History of design Books

Book SynopsisThis illustrated guide to men's fashion introduces men to the timeless elements of fashion and personal style.Trade Review"A Hoyle's, a Fowler's, a Webster's, a Baedeker's, a Machiavelli's, a von Clausewitz's guide to men's dress." -- Tom Wolfe "If it's male elegance and sophistication you aspire to, DRESSING THE MAN will suit you perfectly." -- Art Cooper, Editor in Chief, GQ

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Book SynopsisThe iconic dress that has stood the test of time.Contemporary yet classic, the little black dress never goes out of style. Popularized by Coco Chanel in the 1920s, the style freed women from the corset and became the epitome of liberation. Dubbed the 'Ford of fashion' by American Vogue, it was simple, stylish and affordable – 'the frock that all the world will wear'.Tracing the fascinating evolution of the LBD, from Audrey Hepburn's sleek Givenchy sheath in Breakfast at Tiffany's or Princess Diana's rebellious 'revenge dress' right through to the mesh detailing and body-sculpting shapes of recent years, this little book is a celebration of one of fashion's most iconic garments.'One is never under dressed or over dressed with a little black dress.' Karl Lagerfield'A little black dress is something to rely on. To fill you with confidence and ease. To have an attitude that is pure and effortless, yet sexy and classy.' Stella McCartney'The little black dress must be luxurious, rich, sensual, diaphanous, exotic, severe, lush, demure, demanding, frivolous, amusing, and it must linger in memory, but above all, it must be simple and little and black.' Carolina HerreraTable of ContentsLady in Black • The Birth of the LBD • The Ford of Fashion • Famous Frocks • Dressed Up or Down • Timeless Glamour.

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Book SynopsisFrom the ashes of the Second World War came forward-thinking fashions, the likes of which had never been seen before. The early Forties were defined by thriftiness and practicality, a make-do-and-mend attitude in a time of war. However, the latter half of the decade saw the emergence of the traditional femininity, elegance and luxury often associated with the era. Spanning the austerity of the war years to the introduction of Dior's revolutionary New Look, this extensive survey brings together vintage photography and illustrations to follow the season-by-season fashion evolution of the Forties, providing a comprehensive overview of this period of contrasts.1940s Fashion: The Definitive Sourcebook covers every aspect of female fashions from the decade, from lace evening gowns, tailored jackets and furs to figure-sculpting undergarments, satin negligées and scandalous bikinis, offering the most comprehensive appraisal of this age of wartime and post-war glamour. This in-depth look at the styles and trends that shaped 1940s fashion features images of the decade's most iconic stars and designers. Stylish leading ladies such as Veronica Lake, Joan Bennett and Barbara Stanwyck are included as well as designs by Dior, Lucien Lelong, Balmain and Worth.Authored and edited by renowned design historian, Charlotte Fiell, this volume also contains an authoritative introduction by fashion historian, Emmanuelle Dirix, as well as the biographies of the key designers and fashion houses of the period.

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Book Synopsis"A fascinating cultural history" (People) of how Japan adopted and ultimately revived traditional American fashion A strange thing has happened over the last two decades: the world has come to believe that the most "authentic" American garments are those made in Japan. From high-end denim to oxford button-downs, Japanese brands such as UNIQLO, Kamakura Shirts, Beams, and Kapital have built their global businesses by creating the highest-quality versions of classic American casual garments-a style known in Japan as ametora, or "American traditional."In Ametora, cultural historian W. David Marx traces the Japanese assimilation of American fashion over the past 150 years. Now updated with a new afterword covering the last decade, Ametora shows how Japanese trendsetters and entrepreneurs mimicked, adapted, imported, and ultimately perfected American style, dramatically reshaping not only Japan's culture but also our own.

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Book SynopsisForeword by Gerda Flöckinger Vintage Jewellery recounts 120 years of history, including Lalique's Art Nouveau enamelling at the turn of the twentieth century, Cartier's gemstones, Christian Dior's mid-century costume pieces and Harry Winston's diamonds.Accompanied by archive images, fashion photography and specially commissioned photographs of period pieces, the most collectible and beautiful bracelets, necklaces, rings and brooches are showcased, including Elizabeth Taylor's peregrina pearl and Wallis Simpson's Cartier panther bracelet. The book explores the key designers and jewellery houses, technical developments and cultural influences that shaped jewellery design and shows you how to collect and wear vintage pieces.Table of ContentsForeword by Gerda Flöckinger CBE • Introduction • 1890-1910: Divinely Decadent • 1910s: The Edwardian Era • 1920s: Streamlined & Chic • 1930s: Hollywood Glamour • 1940s: F for Fake • 1950s: Mid-Century Sparkle • 1960s: Pop Goes the Future • 1970s: The Body, Bold & Beautiful • 1980s: The Power & the Glory • 1990s to Now: Future Collectibles • Shopping & Collecting Guide • Glossary of Jewellery Terms • Index • Further Reading & Acknowledgements.

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Book SynopsisA revelatory glimpse into the passions and obsessions of 60 visionary artists through the medium of their personal sketchbooks, treatises, storybooks, grimoires, and journals. This unprecedented gathering of handmade books from the most notable Art Brut artists has been brought together expressly for this publication from both public and private collections. Each volume is showcased in separate chapters featuring the cover and a selection of inside pages, with accompanying commentary. They cover the period from the early 20th century to the present, and include works by Horst Ademeit, Alöise, Giovanni Bosco, James Castle, Henry Darger, Charles Dellschau, Malcolm MacKesson, Dan Miller, Michel Nedjar, Jean Perdrizet, Royal Robertson, Charles Steffen, Oskar Voll, August Walla, and Adolf Wölfli, among others. Text in English and French.Table of ContentsSommaire Contents p. 6 Préface Christian Berst p. 8 Preface Christian Berst p. 10 Le temps d’autrui, ou les apparences fissurées Graciela García Muñoz p. 14 Others’ Time, or Fissured Appearances Graciela García Muñoz p. 18-397 01 Henry Darger 02 Adolf Wölfli 03 Aloïse Corbaz 04 Antinéa 05 Beverly Gayleen Aiken 06 James Castle 07 Pearl Blauvelt 08 Henri Histe 09 Peter Mikolajewski 10 August Walla 11 Rudolf Heinrichshofen 12 August Johann Klose 13 Oskar Voll 14 James Edward Deeds Jr 15 Anonyme 16 Alexander von Schwartzenberg 17 Charles Steffen 18 Malcolm McKesson 19 Éric Benetto 20 Aurel Iselstöger 21 Michel Nedjar 22 Josvedy Jove Junco 23 Henry Speller 24 Anselme Boix-Vives 25 Giovanni Bosco 26 Yuichiro Ukai 27 Itsuo Kobayashi 28 Giuseppe Barocchi 29 Carlos Augusto Giraldo 30 Aníbal Brizuela 31 Rigo 32 Jorge Alberto Cadi 33 « Prophet » Royal Robertson 34 Milton Schwartz 35 Pierre Richard 36 John Devlin 37 J. B. Murray 38 Jill Gallieni 39 Joseph Lambert 40 Xie Hong 41 Kunizo Matsumoto 42 Dan Miller 43 Ramón Losa 44 Agatha Wojciechowsky 45 Anonyme, cahier spirite 46 Patricia Salen 47 Jean Perdrizet 48 Henry Cresswell 49 Zdeněk Košek 50 Joseph Giraudo 51 Pascal Jacquens 52 Jean Fick 53 Horst Ademeit 54 Jean-Daniel Allanche 55 Adelhyd van Bender 56 Oscar Morales 57 Josef Heinrich Grebing 58 Charles Dellschau 59 Karl Hans Janke

