Any attempt to approach plastics is inevitably challenged by the materiality of the subject—the very presence of plastics. These books, although they approach plastics differently, both begin by acknowledging the presence, or perhaps rather “perseverance” of plastics—found sometimes years later and far from their place of origin. Plastics are everywhere and they do not go away. We might dispose of them, but they eventually wash back up. The implications of plastics’ perseverance are taken up differently in each book. Even though the authors might use similar case studies, they part ways as they frame their arguments. In the edited collection entitled Plastic Legacies, Trisia Farrelly, Sy Taffel, and Ian Shaw present a neat and organized documentation of the circulation of plastics and initiatives that have led to large-scale action or legislation. In Plastic Matter, Heather Davis presents an intriguing journey into the meanings and materialities of plastics, as embedded in our daily life practices and the way we think.
{"title":"Plastic MatterPlastic Legacies: Pollution, Persistence, and Politics","authors":"Damla Tonuk","doi":"10.1093/jdh/epac054","DOIUrl":"https://doi.org/10.1093/jdh/epac054","url":null,"abstract":"Any attempt to approach plastics is inevitably challenged by the materiality of the subject—the very presence of plastics. These books, although they approach plastics differently, both begin by acknowledging the presence, or perhaps rather “perseverance” of plastics—found sometimes years later and far from their place of origin. Plastics are everywhere and they do not go away. We might dispose of them, but they eventually wash back up. The implications of plastics’ perseverance are taken up differently in each book. Even though the authors might use similar case studies, they part ways as they frame their arguments. In the edited collection entitled Plastic Legacies, Trisia Farrelly, Sy Taffel, and Ian Shaw present a neat and organized documentation of the circulation of plastics and initiatives that have led to large-scale action or legislation. In Plastic Matter, Heather Davis presents an intriguing journey into the meanings and materialities of plastics, as embedded in our daily life practices and the way we think.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135694554","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 design disciplines that Teasley addresses in her book—such as graphic and product design—took root in the wake of the Meiji-era (1868–1912), when social, political, and economic transformations upended local cottage industries and prompted the makers of luxury and craft goods to consider how to apply existing design and production practices to make new types of objects for new markets, both at home and overseas. The Arita vases displayed at the Philadelphia Centennial Exposition of 1876, for example, exemplified high technical skill while also promoting a particular image of “Japan” that responded to Western tastes. Artisans across various industries, from ceramics to textiles to lacquerware, began to shift their attention to Western markets and expand their product lines (to include such things as lacquered hairbrushes and glove boxes), developing new patterns, motifs, and color palettes and experimenting with new production techniques and technologies.
{"title":"Designing Modern Japan","authors":"Michelle L Hauk","doi":"10.1093/jdh/epac053","DOIUrl":"https://doi.org/10.1093/jdh/epac053","url":null,"abstract":"The design disciplines that Teasley addresses in her book—such as graphic and product design—took root in the wake of the Meiji-era (1868–1912), when social, political, and economic transformations upended local cottage industries and prompted the makers of luxury and craft goods to consider how to apply existing design and production practices to make new types of objects for new markets, both at home and overseas. The Arita vases displayed at the Philadelphia Centennial Exposition of 1876, for example, exemplified high technical skill while also promoting a particular image of “Japan” that responded to Western tastes. Artisans across various industries, from ceramics to textiles to lacquerware, began to shift their attention to Western markets and expand their product lines (to include such things as lacquered hairbrushes and glove boxes), developing new patterns, motifs, and color palettes and experimenting with new production techniques and technologies.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"67 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136197864","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}
Cristóbal Balenciaga’s initial period in Spain (1917–1936), when he was working to develop himself as a couturier and consolidate his business in the luxury sector, is less known than his Parisian period (1937–1968), due to the scarcity of available information. This article analyses the designer as a buyer of haute couture licenses during that initial period. His biographers claim that in the early years of his professional development Balenciaga would attend to the presentations of prestigious French Maisons where he acquired pieces that he later sold in his establishment in San Sebastián, and that he studied to improve his own technique. Among these Maisons is that of Madeleine Vionnet. However, the restrictive licensing policy applied by the French couturière, puts in doubt the idea that Balenciaga had once been authorized to acquire pieces from her collections. Based on research in the archives of the Musée des Arts Décoratifs, the Bibliothèque Historique de la Ville de Paris and the Archives de Paris, and in the Spanish, French and North American press published between 1920 and 1930, this article provides new findings that confirm the existence of just such a commercial relationship. It reveals when it emerged, specifies which Vionnet pieces Balenciaga acquired and studies the influence of Vionnet’s technique and aesthetics on some of the Basque couturier’s creations prior to his establishment in Paris.
