Almost ninety and still remarkably well-preserved. Like no other typeface, Paul Renner's Futura marks the dawn of modernity. It conquered the world from Frankfurt. It was the typeface of new design and the Bauhaus movement. In late 1920s Munich, it witnessed the divide that emerged between the cosmopolitan-liberal spirit of constructivism and the rising fascism. And because a typeface cannot choose who uses it, it served both sides. In Paris, it began its international career under a different name and took the leap across the Atlantic. In the burgeoning New York of the Mad Men, it became the advertisers' favorite typeface and found its way back to the economic miracle of the 1950s and 60s. Few typefaces have experienced and triggered such a type hype - and none other ever has.