www.flickr.com/photos/68711482@N07/sets/72157627822212095/ Found Eames lounge chair & ottoman abandoned in machine shop of my studio. I've sold all kinds of shell chairs from rare rope edge swivel DAW to common classroom wide bases. I can tell those from a mile away. However, I haven't really dealt with any 670/671 before, not in person. Everything tells me it's real but I still remain skeptical. The rosewood veneer looks too good to be on a repro. 5-star, 4-star base configurations on chair & ottoman respectively. Base metal is black on the side silver on top. Leather is real, I know that much for sure. The only thing missing to me is the Herman Miller tag. Does anyone know of any other telltale signs that might reveal one way or the other? Also planning to repair damaged plywood on attaching point between back & seat. Shockmounts are still in place. One side is good, only one side is damaged, any ideas? Thanks for your time and help in advance. More pics on my flickr: http://www.flickr.com/photos/68711482@N07/sets/72157627822212095/ http://www.flickr.com/photos/68711482@N07/sets/72157627822212095/ | |||||
| Shadow modernist | 1 Relevance | 15 years ago | Yago7 | General discussion | |
| I visited old friends yesterday. they live in a 60s modernist house which he designed himself. They're both now well in their 70s. She used to be my kindergarten teacher, living close to my parents and we kept in touch. A couple of years ago he gave me some Raak lamps and they still have some modernist accessories. But most of the original furniture has been replaced. The tailor made closets in the bedrooms all have beautiful rosewood and teak doors. I knew from previous discussions that he designed his own house (which I love) and the ones of his two brothers. However I had no idea that he in fact worked for 3 architects in the 60s and 70s. This was never offical and from his home in his spare time as he had a civil job in city planning as a draftsman. He pulled out one of the plans for me yesterday (photos) and I was amazed. I took some snapshots. A handdrawn plan with his contemporary modernist handwriting on it. This guy I have known my whole life designed some impressive houses! This one is from '61, designed for his brother. The ceramic tiles in the front have the initials of his brother in them. The living area used to be furnished with Artifort but his brother gave it all to a thrift store more than 10 years ago... The strange/disturbing thing is that his name is never on any plans as the architects were the official designers. He still knows which houses he designed but there's no official record. He's 78 now, threw away much of his plans so soon all this will be lost. I'm thinking of making an archive of his work. Trace down all the houses, make photos, ... Probably an ambitious plan as I don't have much time as it is but it just feels wrong to leave it like this. Maybe I'm biased and such things happened all the time in those days. I would just love to learn more about it. | |||||
| cont. | 1 Relevance | 21 years ago | koen | General discussion | |
| cont. - Part of the story is also that early on Rosti's marketing people decided to make the bowls only in two popular colors: white and red. For the less informed under us, color is mostly, or should I say: was mostly used as a way of getting shelf space. The house wares trade knows that 70% of sales are in white and all the other colors together is of course the balance. The reason why there are much more colors to choose from is that it gives the product more shelf space or real estate as it is called in the trade. If you have six colors you force the retailer to have them all or if he is smart and makes a choice of three or four, the sales person pulls one of the oldest tricks in the book by saying: 'Oh, good choice! By the way would you mind if I sell the other colors to store so and so' (who happens to be a competitor of course)'? A variation on the same theme is to answer: ' Good choice, or should I say a very original and personal choice?' Most of the time the retailer knows that the right answer in both cases is to take a few of everything. So to reduce the colors to a choice of two certainly affects the space you get in the store and thus the attention you get from the consumer. - The choice of the three sizes instead of seven has never been questioned and we have not seen any retailer or consumer commenting that choice. I think that it is very unlikely that that would be a factor. - There are two 'external' factors that might have played a role. The first one is the change in the retail environment. Large discount stores with no other personnel than rack-fillers and 'welcome to Wall-mart, have a nice day' associates have taken away any possibility to inform the public about the quality of a particular product. Advertising is simply too expensive and by default the only thing that is left is to promote the brand, not the features of the products, unless they are general and become part of the branding. In general it means that pricing is important but the products have become more and more conservative. The timing for a 'new' approach or a change in archetype was not very good. A second external factor ware a number of rapid changes in the management, staff and ownership functions at Rosti. Sometimes a product is victim of circumstances or is too much part of a particular legacy to survive such changes. In particular the collapse of Rosti U.S. Inc. might have played a role. | |||||
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