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Book SynopsisThis textbook introduces design students to key principles of three-dimensional form, bridging aesthetics and practical design objectives. It explores how we see and what it is that characterises visually appealing and satisfactory design.Written by an experienced designer, educator and researcher, The Aesthetics of Industrial Design equips students with the knowledge and understanding of how aesthetically superior design is distinct from lesser work. It explains the key principles and concepts they can incorporate into their own designs, encourages readers to investigate and experiment with real design problems and enables them to verbally communicate their design intentions. The book prompts readers to critically reflect on their work and surroundings. Through numerous clear examples and illustrated case studies, which are guided by cognitive science and the application of aesthetic theory, the book brings together the basic aspects of design as form-giving. ITrade Review"This book covers a wide range of issues which are important for the future of design. The fact that the author gives tasks throughout the book is a helpful feature. I appreciate that the author encourages discussions when things don’t easily fall into categories or are more complex so there are no simple answers. I believe this book which attempts to merge theory and practice is important to publish. It gives us all a possibility to discuss the complexity of such an undertaking and start discussions about how we formulate basic aesthetic principles that are free from judgement and when value judgements are made that apply principles in specific design processes." - Cheryl Akner-Koler, Professor, Department of Design, Interior Architecture and Visual Communication / Industrial Design, University of Arts, Crafts and Design, Stockholm, Sweden"A much needed and highly lucid exposition of the thought and technique behind successful industrial design for students of this and allied professions. Endearingly opinionated and idiosyncratic in places, the book offers a path from professional philosophy to thoughtful execution of high class industrial design work. Useful exercises and debating points are provided for the benefit of tutors and students alike." - Peter Barker, Head of School, Design and Communication, Plymouth College of Art, UK"This book is a brilliant example of why Kurt Lewin was right in stating that there is "nothing as practical as a good theory" (1943). Through a row of examples of good, functional, robust, aesthetically appealing and beautiful design as well as "design mistakes" and "bad designs", the author, associate professor Richard Herriott from Design School Kolding takes us through theories about visual perception, constrains, lines, surfaces and curvature, product semantics and craftmanship and discusses the implications of these theories for design. Even if some of the theories are complicated reading, Herriott takes the reader by hand and illustrates the theoretical concepts and terms via reference to examples from real world design, models and drawings. The book covers an impressive number of ideas and invites the reader to think about and re-think design as well as reflecting upon the role of the designer in the contemporary design practice. Doing this, the book is a great vehicle for designers aiming to create and analyse objects that are aesthetically pleasing and for others to understand the science of forms and the building blocks of good design."- Lene Tangaard, Rector of the Kolding Design School, Denmark"Disagreeing with Richard Herriott is a source of great pleasure. Not because standing at the opposing end during an argument lends one a feeling of superiority - far from it - but because few people can make a point the way Richard does. His immense knowledge provides him with references that are, at the very least, curiously entertaining and at best enlightening. His intellect then allows Richard to process these select references in highly original a manner. I’m delighted that this book provides many people with the opportunity to sneak a peek into Richard Herriott’s singular mind. They may agree or disagree with what they find - but they will certainly be all the wiser for it." - Christopher Butt, writer and design critic, founder of Auto-Didakt and Design Field Trip"The human brain is a mystery. Barely developed since mankind evolved itself into this peculiar world, we still react on basic instincts and pre-coded assumptions. We think we know, but we don’t. We think we’re in control, but we’re not. So we need to learn. And of all our senses, our visual perception is our least reliable. Richard Herriot has created a fantastic book that enlightens us and opens our mind to understand better how our brain acts and reacts on our visual surroundings, such as form, function, design and visual perception in general. In a well ridden and richly illustrated piece, he guides us through various elements in modern design such as the human visual system, the complexity in form and function, how we look at and understand shapes and form etc. Starting with the already known theories, Richard Herriot describe and discusses the complexity and compromises we make daily in our visual world. Wisdom and knowledge mixed with simple illustrations and easy to use exercises. It’s a must read for everybody working with visual art forms, teachers, designers, photographers, architects, artists etc, a need to read for everybody interested in how our brain works when it comes to visual perception - and a nice to read for everybody else that just want to know. A welcoming and necessary book in a time where everything runs so fast that we tend to forget what we already know." – Kåre Birk, teacher in Furniture, Space and Products; Scandinavian Design College, Denmark"This book covers a wide range of issues which are important for the future of design. The fact that the author gives tasks throughout the book is a helpful feature. I appreciate that the author encourages discussions when things don’t easily fall into categories or are more complex so there are no simple answers. I believe this book which attempts to merge theory and practice is important to publish. It gives us all a possibility to discuss the complexity of such an undertaking and start discussions about how we formulate basic aesthetic principles that are free from judgement and when value judgements are made that apply principles in specific design processes." - Cheryl Akner-Koler, Professor, Department of Design, Interior Architecture and Visual Communication / Industrial Design, University of Arts, Crafts and Design, Stockholm, Sweden"A much needed and highly lucid exposition of the thought and technique behind successful industrial design for students of this and allied professions. Endearingly opinionated and idiosyncratic in places, the book offers a path from professional philosophy to thoughtful execution of high class industrial design work. Useful exercises and debating points are provided for the benefit of tutors and students alike." - Peter Barker, Head of School, Design and Communication, Plymouth College of Art, UK"This book is a brilliant example of why Kurt Lewin was right in stating that there is "nothing as practical as a good theory" (1943). Through a row of examples of good, functional, robust, aesthetically appealing and beautiful design as well as "design mistakes" and "bad designs", the author, associate professor Richard Herriott from Design School Kolding takes us through theories about visual perception, constrains, lines, surfaces and curvature, product semantics and craftmanship and discusses the implications of these theories for design. Even if some of the theories are complicated reading, Herriott takes the reader by hand and illustrates the theoretical concepts and terms via reference to examples from real world design, models and drawings. The book covers an impressive number of ideas and invites the reader to think about and re-think design as well as reflecting upon the role of the designer in the contemporary design practice. Doing this, the book is a great vehicle for designers aiming to create and analyse objects that are aesthetically pleasing and for others to understand the science of forms and the building blocks of good design."- Lene Tangaard, Rector of the Kolding Design School, Denmark"Disagreeing with Richard Herriott is a source of great pleasure. Not because standing at the opposing end during an argument lends one a feeling of superiority - far from it - but because few people can make a point the way Richard does. His immense knowledge provides him with references that are, at the very least, curiously entertaining and at best enlightening. His intellect then allows Richard to process these select references in highly original a manner. I’m delighted that this book provides many people with the opportunity to sneak a peek into Richard Herriott’s singular mind. They may agree or disagree with what they find - but they will certainly be all the wiser for it." - Christopher Butt, writer and design critic, founder of Auto-Didakt and Design Field Trip"The human brain is a mystery. Barely developed since mankind evolved itself into this peculiar world, we still react on basic instincts and pre-coded assumptions. We think we know, but we don’t. We think we’re in control, but we’re not. So we need to learn. And of all our senses, our visual perception is our least reliable. Richard Herriot has created a fantastic book that enlightens us and opens our mind to understand better how our brain acts and reacts on our visual surroundings, such as form, function, design and visual perception in general. In a well ridden and richly illustrated piece, he guides us through various elements in modern design such as the human visual system, the complexity in form and function, how we look at and understand shapes and form etc. Starting with the already known theories, Richard Herriot describe and discusses the complexity and compromises we make daily in our visual world. Wisdom and knowledge mixed with simple illustrations and easy to use exercises. It’s a must read for everybody working with visual art forms, teachers, designers, photographers, architects, artists etc, a need to read for everybody interested in how our brain works when it comes to visual perception - and a nice to read for everybody else that just want to know. A welcoming and necessary book in a time where everything runs so fast that we tend to forget what we already know." – Kåre Birk, teacher in Furniture, Space and Products; Scandinavian Design College, DenmarkTable of Contents1. How do we see? 2. Resolving the constraints 3. Lines, surfaces and curvature 4. Craftsmanship 5. The meaning of the object and its elements: Product semantics