Cristóbal巴黎世家在西班牙的最初时期(1917-1936)，当时他正在努力发展自己作为一名女装设计师，并巩固他在奢侈品领域的业务，由于可用信息的缺乏，不如他在巴黎时期(1937-1968)为人所知。这篇文章分析了设计师在最初阶段作为高级时装授权的购买者。他的传记作者声称，在他职业发展的早期，巴黎世家会参加著名法国品牌的展示，在那里他获得了一些作品，后来在他位于圣Sebastián的公司出售，他还学习提高自己的技术。玛德琳·维奥内的家就是其中之一。然而，法国时装设计公司实施的限制性许可政策，让人怀疑巴黎世家是否曾被授权购买她的系列作品。基于对mus des Arts dacriatifs、biblioth Historique de la Ville de Paris和archives de Paris档案的研究，以及在1920年至1930年间出版的西班牙、法国和北美媒体的研究，本文提供了新的发现，证实了这种商业关系的存在。它揭示了它的出现时间，详细说明了巴黎世家获得了哪些维奥内的作品，并研究了维奥内的技术和美学对这位巴斯克时装设计师在巴黎成立之前的一些作品的影响。
{"title":"Balenciaga, licensee of Maison Vionnet","authors":"Ana Balda","doi":"10.1093/jdh/epac046","DOIUrl":"https://doi.org/10.1093/jdh/epac046","url":null,"abstract":"Cristóbal Balenciaga’s initial period in Spain (1917–1936), when he was working to develop himself as a couturier and consolidate his business in the luxury sector, is less known than his Parisian period (1937–1968), due to the scarcity of available information. This article analyses the designer as a buyer of haute couture licenses during that initial period. His biographers claim that in the early years of his professional development Balenciaga would attend to the presentations of prestigious French Maisons where he acquired pieces that he later sold in his establishment in San Sebastián, and that he studied to improve his own technique. Among these Maisons is that of Madeleine Vionnet. However, the restrictive licensing policy applied by the French couturière, puts in doubt the idea that Balenciaga had once been authorized to acquire pieces from her collections. Based on research in the archives of the Musée des Arts Décoratifs, the Bibliothèque Historique de la Ville de Paris and the Archives de Paris, and in the Spanish, French and North American press published between 1920 and 1930, this article provides new findings that confirm the existence of just such a commercial relationship. It reveals when it emerged, specifies which Vionnet pieces Balenciaga acquired and studies the influence of Vionnet’s technique and aesthetics on some of the Basque couturier’s creations prior to his establishment in Paris.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"70 3","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138512361","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":"Craftworkers in Nineteenth-Century Scotland: Making and Adapting in an Industrial Age","authors":"T. Fisher","doi":"10.1093/jdh/epac044","DOIUrl":"https://doi.org/10.1093/jdh/epac044","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48132111","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":"Design and Modernity in Asia: National Identity and Transnational Exchange 1945–1990","authors":"D. Huppatz","doi":"10.1093/jdh/epac040","DOIUrl":"https://doi.org/10.1093/jdh/epac040","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42681859","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 Bauhaus is possibly the most famous school of art, design, and architecture of the first half of the twentieth century. It holds an enduring reputation as one of the most influential sources for the origins of modern design. In response to the centenary of its foundation in 1919, this special issue offers critical perspectives on the school’s reputation from a range of international scholars. The Introduction reviews selected events and publications planned to coincide with the Bauhaus 100 anniversary year in order to place them in relation to broader developments within design history. The three articles consider how the identities, reputation, and legacies of the Bauhaus were constructed, both at the time of its existence and in the years following its closure. As a further record of the impact of this centenary, we include a Selected Bibliography drawn from the international attention given to the Bauhaus in its anniversary year, as well as Book Reviews devoted to some of the most significant publications from 2019.
