{"title":"Domestic Space in France and Belgium: Art, Literature and Design (1850–1920)","authors":"Esra Bici Nasır","doi":"10.1093/jdh/epad034","DOIUrl":"https://doi.org/10.1093/jdh/epad034","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46089503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article offers new insights into the national market for utilitarian garments worn by British upper-class Munitionettes in the pursuit of essential First World War munition manufacture. There has been a resurgence in recent years in the interest of women’s workwear, but little dress historical research has been undertaken into the manufacture and consumption of these garments by upper-class women, which this article seeks to address. The numbers of women involved in munition production peaked in 1917 at almost 1,000,000 meaning the circulation of workwear in this industry alone, was in the millions. Workwear worn by upper-class women represents discourses of wealth, femininity, respectability, and patriotism. That such expensive and high-quality garments exist speaks to the cultural significance the women themselves recognized in these utilitarian garments. This workwear symbolized their contribution to the war effort, the political ambitions for suffrage and personal achievement. These garments were not worn outside the workplace as the fabric would have been contaminated with chemicals, thus would not have been pleasant to preserve. Crucially, it is through the material cultural analysis of rare extant high-end garments worn by upper-class women, that the extent of the market for workwear has been revealed.
{"title":"The Lady in the Overall: First World War Patriotism, Respectability, and Workwear of Upper-Class Munitionettes","authors":"J. Richardson","doi":"10.1093/jdh/epad025","DOIUrl":"https://doi.org/10.1093/jdh/epad025","url":null,"abstract":"\u0000 This article offers new insights into the national market for utilitarian garments worn by British upper-class Munitionettes in the pursuit of essential First World War munition manufacture. There has been a resurgence in recent years in the interest of women’s workwear, but little dress historical research has been undertaken into the manufacture and consumption of these garments by upper-class women, which this article seeks to address. The numbers of women involved in munition production peaked in 1917 at almost 1,000,000 meaning the circulation of workwear in this industry alone, was in the millions. Workwear worn by upper-class women represents discourses of wealth, femininity, respectability, and patriotism. That such expensive and high-quality garments exist speaks to the cultural significance the women themselves recognized in these utilitarian garments. This workwear symbolized their contribution to the war effort, the political ambitions for suffrage and personal achievement. These garments were not worn outside the workplace as the fabric would have been contaminated with chemicals, thus would not have been pleasant to preserve. Crucially, it is through the material cultural analysis of rare extant high-end garments worn by upper-class women, that the extent of the market for workwear has been revealed.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42961214","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The signs and pictograms designed by Otl Aicher and his team for the Munich Olympics in 1972 are regarded as a milestone in design history. With this work, Aicher responded to what he thought were the most important challenges for signs and pictograms during the 1960s: the lack of grammar and visual clarity. He had specific ideas about this which he expressed in his designs as well as in his writings. So far, these ideas have hardly been explored. This study critically reconstructs the origins, development, and presentation of Aicher’s ideas about signs and pictograms for the Munich Olympics. In these designs, he tried to resolve his love for geometry with his desire to develop a functional sign language. His work in this area represents a pivotal moment in modern design during the 1960s, in which modernist designers switched their preference from abstract sign systems to pictogram systems.
{"title":"The Future Sign Language: A Critical History of Aicher’s Ideas About Signs and Pictograms for the 1972 Munich Olympics","authors":"W. Bakker","doi":"10.1093/jdh/epac058","DOIUrl":"https://doi.org/10.1093/jdh/epac058","url":null,"abstract":"\u0000 The signs and pictograms designed by Otl Aicher and his team for the Munich Olympics in 1972 are regarded as a milestone in design history. With this work, Aicher responded to what he thought were the most important challenges for signs and pictograms during the 1960s: the lack of grammar and visual clarity. He had specific ideas about this which he expressed in his designs as well as in his writings. So far, these ideas have hardly been explored. This study critically reconstructs the origins, development, and presentation of Aicher’s ideas about signs and pictograms for the Munich Olympics. In these designs, he tried to resolve his love for geometry with his desire to develop a functional sign language. His work in this area represents a pivotal moment in modern design during the 1960s, in which modernist designers switched their preference from abstract sign systems to pictogram systems.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44022889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article investigates the design of two comparable microcomputers that were built under state socialism in neighboring countries: Poland (Elwro Junior) and Czechoslovakia (Didaktik Gama). Both computers were “clones” of the highly popular British ZX Spectrum computer. In our article, we discuss the decisions that informed the design of the local “clones” of the British computer, and how both endeavors were supposed to solve specific problems identified by the communities involved in their design. We argue that different configurations of power—in which the actors that took part in the design of both computers were embedded—were the primary reason why these similar products, the ZX Spectrum clones, were “scripted” in a substantially different manner. The Junior was designed as an “educational computer” envisaged as an aid to schooling, while the Gama was a more flexible “home computer.” Our investigation focuses on how their designers projected, or “scripted,” possible forms of computer use, and who they imagined would be the users of these machines. We also compare both computers with the high-profile One Laptop Per Child project to demonstrate the wider relevance of our study and the usefulness of our investigative toolset to the intersection of design studies and science and technology studies.
