When it comes to the passage of time, there is a constant change in the culture from one era to another. Many aspects of a certain period become something else entirely, while still holding similar origins to what it was before. Such can be said for the evolution of typeface. However, when the evolution of a typeface occurs, it is used in many different contexts. Although the style and use have changed, does the typeface still hold the same historical meaning that it held when it was first created? And if so, should it be used in a new context?
For example, take the typeface that was inspired by the work of Charles Rennie Mackintosh. During the New Objectivity movement beginning in the 1900s, Mackintosh created a series of architectural structures that included four tearooms. The interior and exterior of these buildings were wholly designed by Mackintosh himself. One of the most recognizable features of these tearooms was the typeface at its facade. The light and elegant style was a reflection of Mackintosh's work in not only these tearooms but in the rest of his pieces overall as well.
It was not Mackintosh's original script that became the typeface used today, but one inspired from his work instead. Inspired by his work, two designers took on the challenge of adapting Mackintosh's tea room design into a versatile typeface.
Chronologically, the first adaptation began through the work of Tony Forester in 1990. Looking back to the Vienna Succession, forester condensed this sans serif typeface to rough edges and selection of alternate and ligature characters:
The next adaption of the text came around by George R. Grant in 1993. Created for the Charles Rennie Mackintosh Font Company (and for his accountant's wedding invitations), this typeface incorporated features from Mackintosh's original tearoom while all the same being an entirely different typeface altogether.
Lastly was a typeface adapted from Grant's original Rennie Mackintosh and was created by Grant as well. This Typeface may look a bit more familiar, as it was incorporated into the popular TV show "American Horror Story", as well as some other Hollywood films.
Looking back at the Mackintosh typeface on the Willow Tea room, each of these three fonts has come a long way from their original inspiration. In turn, the use of this typeface has varied over the years as well. For example, being used in a horror show.
Although they look similar, when comparing Mackintosh's tearoom to AHS, both vary not only conceptually, but aesthetically as well. This brings us back to the question of the ability of an evolved typeface to hold its authenticity. In this case, sadly, the answer is no. However, that does not mean that the use of this font is incorrect. When looking at the authenticity of Mackintosh's original design compared with this show today, of course, the context would be seen incorrect. However, because of its many evolutions over time, using CRM American Horror for AHS does not hold any error, and the uniqueness of said font really adds originality and value to the show. American Horror is legitimate because it has such little ties to the willow tea room. Therefore, proving that most of the time evolved type does not hold similar meaning to its original ancestor.
Sources:
“CRM American Horror Font Family Typeface Story.” Fonts.com, www.fonts.com/font/crmfontco/crm-american-horror/story.
Flux, Hærr. “American Horror Story.” Fonts in Use, 14 Oct. 2013, fontsinuse.com/uses/4947/american-horror-story.
“ITC Willow™ Font Family Typeface Story.” Fonts.com, www.fonts.com/font/itc/itc-willow/story.
Moffat, Jamie. “Charles Rennie Mackintosh.” CRM Society, www.crmsociety.com/about-mackintosh/charles-rennie-mackintosh/.
“The Willow Tea Rooms - Established 1983 – Willow Tea Rooms.” Willow Tea Rooms, www.willowtearooms.co.uk/about/.
Wilson, Darrell. “Mackintosh at the Willow.” Glasgow Mackintosh, www.glasgowmackintosh.com/attraction/mackintosh-at-the-willow.