George Lois:
No actual work or designer has been a big influence on my work, but Paul Rand influenced me greatly when I was a student at the High School of Music & Art – not so much his work but the fact that when he was in his early 30′s, he was a great success creating ads, logotypes, book covers, etc., working on his own, with no need of a copywriter, producing exciting work, not compromising his talent, and making a living being a designer and living a fruitful life. His attitude and ethos has been the driving force of my life and I stand on his shoulders.

Parra:
Not really anyone specific but I really get exited and inspired when people make or create things that are new to me and have not seen before or wow me in a certain way. That can be anything from an enormous sculpture from Claes Oldenburg to an kind or weird guitar scheme riff thing by a band called Stinky Toys… I did find out about this amazing Japanese artist lately called Toshio Saeki… really great stuff! his topics and bizarre humour got me really hyped up… Google him it’s nice!

Stefan Sagmeister:
Tibor Kalman was the single most influential person in my design life and my one and only design hero. 15 years ago, as a student in NYC, I called him every week for half a year and I got to know the M&Co receptionist really well. When he finally agreed to see me it turned out I had a sketch in my portfolio rather similar in concept and execution then an idea M&Co was just working on: He rushed to show me the prototype out of fear I’d say later he stole it out of my portfolio. I was so flattered.

When I finally started working there 5 years later I discovered it was, more than anything else, his incredible salesmanship that set his studio apart from all the others. There were probably a number of people around who were as smart as Tibor (and there were certainly a lot who were better at designing), but nobody else could sell these concepts without any changes, get those ideas with almost no alterations out into the hands of the public. Nobody else was as passionate. As a boss he had no qualms about upsetting his clients or his employees (I remember his reaction to a logo I had worked on for weeks and was very proud of: “Stefan, this is TERRIBLE, just terrible, I am so disappointed”). His big heart was shining through nevertheless. He had the guts to risk everything, I witnessed a very large architecture project where he and M&Co had collaborated with a famous architect and had spent a years worth of work: He was willing to walk away on the question of who will present to the client. Tibor had an uncanny knack for giving advice, for dispersing morsels of wisdom, packaged in rough language later known as Tiborisms: “The most difficult thing when running a design company is not to grow” he told me when I opened my own little studio.

“Just don’t go and spend the money they pay you or you are going to be the whore of the ad agencies for the rest of your life” was his parting sentence when I moved to Hong Kong to open up a design studio for Leo Burnett. These insights were also the reason why M&Co. got so much press, journalists could just call him and he would supply the entire structure for a story and some fantastic quotes to boot. He was always happy and ready to jump from one field to another, corporate
design, products, city planning, music video, documentary movies, children books, magazine editing were all treated under the mantra “you should do everything twice, the first time you don’t know what you’re doing, the second time you do, the third time its boring”.

He did good work containing good ideas for good people.