{"title":"Designing Educational and Home Computers in State Socialism: The Polish and Czechoslovak Experience","authors":"P. Wasiak, Jaroslav Švelch","doi":"10.1093/jdh/epad027","DOIUrl":"https://doi.org/10.1093/jdh/epad027","url":null,"abstract":"\u0000 This article investigates the design of two comparable microcomputers that were built under state socialism in neighboring countries: Poland (Elwro Junior) and Czechoslovakia (Didaktik Gama). Both computers were “clones” of the highly popular British ZX Spectrum computer. In our article, we discuss the decisions that informed the design of the local “clones” of the British computer, and how both endeavors were supposed to solve specific problems identified by the communities involved in their design. We argue that different configurations of power—in which the actors that took part in the design of both computers were embedded—were the primary reason why these similar products, the ZX Spectrum clones, were “scripted” in a substantially different manner. The Junior was designed as an “educational computer” envisaged as an aid to schooling, while the Gama was a more flexible “home computer.” Our investigation focuses on how their designers projected, or “scripted,” possible forms of computer use, and who they imagined would be the users of these machines. We also compare both computers with the high-profile One Laptop Per Child project to demonstrate the wider relevance of our study and the usefulness of our investigative toolset to the intersection of design studies and science and technology studies.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49468392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
As manufacturing has become globally fragmented, so too has the work of design. Complex supply chains conceal sources of creativity and innovation, posing new challenges for researching design history. There is little understanding of how the globalization of manufacturing in the late-twentieth and early-twenty-first centuries has affected design practice or how design authorship might be identified in mass-produced objects. This case study follows a pair of steel-toed boots named Vanessa from concept through design, development, and production, moving from Canada to Italy, Mexico, and beyond. It maps components, equipment, and expertise, making it possible to trace sources and relationships of design. Analysis reveals how the boots reflect shifts in global trade and the concentration of knowledge and resources in new locations. It also shows how the globalization of production has influenced the role of the product designer who acts as intermediary within transnational networks, combining predesigned components and practices from around the world. The manufacturer, Mellow Walk, has experienced the transition from a regional manufacturing economy to one that is globally integrated. The company was founded in the 1990s when most Canadian footwear factories had closed due to global competition. It is unique as the last fully integrated footwear factory in Ontario, meaning that management, design, production, sales, and shipping happen under one roof. Mellow Walk nevertheless depends on international suppliers and, in this sense, represents many other footwear brands around the world.