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Book SynopsisThe official art book for the animated movie Luck. The Art and Making of Luck showcases, in beautifully illustrated detail, the concept art behind the story of the unluckiest girl in the world: Sam Greenfield. When Sam stumbles into the never-before-seen world of good and bad luck, she sets out on a quest to find good luck for her best friend Hazel, so that she can find a forever family. Journey with Sam as she follows a lucky penny into the Land of Luck, and meets magical creatures including Bob, a lucky black cat, and The Dragon, the CEO of the Land of Good Luck. From Skydance Animation and Apple Original Films, Luck is a charming animated comedy for both adults and kids alike. Any animation buff would be lucky to have this coffee table hardback that explodes with creativity; filled with intricate sketches, vivid concept designs, storyboards, production art, and rendered 3D models for the animated film, alongside insight from the artists, filmmakers and director into the original fictional world of Luck.

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Book SynopsisIn full color, with over 750 images to enhance and clarify the concepts, this thought-provoking resource is for graphic designers, professors, and students.This Third Edition, wholly revised and updated with essays on design thinking by seven industry leaders and a wealth of new images, provides designers, art directors, and students—regardless of experience—with a unique approach to thoughtful, convincing design. In full color with guidance on the rules of design and how to break them for the reader’s benefit. Contributing essayists are Niklaus Troxler, Geray Gençer, Ashley Schofield, Brian D. Miller, Fons Hickman, Max Shangle, and Tad Crawford. The Elements of Graphic Design, Third Edition describes how to:• Employ white space as a significant component of design• Define and reveal dominant images, words, and concepts• Use scale, position, and color to guide readers through levels of importance• Use type for maximum comprehension and value to the reader Educator, author, and thirty-five-year design veteran Alex W. White has assembled a wealth of information and examples in his exploration of what makes visual design both stunning and powerfully attractive to readers.Trade ReviewPraise for the Second Edition "White sets out key concepts of space, unity, page architecture, and typography for the benefit of other designers, art directors, and students. . . . A clear introduction; recommended for anyone learning or reviewing graphic design." —Library Journal “Alex W. White provides one of the clearest and most thoughtful introductions to graphic design that I’ve read. This book is also one of the few to really demystify the idea and use of white space in design—a topic that at once confuses young designers and causes seasoned clients to curl their lips with disdain. Read and learn.” —Alexander Isley, lecturer at Yale Graduate School of Art, past President of AIGA NY “The Elements of Graphic Design’s first edition has been one of the most useful books on the details of design and effective visual communication. The second edition is certain to become a standard in every design studio library.” —Sharon Werner, founder of Werner Design Werks “An expert educator, Alex W. White has purified the fundamentals of graphic design into a vigorous and all-embracing book. No matter what stage of your design career, this second edition of The Elements of Graphic Design is, or ought to be, required reading.” —Kevin Smith, AIGA awards recipient, Professor at Parsons, The New School for Design “Student or professional, if you need the ‘simple’ basics—or want to get to more ‘complex’ basics—if you don’t yet know the necessities of successful graphic design—or have forgotten them in the complexity of today’s overwhelming possibilities, here is the book for you. It’s by a guy who has quite a track record of speaking to both.” —Ed Fella, AIGA Medalist, Professor at CalArts’ graphic design program “This book explains what I try to get across to my designers: how to make all parts of a design work together. My office has a big library and this is the book I hand over when breakthroughs are needed.” —Matteo Bologna, CD and founder of Mucca Design, New York

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'There isn't a more comprehensive source to Twenties fashion that I can think of ... An absolute must for anyone interested in Twenties fashion or art deco' Style High Club'A source of all the styles, colours, shapes, and silhouettes of the Golden Twenties' VogueFrom the glitz and glamour of the Roaring Twenties came a fashion revolution. The 1920s is a decade synonymous with social change, reflected in its groundbreaking fashions: from the daring elegance of the 'New Woman' to never-before-seen silhouettes, the styles of the Roaring Twenties still capture the imagination a century later.Sumptuously illustrated with over 500 original photographs, sketches and prints, this extensive sourcebook documents the season-by-season fashions of the Jazz Age. Follow the evolving fashion trends and uncover a fascinating analysis of the progression from haute couture to ready-to-wear in this essential handbook for all fashion historians, students and vintage enthusiasts.Authored and edited by renowned design historian, Charlotte Fiell, this volume also contains an authoritative introduction by fashion historian Emmanuelle Dirix, as well as the biographies of the key designers and fashion houses of the period.