{"title":"Introduction: the Bauhaus centennial and design history","authors":"J. Aynsley, Esther Cleven","doi":"10.1093/jdh/epac036","DOIUrl":"https://doi.org/10.1093/jdh/epac036","url":null,"abstract":"\u0000 The Bauhaus is possibly the most famous school of art, design, and architecture of the first half of the twentieth century. It holds an enduring reputation as one of the most influential sources for the origins of modern design. In response to the centenary of its foundation in 1919, this special issue offers critical perspectives on the school’s reputation from a range of international scholars. The Introduction reviews selected events and publications planned to coincide with the Bauhaus 100 anniversary year in order to place them in relation to broader developments within design history. The three articles consider how the identities, reputation, and legacies of the Bauhaus were constructed, both at the time of its existence and in the years following its closure. As a further record of the impact of this centenary, we include a Selected Bibliography drawn from the international attention given to the Bauhaus in its anniversary year, as well as Book Reviews devoted to some of the most significant publications from 2019.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48208929","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":"Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of NorthumberlandLondon’s ‘Golden Mile’ The Great Houses of the Strand, 1550–1650","authors":"Helen McCormack","doi":"10.1093/jdh/epac037","DOIUrl":"https://doi.org/10.1093/jdh/epac037","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42177809","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}
Shortly after opening in 1936, the Finnish interior design company Artek organized two exhibitions in Helsinki: a model apartment showroom and a display within its shop, both involving a substantial presence of Amazigh carpets from the French protectorate of Morocco. This article analyses these rugs within Artek identifying them as “colonized textiles.” This proposed concept aims to highlight textiles within the appropriation of non-Western cultural fragments by structures of imperialism and coloniality, while parallelly problematizing the inclusion of Amazigh rugs within architectural modernism. The movement of Amazigh rugs from Morocco to Finland, and their transition from Amazigh communities to European modernist interiors, are described through key events and exhibitions from the interwar era. The involvement of Artek actors and the process leading to the founding of Artek are highlighted within this context. Exhibitions are presented as a stage for the interaction of discourses on modernism and imperialism, and for the reiteration of constructed narrations directed by élite circles, supporting the appropriation and commodification of colonized textiles in Europe. Political agendas of cultural supervision within the French protectorate of Morocco are described while situating Amazigh rugs in this context. Parallelly, the relevance of textiles is highlighted within discussions on architectural modernism.
{"title":"“Moroccan” Artek—Colonized Textiles within 1930s Modernist Interiors","authors":"Daniele Burlando","doi":"10.1093/jdh/epac035","DOIUrl":"https://doi.org/10.1093/jdh/epac035","url":null,"abstract":"\u0000 Shortly after opening in 1936, the Finnish interior design company Artek organized two exhibitions in Helsinki: a model apartment showroom and a display within its shop, both involving a substantial presence of Amazigh carpets from the French protectorate of Morocco. This article analyses these rugs within Artek identifying them as “colonized textiles.” This proposed concept aims to highlight textiles within the appropriation of non-Western cultural fragments by structures of imperialism and coloniality, while parallelly problematizing the inclusion of Amazigh rugs within architectural modernism. The movement of Amazigh rugs from Morocco to Finland, and their transition from Amazigh communities to European modernist interiors, are described through key events and exhibitions from the interwar era. The involvement of Artek actors and the process leading to the founding of Artek are highlighted within this context. Exhibitions are presented as a stage for the interaction of discourses on modernism and imperialism, and for the reiteration of constructed narrations directed by élite circles, supporting the appropriation and commodification of colonized textiles in Europe. Political agendas of cultural supervision within the French protectorate of Morocco are described while situating Amazigh rugs in this context. Parallelly, the relevance of textiles is highlighted within discussions on architectural modernism.","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45011692","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":"African Motors: Technology, Gender and the History of Development","authors":"L. Vinsel","doi":"10.1093/jdh/epac032","DOIUrl":"https://doi.org/10.1093/jdh/epac032","url":null,"abstract":"","PeriodicalId":45088,"journal":{"name":"Journal of Design History","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-08-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44118700","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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