While from the 1980's onward the Supercorsa would become a consolidated item of design and subsequently a flagship item and icon of the brand, in Cino's years it was a zone of restless experimentation and constant modifications--some that stuck and some that didn't. Cino's goal was always what he described as a perfect functional harmony between the three main parts of the frame: the fork, the main triangle, and the rearstays. This harmony would be achieved through a development of and sensitivity to elements of stiffness, elasticity, aerodynamics, and aesthetics within the frame.
When Italo Lupi was contracted in 1979 to produce a new Cinelli logo, he was also contracted to design a suitably updated catalog layout and, more important, a new graphic scheme for one of Italy's most famous racing bicyles: Cino Cinelli's Supercorsa. Lupi, following Colombo's enthusiasm for the new logo and its decisively minimal aesthetic characteristics, chose to maintain the same look, positioning eight small logos in both traditional and non-traditional zones of the frame and one single pinstripe (3.7mm wide) vertically along the seat tube.
The graphics and colors were a stark break from Cino's traditional, refined standards, and this was the intention: to present to the public a new image of the bicycle, which had none of the referents to the previous era, nothing to do with the "vecchio ferro" of the public's imagination. The bike had to look as contemporary as an Alfa Romeo body or a Sottsass bookshelf.