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Book SynopsisVices or virtues: drinking and smoking provided marketers with products to be forged into visual feasts. In this lush compendium of advertisements, we explore how depictions of these commodities spanned from the elegant to the offbeat, revealing how manufacturers prodded their customers throughout the 20th century to imbibe and inhale. Each era’s alcohol and tobacco trends are exuberantly captured page after page, with brand images woven into American popular culture so effectively that almost anyone could identify such icons as the Marlboro Man or Spuds MacKenzie, figures so familiar they could appear in ads without the product itself. Other advertisers devised clever and subliminal approaches to selling their wares, as the wildly successful Absolut campaign confirmed. Even doctors contributed to an improbable propaganda, testifying that smoking could calm your nerves and soothe your throat, while hailing liquor as an elixir capable of bringing social success. Whether you savor these visual delights, or enjoy inhaling and wallowing in forbidden pleasures, you will certainly be thrilled by this exploration of a decidedly vibrant—and sometimes controversial—chapter of advertising history.Trade Review“These are the ads that wooed us, and our parents, and our parents’ parents, over to the dark side of smokes and booze.” * Esquire *“… the 100-year-long tale of how advertising tried to get consumers hooked.” * The Guardian *“A wonderful selection of the kitsch and the bizarre.” * Creative Review *

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Book SynopsisTrade Review"This radiantly beautiful book takes us on a journey through the methods and devices used in Western cultures to catalogue colours developed since the 15th century by doctors, naturalists, dyers and painters."---Jad Adams, The Art Newspaper"There is a riot of colour on almost every page, in a stunning array that illuminates the eye."---Elizabeth Fitzherbert, The Lady"In Color Charts: A History, French author Anne Varichon reveals the inventive and poetic ways in which colour has been collectively understood, telling the story of the transformation from pigment makers and craftworkers, dependent on their charts, to the age of synthetic colour, through which the ‘western world began to become colourful, and finally, colourful for everyone’."---Alexander James, Financial Times

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Book SynopsisTrade ReviewA triumph. I could read Charlie Porter's books all day long. He makes us see a subject we thought we knew so well from a completely different angle; in writing that is deeply researched, but inviting, warm, and full of personality -- Katy HesselExcellent … Porter’s generous, empathetic eye feels like a corrective for the more salacious historical depictions of the Bloomsbury Group’s affairs … Bring No Clothes doesn’t just introduce a new frame of thinking, it adds a fresh layer of humanity to the collective * Independent *Charlie Porter is a magician, a radical historian who has pulled away all the threadbare myths about Bloomsbury, using clothes as a way of revealing the vulnerable bodies and wild new ideas of Woolf and her circle. In his hands, what people wear becomes an astoundingly rich way of thinking about love and grief, art-making and intimacy - and above all about old power structures and how to upend them. Bring No Clothes is at once an enriching account of the past and a primer for the future: a guide to how we too can clothe our bodies for freedom -- Olivia LaingA call to arms from the first page - it's thrilling and radical -- Chantal JoffeCharlie Porter applies a literary critic’s close reading to the clothes of the early twentieth century, unpicking philosophical texts from their textures. Bring No Clothes offers a way of recalibrating the world by understanding the tensions that underpin and overdetermine it through the ways we dress. With curiosity and contemporaneity, he finds in the Bloomsbury Group’s experiments in intimacy a queer possibility for the way we live today -- Sam Buchan-Watts, author of Path Through WoodSpot-on ... the way the [Bloomsbury] circle thought about clothes was part of a wider revolt ... Thanks to his access to the contents of several Bloomsbury wardrobes, together with a trove of previously unseen photographs, Porter is able to provide a detailed illustration of how "Make it new" played out on the material level * Guardian *One of the best books about Bloomsbury! -- Maggie Humm, author and Vice Chair of the Virginia Woolf SocietyFascinating -- Samira Ahmed * BBC Front Row *Unlocks the Bloomsbury Group’s wardrobes to expose the intricate interplay between attire, liberation and control * Vogue *A deep dive into the wardrobes of the Bloomsbury Group. Behind colour choices and hemlines are fascinating insights into their bodies and minds * Monocle *Porter clearly enjoys [the Bloomsbury Group’s] company – exploring how Virginia Woolf’s loose, long-line garments, John Maynard Keynes’s ‘soft tailoring,’ Vanessa Bell’s wildly colourful home-made dresses, photographs of a naked Duncan Grant, and the loosening of EM Forster’s buttoned-up suits all demonstrate the radicalism of a group of people determined to live differently * New Statesman *Spot-on ... the way the [Bloomsbury] circle thought about clothes was part of a wider revolt ... Thanks to his access to the contents of several Bloomsbury wardrobes, together with a trove of previously unseen photographs, Porter is able to provide a detailed illustration of how "Make it new" played out on the material level * Guardian *Fresh, empathetic … personal as much as intellectual … Bring No Clothes might be read as the manifesto of a queer human * Times Literary Supplement *- - Praise for What Artists Wear -- -Brilliant, loving, visually incisive -- Hilton AlsCompelling * Apollo *Revelatory * Guardian *An insightful account ... whether offering visual analysis or social observation, Porter writes with clarity and wit * Frieze *A fascinating exploration of the clothing worn by the rebels, rule breakers and outliers of the artistic world, and what it means to live in it ... The book defies convention ... Porter's curiosity is infectious * Esquire *Eclectic, invigorating ... the chapters devoted to female artists make for the most fascinating reading, their clothes liberating them by giving them permission to be different * Observer *Unique, intelligent and enlightening, super interesting and so well researched. It is rare indeed to come across a book that not only captures the imagination, but informs and amuses at the same time. Each turn of the page is a surprising delight. Perhaps what is most striking about this book is its authenticity ... Charlie Porter's seriousness and genuineness, coupled with his off-kilter sense of humour, not forgetting his huge talent, seep through the entire production. Not a fake nor pompous note anywhere. This is simply the real article, just like Charlie * Adrian Joffe, President of Comme des Garçons *A roving, intimate analysis of the clothes that inform art * AnOther Magazine *Wonderful ... I read it in one delicious gulp. An important page-turner -- Jennifer Higgie, author of The Mirror and the PaletteDelicious ... What Artists Wear can be enjoyed by everyone, regardless of your art or fashion knowledge ... Porter shares each anecdote with the confidence and clarity of a story teller, weaving memories into the book * Glass *Timely ... intimate ... A leisurely, contemplative journey through the art world of the 20th Century, as shown through the medium of the artists' own clothes * Hypebeast *Brilliant and unexpected... What Artists Wear approaches fashion in a wholly different way * Showstudio *Personal and brimming with anecdotes ...Porter explores the intrinsic connections between artists and their choice of clothing with agility, nuance and insatiable curiosity... His diverse curatorial eye holds both geographic and historical breadth -- Dan Thawley * A Magazine Curated By *A clarion call to examine not only the clothes of artists but also our own * The Art Newspaper *Manual and manifesto - a fabulous and interesting read -- Lauren LaverneUnexpected, lushly illustrated ... As a connoisseur of the lived-in, Porter delights at Lee Krasner's paint-spattered slippers and the tactile richness of Alberto Giacometti's rumpled suit -- Hettie Judah * V&A Magazine *As he cycles through the lives of Jean-Michel Basquiat, Sarah Lucas, Martine Syms, and Joseph Beuys, Porter's deep dive is a tender report on the legacies we leave behind and the clothes that accompany us along the way * Dazed Books of the Year *Inquisitive and insightful, Porter's skillful dissection of the historical context, social commentary, and personal symbolism behind each artist is a pleasure to get lost in * Publishers Weekly *Unique, wide-ranging... Style guru Charlie Porter takes us on a voyage of discovery * Creative Boom * Porter captures the various 'archetypes' associated with artists. He emphasises the shift from the 'codification of patriarchy to the breaking of the canon -- Araba Opoku * The Art Newspaper *Clothes can be a prison. But Porter makes a powerful argument that they offer freedom too, to work against the structures "that control what we all wear -- En Liang Khong * Times Literary Supplement *A call to arms from the first page - it's thrilling and radical * Chantal Joffe *