{"title":"Follow the Boots: A Case Study of Design and Global Value Chains","authors":"E. Hodson","doi":"10.1093/jdh/epad018","DOIUrl":"https://doi.org/10.1093/jdh/epad018","url":null,"abstract":"\u0000 As manufacturing has become globally fragmented, so too has the work of design. Complex supply chains conceal sources of creativity and innovation, posing new challenges for researching design history. There is little understanding of how the globalization of manufacturing in the late-twentieth and early-twenty-first centuries has affected design practice or how design authorship might be identified in mass-produced objects. This case study follows a pair of steel-toed boots named Vanessa from concept through design, development, and production, moving from Canada to Italy, Mexico, and beyond. It maps components, equipment, and expertise, making it possible to trace sources and relationships of design. Analysis reveals how the boots reflect shifts in global trade and the concentration of knowledge and resources in new locations. It also shows how the globalization of production has influenced the role of the product designer who acts as intermediary within transnational networks, combining predesigned components and practices from around the world. The manufacturer, Mellow Walk, has experienced the transition from a regional manufacturing economy to one that is globally integrated. The company was founded in the 1990s when most Canadian footwear factories had closed due to global competition. It is unique as the last fully integrated footwear factory in Ontario, meaning that management, design, production, sales, and shipping happen under one roof. Mellow Walk nevertheless depends on international suppliers and, in this sense, represents many other footwear brands around the world.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47224647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“How we live and how we might live”: Design and the spirit of critical utopianism","authors":"B. Katz","doi":"10.1093/jdh/epad020","DOIUrl":"https://doi.org/10.1093/jdh/epad020","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47587428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Modelling the Metropolis: The Architectural Model in Victorian LondonA History of Architectural Model Making in Britain: The Unseen Masters of Scale and Vision","authors":"Czaee Malpani","doi":"10.1093/jdh/epad033","DOIUrl":"https://doi.org/10.1093/jdh/epad033","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47698938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1980, Frigidaire Australia launched an advertising campaign in popular women’s magazines calling for readers’ opinions on refrigerator design. Soon after, Frigidaire held the Group 200 Women’s Design Conference in Sydney, leading to the release of the G2 refrigerator in 1981, which was promoted as being “designed” by the women involved in this market research. This example offers insights into evolving public understandings of design in mainstream Australia in the early 1980s. It also demonstrates the troubled position of design in relation to the maturing second-wave feminist movement, and particularly amid feminist debates regarding domestic labor. Furthermore, Frigidaire’s marketing strategy can be read as an example of the emergent neoliberalization of design in the 1980s. The article finds that, despite Frigidaire’s marketing rhetoric, the women participants had little agency over the G2’s design. The politics of identity (in this case, a subtle form of feminist agency) was effectively co-opted by capital to encourage consumption. Nonetheless, the Women’s Design Conference was meaningful in a discrete sense, as a moment in time when a group of women (mostly middle-aged “homemakers”) recognized their own domestic knowledge as design expertise. This may be the only saving grace from what was otherwise a thoroughly unambitious attempt to incorporate women’s knowledge into product design.
{"title":"Co-option or Recognition? Second-wave Feminist Politics and the Frigidaire Australia Women’s Design Conference, 1980","authors":"Jesse Adams Stein","doi":"10.1093/jdh/epad009","DOIUrl":"https://doi.org/10.1093/jdh/epad009","url":null,"abstract":"\u0000 In 1980, Frigidaire Australia launched an advertising campaign in popular women’s magazines calling for readers’ opinions on refrigerator design. Soon after, Frigidaire held the Group 200 Women’s Design Conference in Sydney, leading to the release of the G2 refrigerator in 1981, which was promoted as being “designed” by the women involved in this market research. This example offers insights into evolving public understandings of design in mainstream Australia in the early 1980s. It also demonstrates the troubled position of design in relation to the maturing second-wave feminist movement, and particularly amid feminist debates regarding domestic labor. Furthermore, Frigidaire’s marketing strategy can be read as an example of the emergent neoliberalization of design in the 1980s. The article finds that, despite Frigidaire’s marketing rhetoric, the women participants had little agency over the G2’s design. The politics of identity (in this case, a subtle form of feminist agency) was effectively co-opted by capital to encourage consumption. Nonetheless, the Women’s Design Conference was meaningful in a discrete sense, as a moment in time when a group of women (mostly middle-aged “homemakers”) recognized their own domestic knowledge as design expertise. This may be the only saving grace from what was otherwise a thoroughly unambitious attempt to incorporate women’s knowledge into product design.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47595277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract A popular 1941 gallery show in Chicago entitled “The Advance Guard of Advertising Artists” included five prominent European advocates of modernist design and four Americans who did daring and innovative work. All but one of these designers is today included in the mid-century design canon. The odd man out was Frank Barr (1906–1955), a Chicago letterpress printer with a modest, entirely local reputation both before and after the exhibit. This article explores Barr’s career to explicate the meaning of avant-garde design during at the period and shed light on the larger question of canonical status. Chicago was a major industrial and printing hub that nonetheless seemed provincial in design terms into the 1930s. Many design professionals educated there (like Barr) had remained content with the opportunities the city provided. The arrival of the New Bauhaus in 1937 injected new vitality into the local design scene and gave birth to a fresh sense of Chicago’s potentially international credentials. Barr’s career spanned the two decades of this transition and provides a useful case study of provincialism, avant-garde status, and internationalism.
