Cipé Pineles attended high school in Brooklyn, and went to Pratt Institute, where she won a Louis Comfort Tiffany Foundation Scholarship. After graduation, and what she calls an "adventurous" year in the still-life painting business, she became assistant in 1932 to M.F. Agha, then art director of Conde Nast publications. She stayed at Conde Nast long enough to become a 10-year-test-case of The Art Directors Club's admission policy toward women, and did in fact become its first woman member.In 1947, she moved to Seventeen as art director, introducing there the commissioning of leading painters to do fiction illustration (on the theory that young readers would have few barriers in accepting fine art).
In 1950, Miss Pineles was named art direct
Cipé Pineles attended high school in Brooklyn, and went to Pratt Institute, where she won a Louis Comfort Tiffany Foundation Scholarship. After graduation, and what she calls an "adventurous" year in the still-life painting business, she became assistant in 1932 to M.F. Agha, then art director of Conde Nast publications. She stayed at Conde Nast long enough to become a 10-year-test-case of The Art Directors Club's admission policy toward women, and did in fact become its first woman member.In 1947, she moved to Seventeen as art director, introducing there the commissioning of leading painters to do fiction illustration (on the theory that young readers would have few barriers in accepting fine art).
In 1950, Miss Pineles was named art director of Street & Smith's Charm, where she and editor Helen Valentine redirected the publication to a then new consumer audience—women who work. She moved to another Street & Smith publication, Mademoiselle, leaving in 1961 to work as an independent designer and illustrator. Cipé Pineles became design consultant to Lincoln Center in 1967, with the entire graphics program of the Center, from stationery to annual reports, under her supervision. Her communication assignments there also included the corporate symbol design and the monthly Journal and Calendar of Events.
In 1970 she joined the faculty of the Parsons School of Design, becoming as well director of publication design. The Parsons Bread Book, produced as a class project, was republished by Harper & Row in 1974, and the original student version, Bread, was included in the 1974 American Institute of Graphic Arts' prestigious "50 Books Of The Year" show.
She was married to William Golden for 20 years. Several years after his death, in 1959, she married Will Burtin.
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