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Book SynopsisThe essential volume on the great fashion designer, entrepreneur and Louis Vuitton artistic director, back in print This authoritative Virgil Abloh compendium, created by the designer himself, accompanies his acclaimed landmark 2019–23 touring exhibition and offers in-depth analysis of his career and his inspirations. More than a catalog, Figures of Speech is a 500-page user’s manual to Abloh's genre-bending work in art, fashion and design. The first section features essays and an interview that examine Abloh’s oeuvre through the lenses of contemporary art history, architecture, streetwear, high fashion and race, to provide insight into a prolific and impactful career that cuts across mediums, connecting visual artists, musicians, graphic designers, fashion designers, major brands and architects. The book also contains a massive archive of images culled from Abloh’s personal files on major projects, revealing behind-the-scenes snapshots, prototypes, inspirations and more—accompanied by intimate commentary from the artist. Finally, a gorgeous full-color plate section offers a detailed view of Abloh’s work across disciplines. Virgil Abloh (1980–2021) was a fashion designer and entrepreneur, and the artistic director of Louis Vuitton's men's wear collection from 2018 to 2021. He was also CEO of the Milan-based label Off-White, a fashion house he founded in 2013. Born in Rockford, Illinois, to Ghanaian parents, he entered the world of fashion with an internship at Fendi in 2009 alongside rapper Kanye West. The two began an artistic collaboration that would launch Abloh's career with the founding of Off-White. Time magazine named him one of the 100 most influential people in the world in 2018.Trade ReviewAttests to Abloh’s ability to combine the classic with the zeitgeist of the here and now. -- Alice Godwin * Artland *Bears witness to the dizzying expanse of Abloh’s work and creativity. -- Cady Lang * TIME *A celebration of the work of a prolific creator who succeeded not just by bringing his own visions to life but by sharing the blueprint for others to do the same for themselves. -- Alison S. Cohn * Harper's Bazaar *The show’s hefty, excellent catalog […] deploys a titillating level of detail. -- Jon Caramanica * New York Times *...The object that is really worth coveting is the book. More than a simple catalog it’s a 500 page User’s Manual to his career. -- Craighton Berman * Core77 *Expect it to fly off the shelves like freshly baked cookies * AIROWS *Figures of Speech is packed with 1,932 images and a number of essays which discuss race, contemporary art history, streetwear and more. Altogether, [it] spans 496 pages and features a fittingly minimalist hardback cover. -- Eric Brain * Hypebeast *

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Book SynopsisThis is a fascinating exploration of the development of book design through some of the most treasured volumes in the British Library collections.

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Book SynopsisIn line with the works on decorators of the 1940s, '50s, '60s, and '70s, this book plunges us into the world of '80s and '90s. These have witnessed unprecedented experiments in the world of design and architecture. Composed of a rich introduction which gives a synoptic vision and 38 monographs that describe its many faces, this book makes and exceptionally creative period intelligible, and reveals through an abundant iconography, often unpublished, its formidable aesthetic richness. A new generation of designers stands out; among them Shiro Kuramata, Philippe Starck, Ron Arad, Bob Wilson, Elizabeth Garouste and Mattia Bonetti. All regenerate creation by refusing the elitism of their predecessors and by favouring the use of new materials. Some turn to recovery, such as the Creative Salvage group, and offer inventive and provocative furniture thanks to welding and assembly. Others, gathered in Italy around Ettore Sottsass and Memphis, combine unexpected colours and patterns to the playful use of plastic laminate. Sliding until the end of the '90s, the achievements presented in this book mark the desire for a dialogue between artistic references with a new relationship to the industrial aspect, at the dawn of the 21st century and its technological innovations. Text in English and French.

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Book SynopsisPairs is a student-led journal at the Harvard University Graduate School of Design (GSD) dedicated to conversations about design that are down to earth and unguarded. Each issue is conceptualized by an editorial team—including GSD students—that proposes guests and objects to be in dialogue with one another. Pairs is non-thematic, meant instead for provisional thoughts and ideas in progress. Each issue seeks to organize diverse threads and concerns that are perceived to be relevant to our moment. Thus, Pairs creates a space for understanding and a greater degree of exchange, both between the design disciplines and with a larger public.Pairs 02 features conversations with Emmanuel Admassu, Rashid bin Shabib, Irma Boom, Gareth Doherty, David Foster, David Hartt, Sara Hendren, Jane Hutton, Sharon Johnston, Zachary Mollica, Lyndon Neri, Malkit Shoshan, Jorge Silvetti, John R. Stilgoe, Paola Sturla, Sumayya Vally, Terry Tempest Williams, and Kathryn Yusoff. Contributors include the editors and Emma Lewis, Elisa Ngan, and Maxwell Smith-Holmes.