{"title":"Frank Barr: Avant-Garde Designer in Mid-Century Chicago?","authors":"Paul F Gehl","doi":"10.1093/jdh/epad010","DOIUrl":"https://doi.org/10.1093/jdh/epad010","url":null,"abstract":"Abstract A popular 1941 gallery show in Chicago entitled “The Advance Guard of Advertising Artists” included five prominent European advocates of modernist design and four Americans who did daring and innovative work. All but one of these designers is today included in the mid-century design canon. The odd man out was Frank Barr (1906–1955), a Chicago letterpress printer with a modest, entirely local reputation both before and after the exhibit. This article explores Barr’s career to explicate the meaning of avant-garde design during at the period and shed light on the larger question of canonical status. Chicago was a major industrial and printing hub that nonetheless seemed provincial in design terms into the 1930s. Many design professionals educated there (like Barr) had remained content with the opportunities the city provided. The arrival of the New Bauhaus in 1937 injected new vitality into the local design scene and gave birth to a fresh sense of Chicago’s potentially international credentials. Barr’s career spanned the two decades of this transition and provides a useful case study of provincialism, avant-garde status, and internationalism.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136355852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
More than a decade before Hitler became the leader of the Nazi party, on the other side of the Atlantic, the Ladies’ Home Journal hit on the perfect insignia for their new “Girl’s Club”: a swastika. This was far from anomalous; an examination of American fashion and lifestyle publications shows that the swastika was a fashionable motif for dress, home decor, and particularly jewelry from the turn of the twentieth century until the outbreak of World War II. Moreover, the swastika continued to be used as a decorative motif even as news of life under the Third Reich was published in American newspapers. This regular use in fashion and consumer goods suggests that Americans did not want to recognize the dissonance between the way that they wore the swastika and the symbol in its German context. This distinction began to disintegrate in the mid-1930s, as conflict over the use of the symbol revealed fracture lines between those affected by its anti-Semitic connotations and those who thought that these connotations were either acceptable or easy enough to ignore. The lifecycle of the swastika in American culture in the first four decades of the twentieth century offers a unique case study of how a sign can gain and lose meaning; after arising as a seemingly superficial fad, the persistence of the motif took on increasingly problematic associations raising difficult questions of how to contend with new readings of old signs.
{"title":"“Something Really Very Odd and Singularly Appropriate:” The Fashionable Swastika in the US Before 1939","authors":"Caroline Elenowitz-Hess","doi":"10.1093/jdh/epad002","DOIUrl":"https://doi.org/10.1093/jdh/epad002","url":null,"abstract":"\u0000 More than a decade before Hitler became the leader of the Nazi party, on the other side of the Atlantic, the Ladies’ Home Journal hit on the perfect insignia for their new “Girl’s Club”: a swastika. This was far from anomalous; an examination of American fashion and lifestyle publications shows that the swastika was a fashionable motif for dress, home decor, and particularly jewelry from the turn of the twentieth century until the outbreak of World War II. Moreover, the swastika continued to be used as a decorative motif even as news of life under the Third Reich was published in American newspapers. This regular use in fashion and consumer goods suggests that Americans did not want to recognize the dissonance between the way that they wore the swastika and the symbol in its German context. This distinction began to disintegrate in the mid-1930s, as conflict over the use of the symbol revealed fracture lines between those affected by its anti-Semitic connotations and those who thought that these connotations were either acceptable or easy enough to ignore. The lifecycle of the swastika in American culture in the first four decades of the twentieth century offers a unique case study of how a sign can gain and lose meaning; after arising as a seemingly superficial fad, the persistence of the motif took on increasingly problematic associations raising difficult questions of how to contend with new readings of old signs.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49523690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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