I first met Alan Heller many years ago at a trade show in New York. Most of the manufacturer and distributor booths were set up neatly; all trying to woo retailers and the press looking for the next big hit. Except one in complete disarray- product strewn about and absolutely no display furniture of any kind.  An equally disheveled person was kneeling on the floor, their back toward me.  The laser printed tag on the cheap back booth curtain read ‘Heller.’ “Hey, are you the Alan Heller of Max Dinnerware,” I asked. The figure eased around.  “Yes,” he said, “How do you know my dinnerware?”  I then told him that I just bought a set at an estate sale. He smiled and laughed the Alan laugh. We spoke at length while I helped him with his booth. Merch shopping could wait.  I was hobnobbing with a genius.

The Vignellis with their Heller Designs

Designed by Massimo and Lella Vignelli, the Max Dinnerware was arguably as innovative in the tabletop market as the biomorphism of Eva Zeisel and the utilitarianism of Russel Wright.  First produced in 1964, the dinnerware bridged the 1950’s aesthetic to the soon-to-be-exploding Pop aesthetic. Like most of Vignelli's designs, emphasis was placed on functionality through simple geometric forms. The dinnerware was made of melamine- a durable material that enabled the product to be used indoors or out. The pieces had innovative bases that allowed stacking for appearance and to save shelf space in the smaller modern kitchens overflowing with new time-saving products. 

That durability was important. Americans were entertaining and the world was on the move.  They were outside; they were inside.  Furthermore, the baby boom was on and Hellerware (as Heller liked to call it; no one else seemed to) was safer than glass or porcelain around little hands. 

The product was an immediate hit, winning a Compasso d’Oro, Italy’s highest design award. The Museum of Modern Art placed a set in their permanent collection. Most importantly, consumers bought this functional dinnerware that was sculptural when not used and durable in use. The American household aesthetic was now open to modernism. 

Max dinnerware changed over the years.  Designs were adapted; early mugs had a ‘thumb’ divot prone to spillage. Lids. Saucers and teacups. Buckets. The most important change, however, was in the material itself: melamine powder can be dyed. The result was an explosion of solid colors.  Most good (hot pink, purple, yellow, orange) and some bad (light blue, black). Max became part of our childhood- the bright colors and the .75” plate lips that retard spillage. In-store displays were mesmerizing and the product (like all great products) sold itself. 

Alan and the Bellini Chair
Piotr Redlinski for The New York Times
From his NYT Obituary by Penelope Green

Alan and I became friends and he became my mentor. He dragged me around for years introducing me as ‘the guy who buys his product at estate sales.’ The Vignellis became best known for their New York City Subway map- an innovative (and attractive way) to easily display necessary data to millions. And Alan, who confided in me that Max was so successful that he didn’t need to develop another product, went on to revolutionize roto-molded batch-dyed furniture, through now-ubiquitous introductions such as the Bellini Chair (also the recipient of a Compasso d’Oro- and available at Amusespot- a shameless plug). Ironically, Alan and I (and I assume, others) fought (yes, that is the correct term)  about keeping the Max Dinnerware in production.  He had more interest in the new technology and was more delighted with his ‘new molds’ than redoing his old ones. 

He passed in 2021. I miss him.  And our arguments.

The Vignelli's Subway Map (c. 1972)

Heller (the brand) was recently resurrected by another Alan Heller mentee, John Edelman. I’m assuming I’ll write some more Alan stories in the future- and my guess is that I’ll pick John’s brain for some good ones...  There was a lot of insight behind Alan’s eyes- and I find more and more people inspired by Alan as I continue my own path in the product and industrial design world.

Max dinnerware is now available for a new generation- at a price far less than much of the more poorly made fancy brand melamine dinnerware currently on the market.  Still a bargain.  Still striking. Still functional. 

Available here.

A few notes on the vintage stuff:

• Pieces tend to show wear over time..
• Too much dishwasher use can damage the finish.
• Early pieces tend to have ‘MAXMUG’ markings and similar.
• That being said, markings changed.  A lot.
• Furthermore, some Max items have no markings.  This includes new products that I retailed in the 21st century.
• There are a lot of copies out there.  Good stuff generally has bad knock-offs.
• Don’t use it in the microwave. Really. Microwave ovens came later.  And the Litton microwave oven tanks (if you’ve lifted one….) were introduced in the 1970s.