Défilé Foires is an exhibition mark from Czechoslovakia, attributed to the Czech graphic designer Jan Rajlich Sr. (1920–2016), a Brno-based painter, visual artist and designer known for his work in graphic design and visual communication.[1] The logo is documented in the Moravian Gallery in Brno’s online archive of Rajlich’s work, which holds a substantial collection of his original designs and realized graphic works.[2]
Design and History
The mark is catalogued in the Moravian Gallery’s Jan Rajlich Sr. archive under the title “Značka Defilé BVV” (Defilé BVV mark), dated 1985.[3] The archive entry records its dimensions as 6.5 cm in height and 8.5 cm in width, placing it among Rajlich’s small-format graphic design works.[3]
The mark was created for “V. Defilé 1960–1985. Přehlídka výsledků práce tvůrčích kolektivů BVV” (V. Defilé 1960–1985, a review of the results of the work of BVV creative collectives), an exhibition held from 10 to 29 September 1985 at the House of Arts in Brno.[4][5] The exhibition was part of a series of “Defilé” reviews organized by BVV (Brno Trade Fairs and Exhibitions), which showcased the work of the company’s creative teams. Earlier editions included “Defilé IV. Tvůrčí skupina BVV 1975–1980,” held in 1980 at the House of the Lords of Kunštát in Brno.[6]
Rajlich’s broader work for BVV included the visual style of the trade fair organization. Between 1975 and 1978, members of a working team led by Rajlich Sr. created two design manuals defining the Visual Style of BVV (Brno Trade Fairs and Exhibitions), and Rajlich also designed the BVV logotype in 1975.[7][8] The Defilé BVV mark of 1985 appears in the archive alongside these related BVV identity works.[3]
Meaning and Symbolism
The archive record does not provide a documented explanation of the mark’s intended symbolism or design concept. The title “Defilé” refers to the exhibition series itself, a review or parade of the work of BVV’s creative collectives, and the mark was created specifically for the fifth edition of this series in 1985.[4][5] Any further interpretation of the mark’s visual elements is not supported by the available archival documentation.
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