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Book SynopsisTrade Review"Centering her study on Finn Juhl’s Chieftain Chair and Hans Wegner’s Round Chair, Taft shows how a small segment of the Danish furniture market—soon folded into a broader “Scandinavian” aesthetic, cannily developed and marketed for the booming American economy—came to rule both sides of the Atlantic." * New Criterion *"The Wegner chair is one of two pieces that Maggie Taft considers in her new book The Chieftain and the Chair: The Rise of Danish Design in Postwar America. The other is the Chieftain chair designed by Finn Juhl. Together, the two seem to capture two different forms of aspiration. . . .The most famous Scandi furniture now comes in flat packs, bought cheaply with a stop-off to the cafeteria for a helping of frozen meatballs with lingonberry jam. But the original appeal of Danish furniture was deeper: It promised craftsmanship at a time of ramped-up assembly line production and the pared-down aesthetic of natural wood when the space age look of new materials was ascendant. As Taft shows, these qualities were closely linked to Danish political culture in the postwar years—to its progressive thinking, vibrant democratic principles, and above all its emerging welfare state." * New Republic *“Danish design (or at least stuff that looks like it) has been a fixture of American interior decoration since it was first imported in the 1950s. Pieces like Hans Wegner’s Round Chair and Finn Juhl’s Chieftain are ubiquitous, so it’s easy to forget that someone had to make people believe they were emblems of middle-class good taste before, you know, they actually were. Taft, an art historian and writer, uses this clear, tight book to trace the origins of these objects and in doing so demolishes some of the many myths about a field you know and (might) love.” * Bloomberg * “A prolific author with contributions to national arts and design publications, Taft presents a deeply researched yet thoroughly accessible examination of the multidimensional impact of two reigning chairs and, more broadly, inspired artistic expression.” * Booklist *"Succinct and engaging. . . essential for an understanding of post-war Danish and American design." * Art Newspaper *"[Taft's] story is not one of heroic artistic choices, but of compromises made for manufacturing at scale, successive counterfeits, the dispersal of a once-original style. . . . Taft tells the story with quick, fluid prose and a plethora of period texts, photographs, and scenes, taking us from the craftsmanship of the Copenhagen Museum of Industrial Art’s Cabinetmaker Day School, where Wegner trained as a joiner in the thirties, to the TV appearance of a pair of Wegner’s chairs in the Kennedy-Nixon debate in 1960." * Book Post *"How did Danish Modern become a byword for mid-century cool in the United States? This study of two chairs made in 1949—The Chieftain by Finn Juhl and Round Chair by Hans Wegner—explores this tale of transcontinental tastemaking." * Apollo *"We may take Danish Modern for granted. But as Taft shows in her absorbing story, the furniture aesthetic was less an expression of national spirit than a complex product of colonial relationships, protectionism, state intervention, and transatlantic salesmanship." -- Edward Tenner * Milken Institute *"This fascinating book makes a great addition to the literature of modern design and the small scale of the book makes it possible to carry." * Daniella on Design *"Taft explores the history of Danish modern design through two pieces of furniture: Hans Wegner’s Round Chair, better known as simply “the Chair,” and Finn Juhl’s Chieftain reading chair. The former is a basic dining chair, designed as part of a set, whose defining element is a single, semicircular wooden form that serves as both back and armrests—hence the “Round” in its moniker. The latter is a cushioned chair upholstered in leather, with wide armrests and a high, regal back rising above its seat. Their differences—the Chair’s slight size and the Chieftain’s heftiness; the Chair’s huge popularity in America and the Chieftain’s relative lack thereof; Juhl’s architectural education and Wegner’s training in cabinetmaking—allow Taft to develop a succinct but multilayered history of Danish Modernism." * Nation *"In this thorough exploration of two iconic Danish chairs, Taft looks to debunk old myths and makes a convincing case for a reexamination of Danish design and how it shaped the story of not only Danish modern, but also the evolution of modern design from New York to Chicago, North Dakota to Los Angeles, in post-war America." -- Zoë Ryan, Daniel W. Dietrich, II Director of the Institute of Contemporary Art, University of Pennsylvania"This book is a clever conceit—it uses two exceedingly famous chairs, Finn Juhl’s the Chieftain and Hans Wegner’s the Chair, to narrate a specific history about the creation, consumption, marketing, and reception of Danish Modern in the United States. These chairs are diplomatic actors in the drama that unfolds surrounding the small, but mighty country of Denmark making furniture for an export market in the United States, in which one could not exist without the other. The Chieftain and the Chair is a fresh and succinct contribution to Nordic design studies." -- Monica Obniski, curator of decorative arts and design, High Museum“In The Chieftain and the Chair, Taft provides a rich backstory to two fundamentally familiar mid-century furniture forms. By mining Danish-language archives and obscure American repositories, Taft makes the history of these chairs accessible to an English-speaking audience. Danish design was constructed to appeal to American consumers and American taste, as The Chieftain and the Chair deftly demonstrates.” -- Bobbye Tigerman, Marilyn B. and Calvin B. Gross Curator for Decorative Arts and Design, Los Angeles County Museum of Art

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Book SynopsisLet master of Maximalism Laurence Llewelyn-Bowen tell you how to create and curate a space that you can truly love spending time in.Changing Rooms’ flamboyant lead designer has made a great living out of being himself, having spent his entire career encouraging people to reject decorative modesty. More More More is a rejection of so-called “good taste” that leaves people being so in control of their own home that even life feels out of place within it, and instead celebrates exuberance, lavish living, and individuality. It’s all about giving yourself the confidence you lack by curating your own perfect haven of chaos, so that you can live and love your stuff – in surroundings that are anything but beige!With this book, Laurence Llewelyn-Bowen will not only explain how to adopt maximalism in the home, but promises to change your outlook on living happily in it. Structured within a complete timeline of maximalism, there’s

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Book SynopsisJoinery, Joists and Gender: A History of Woodworking for the 21st Century is the first publication of its kind to survey the long and rich histories of women and gender non-conforming persons who work in wood. Written for craft practitioners, design students, and readers interested in the intersections of gender and labor historywith 200 full-color images, both historical and contemporarythis book provides an accessible and insightful entry into the histories, practices, and lived experiences of women and nonbinary makers in woodworking.In the first half the author presents a woodworking history primarily in Europe and the United States that highlights the practical and philosophical issues that have marked women's participation in the field. Research focuses on a diverse range of practitioners from Lady Yun to Adina White.This is followed by sixteen in-depth profiles of contemporary woodworkers, all of whom identify fine woodworking as their priTrade Review"I love this book...My favorite aspect of the book is the intellectual perspective that Visser brings to the subject, which she treats with welcome nuance. I greatly appreciate that Visser and her colleague in the project early on, Laura Mays, saw fit to include not just art- and studio-furniture makers, but builders of custom work who happily refer to their workspaces as shops, and builders of buildings (to a lesser extent)…The diversity of featured makers is great. This is by no means a review, but it’s certainly an appreciation and a strong recommendation."Nancy Hiller, woodworker and author, USA"Packed with surprises, inspiration, and thorough scholarship, Deirdre Visser’s Joinery, Joists and Gender: A History of Woodworking for the 21st Century weaves the stories of historic and contemporary makers into the first collective history of women and non-binary makers in the field of wood. Part history and part survey of contemporary craft, this book contains previously undocumented stories of woodworking history and interviews that are equal parts funny, poignant, and inspiring. This is a smart, joyful, untold history of woodworking with excellent photos. All of that and an illustrated glossary? It’s time to place your order and settle in for an expansive take on the material we all love."Aspen Golann, from a review in Fine WoodworkingTable of ContentsPreface Introduction Chapter 1: Early Histories of Women in Woodworking Chapter 2: Changing Educational Models Chapter 3: Shifting Economies Chapter 4: The American Studio Furniture Movement Chapter 5: Contemporary Profiles

