 During the 15 years after World War I, Nizzoli demonstrated his remarkable talent for handling the most diverse forms of the avant-garde movements, from Futurism to Cubism, from the Viennese Secession style to Novecento Italiano, adapting them to the taste of his cultivated middle-class clientele.Nizzoli had already designed (with Fausto Melotti) mannequins for Baldessari’s early Rationalist Craja Café (1930) in Milan when he met Edoardo Persico (1931) who, with Giuseppe Pagano, had begun to transform the magazine "Casabella" into the main forum for architectural debate.Persico’s theoretical approach complemented Nizzoli’s more practical orientation, and some of the most significant artefacts of Italian Rationalism emerged from their collaboration.