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Book SynopsisAn Illustrated Guide to Furniture History provides upper-level students and instructors with an alternative visual analytical approach to learning about furniture history from Antiquity to Postmodernism. Following an immersive teaching model, it presents a Nine-Step Methodology to help students strengthen their visual literacy and quickly acquire subject area knowledge.Moving chronologically through key periods in furniture history and interior design, such as the Renaissance, the Arts and Crafts Movement, and Modernism, it traverses Europe to America to present a comprehensive foundational guide to the history of furniture design.Part I addresses furniture within the context of the built environment, with chapters exploring the historical perspective, construction principles, and the categorization of furniture. In Part II, the author visually depicts the structural organization of the methodological process, a three-category framework: History,Trade Review"Joclyn Oats has invaluably assembled a fascinating compilation celebrating the Art of Furniture History & Design. She provides a look into the drawing archives of notable practitioners and exceptional presentation of her own eloquent visual and textual literacy. A beautifully crafted inspiring resource, sure to cultivate a desire to learn and create."- Clemenstien Love, Art + Design Director, THE cre.æ.tive ROOM "A revelatory way to gain a deep understanding and instinctive feel for furniture, Joclyn Oats' Illustrated Guide to Furniture History lights the path toward a level of understanding that simple memorization of facts and dates simply can't achieve. Using sketching and other simple learning tools, Oats shares what is probably the most effective and enjoyable method available to develop a true sensitivity for furniture styles and characteristics." – Zurich Esposito, Hon. AIA"Joclyn Oats has written an exceptionally engaging book that will delight the reader who is on a journey to learn the history of furniture. Designers and students of design will thoroughly enjoy the beautiful images and historical context." – Denise Rush, ASID, IIDA, IDEC, Dean and Faculty, School of Interior Architecture, Boston Architectural College, USATable of ContentsPart I: Furniture and the Built Environment Chapter 1 A Historical Perspective Chapter 2 Construction Principles Chapter 3 Piece Categorically Part II: Understanding the Piece Chapter 4 The Analysis of Form Chapter 5 A Graphic Narrative Part III: Object of Desire Part III Introduction Chapter 6 Antiquity: Egypt, Greece and Rome Chapter 7 Renaissance: Italy, France and England Chapter 8 18th Century: Italy, France and England & America – Late Colonial Chapter 9 Precursors to Modernism: Arts and Crafts, Art Nouveau, and Viennese Secession American Arts and Crafts – Prairie Style & Craftsman Style Chapter 10 Modernist Movements: Deutscher Werkbund, Bauhaus, De Stijl, International Style Chapter 11 Early Modernist Designers and Architects: Pierre Chareau (1883–1950), Eleen Gray (1879–1976), Jean Prouvé (1901–1984), Charlotte Perriand (1903–1999) Chapter 12 Modernism in America and the European Connection Chapter 13 Movements after Modernism: High-tech, Postmodermism, Deconstructivism Chapter 14 Conclusion

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Book SynopsisVenezuela's turbulent twentieth century saw boom and bust as the former Spanish colony transformed into a major postwar cultural player. In this sweeping study of visual and material production, Sean Nesselrode Moncada explores the integral relationship between the global oil industry and the celebrated rise of geometric abstraction, kinetic art, and modern architecture in midcentury Venezuela. Oil provided the crucible for national reinvention, ushering in a period of dizzying optimism and bitter disillusion as artists, architects, graphic designers, activists, and critics sought to define the terms of modernity. An innovative, transdisciplinary reevaluation of Venezuelan modernism,Refined Materialreveals how the logic of refinement conditioned the terms of development and redefined our relationship to nature, matter, and one another.Table of ContentsContents ACKNOWLEDGMENTS Introduction: The Alchemy of Refinement 1 Designing Oil 2 Refi ning Amuay 3 Building the Vista 4 Vibrating Nature 5 Killing the Well Epilogue: The Ooze of History NOTES SELECTED BIBLIOGRAPHY LIST OF ILLUSTRATIONS INDEX

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Book SynopsisTrade Review"A thought-provoking read that sheds light on the hidden narratives of objects and their profound influence on our collective heritage." * Metropolis *"Refreshingly anti-parochial. . . .Impressively done."---Owen Hatherley, Apollo: The International Art Magazine"One of the most interesting and essential texts on modernism to be written in the last decade. . . . Schuldenfrei has made a fairly niche art historical subject incredibly approachable with brilliant but accessible text. . . . [Objects in Exile] is a phenomenally well researched and important text on the subject and should be required reading for anyone interested in modern art and design."---Angelina Lippert, New York Journal of Books

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Book SynopsisThere are two groups of Jews in the world: the Jews who are no different than any other people and the Jews who are figments of imagination and defined by misleading stereotypes. The second group is the fantasy of the antisemite and they are the subject matter of this book. American and European antisemitism is seen through a rare and unique collection of postcards, letters, newspapers, advertisements, and cartoons captured in over 270 photos. The thought-provoking text explores the motives for creating these derogatory materials and the rationale for buying them. Although antisemitism is but one of many hateful and bigoted human beliefs, it stands alone as the most vicious; its existence is the longest of its kind in human history; and its consequences have been fatal for millions. Antisemitism is humankind at its worst. That hatred, in whatever form, makes victims of us all.

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Book SynopsisA look at propaganda posters used during WWII and how similar themes crossed national borders.

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Book SynopsisOriginally knit as underwear, the sweater is a practical garment with homely beginnings and has evolved as a fashion statement. This book traces the sweater''s 300-year history as an aesthetic and craft object, telling the story of its materials and construction, national traditions, fads and fashion, and accessories. Learn about the panoply of yarns, Nordic patterns, buttons, vintage collars, runway designs, manufacturing, and today''s explorations of form, structure, and material. No matter how far we have come technologically, there is something fundamental in the art of hand craft. This book expertly guides readers full circle through the inception of the hand knit to the advancement of technology and back to knitting with natural fibers.

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Book SynopsisAnimal products were used extensively in nineteenth-century Britain. A middle-class Victorian woman might wear a dress made of alpaca wool, drape herself in a sealskin jacket, brush her hair with a tortoiseshell comb, and sport feathers in her hat. She might entertain her friends by playing a piano with ivory keys or own a parrot or monkey as a living fashion accessory. In this innovative study, Helen Cowie examines the role of these animal-based commodities in Britain in the long nineteenth century and traces their rise and fall in popularity in response to changing tastes, availability, and ethical concerns. Focusing on six popular animal products feathers, sealskin, ivory, alpaca wool, perfumes, and exotic pets she considers how animal commodities were sourced and processed, how they were marketed and how they were consumed. She also assesses the ecological impact of nineteenth-century fashion.Trade Review'From civets horribly confined to produce perfume scent to elephants killed for ivory billiard balls and piano keys, Cowie demonstrates how fashion “valued” animals, even while letters to the RSPCA illustrated concern for animal agency and welfare. Contemporary debates surrounding nonhuman animals' victimization are rooted in the human animal's propensity to display.' Abel Alves, Ball State University'This remarkably powerful and elegantly crafted book explores the appeal of animal-based products in Victorian and Edwardian Britain. Taking us deep into the world of trading and consuming bird feathers, seal skins, ivory, and exotic pets, Victims of Fashion brims with historical insight about the consumption of these goods, but also, importantly, their decline in popularity.' Neil Pemberton, University of Manchester'This is a fascinating book from start to finish, written with great verve and clarity. From animal acclimatisation schemes to exotic pet keeping, and from campaigns against animal cruelty and 'murderous millinery' to the beginnings of international wildlife conservation action, or the hunt to find synthetic substitutes for animal products, it sets some of the key questions of our time in a vivid historical context.' Sally Shuttleworth, University of Oxford'This terrific book exposes how far elites were implicated in systemised animal cruelty (historically associated with the working classes) and illustrates that while women often were pioneering advocates of animal rights, they also constituted core markets for animal commodities.' Julie-Marie Strange, Durham UniversityTable of ContentsIntroduction; 1. Murderous millinery; 2. The seal and his jacket; 3. Is the elephant following the dodo?; 4. Silk of the Andes; 5. Bitter perfumes; 6. Monkey business; Conclusion; Epilogue.

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Book SynopsisTrade ReviewDebunking the idea that data is ever ‘raw’ or unbiased, this book brings information anxiety to a new level as it goes deep into the underlying power structures at play in the assemblage of data and the motivations of those who amass it. Hall and Dávila explain how design’s focus on clarity and statistical accuracy can serve to enhance dominant narratives inherent in the data and challenge designers to activate their agency to visualize the kind of world in which we want to live. This should be required reading in any data visualization or information design curriculum. -- Thomas Starr, Professor of Graphic and Information Design, Northeastern University, USAHall and Dávila make a compelling argument for a critical approach to data visualization. Through a comprehensive survey of extant literature, a rereading of canonical images through decolonizing frameworks, and discussion of highly topical debates, they arrive at a rich examination of current projects drawn from a wide array of activities. They address self-quantification, smart cities, emotional cartography, and a whole host of specific and activist interventions in conventional data practices. Ultimately, they argue for visualizations that might create alternatives to dominant conventions and the oppressive power asymmetries of the status quo. -- Johanna Drucker, Distinguished Professor of Information Studies, UCLA, USAWith acuity and depth, Hall and Dávila demonstrate just how much history, culture and context matter for the design and interpretation of data visualization. Their book is timely and important, and will usher in a new era of critical data practice. -- Lauren Klein, Winship Distinguished Research Professor, Departments of English and Quantitative Theory and Methods, Emory University, USATable of Contents1. An Introduction to Critical Visualization Defining the field Looking at Visualization beyond Western Paradigms Alternative Western perspectives: Distributed Cognition and Humanistic Approaches 2. Disruptive Histories Positivism and Objectivity A History of Progress Critical Cartography: a 'Defining Moment' A Few Examples: Not a Canon - Haptic Visualization: the Quipu (1200-1532) - Plan and Sections of a Slave Ship (1789) - Polar Area Diagram (1859) - Great Trigonometrical Survey of India (1802-1875) - Data Visualization at the Paris Exposition, W.E.B. Du Bois (1900) - Community-building with Isotype: Otto and Marie Neurath Conclusion Focus: Anna Ridler, Myriad (Tulips) 2018 3. Making Data Qualitative and Quantitative Data The Role of Categorization Focus: Data4Change - Keepiton - Hear the Blind Spot - Perceiving Yemen 4. Data and the Self Taylorism Within? Comic Critique What is Normal? Biometrics and Risk-Profiling Challenging Norms The Examined Life Focus: Margaret Pearce and Michael Hermann, They Would Not Take Me There: People, Places, and Stories from Champlain’s Travels in Canada, 1603-1616 5. Data and the City Participatory planning: HECTOR Focus: Heath Bunting: Status Project 6. Aesthetics and Representation Aesthetics and Representation Representation as Translation 7. Beyond Critical Visualization Practice

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Book SynopsisInformation may be beautiful, but our decisions about the data we choose to represent and how we represent it are never neutral. This insightful history traces how data visualization accompanied modern technologies of war, colonialism and the management of social issues of poverty, health and crime. Discussion is based around examples of visualization, from the ancient Andean information technology of the quipu to contemporary projects that show the fate of our rubbish and take a participatory approach to visualizing cities. This analysis places visualization in its theoretical and cultural contexts, and provides a critical framework for understanding the history of information design with new directions for contemporary practice.Trade ReviewDebunking the idea that data is ever ‘raw’ or unbiased, this book brings information anxiety to a new level as it goes deep into the underlying power structures at play in the assemblage of data and the motivations of those who amass it. Hall and Dávila explain how design’s focus on clarity and statistical accuracy can serve to enhance dominant narratives inherent in the data and challenge designers to activate their agency to visualize the kind of world in which we want to live. This should be required reading in any data visualization or information design curriculum. -- Thomas Starr, Professor of Graphic and Information Design, Northeastern University, USAHall and Dávila make a compelling argument for a critical approach to data visualization. Through a comprehensive survey of extant literature, a rereading of canonical images through decolonizing frameworks, and discussion of highly topical debates, they arrive at a rich examination of current projects drawn from a wide array of activities. They address self-quantification, smart cities, emotional cartography, and a whole host of specific and activist interventions in conventional data practices. Ultimately, they argue for visualizations that might create alternatives to dominant conventions and the oppressive power asymmetries of the status quo. -- Johanna Drucker, Distinguished Professor of Information Studies, UCLA, USAWith acuity and depth, Hall and Dávila demonstrate just how much history, culture and context matter for the design and interpretation of data visualization. Their book is timely and important, and will usher in a new era of critical data practice. -- Lauren Klein, Winship Distinguished Research Professor, Departments of English and Quantitative Theory and Methods, Emory University, USATable of Contents1. An Introduction to Critical Visualization Defining the field Looking at Visualization beyond Western Paradigms Alternative Western perspectives: Distributed Cognition and Humanistic Approaches 2. Disruptive Histories Positivism and Objectivity A History of Progress Critical Cartography: a 'Defining Moment' A Few Examples: Not a Canon - Haptic Visualization: the Quipu (1200-1532) - Plan and Sections of a Slave Ship (1789) - Polar Area Diagram (1859) - Great Trigonometrical Survey of India (1802-1875) - Data Visualization at the Paris Exposition, W.E.B. Du Bois (1900) - Community-building with Isotype: Otto and Marie Neurath Conclusion Focus: Anna Ridler, Myriad (Tulips) 2018 3. Making Data Qualitative and Quantitative Data The Role of Categorization Focus: Data4Change - Keepiton - Hear the Blind Spot - Perceiving Yemen 4. Data and the Self Taylorism Within? Comic Critique What is Normal? Biometrics and Risk-Profiling Challenging Norms The Examined Life Focus: Margaret Pearce and Michael Hermann, They Would Not Take Me There: People, Places, and Stories from Champlain’s Travels in Canada, 1603-1616 5. Data and the City Participatory planning: HECTOR Focus: Heath Bunting: Status Project 6. Aesthetics and Representation Aesthetics and Representation Representation as Translation 7. Beyond Critical Visualization Practice

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Book SynopsisHarriet Atkinson is a historian of design and culture and Researcher at the Centre for Design History at the University of Brighton, UK. She is currently Principal Investigator on the Arts and Humanities Research Council-funded project, 'The Materialization of Persuasion: Modernist Exhibitions in Britain for Propaganda and Resistance, 1933 to 1953' and has written extensively on the history and theory of exhibitions. She is the author of Festival of Britain (Bloomsbury, 2012) and co-editor, with Jeremy Aynsley, of The Banham Lectures (Bloomsbury, 2009).Verity Clarkson is a design historian and Senior Lecturer at the University of Brighton, UK. Her research explores post-war visual and material culture, investigating transnational connections between arts organizations, government bodies and audiences with a particular focus on the organization and reception of exhibitions. She has published on post-1945 exhibitions, trade fairs and art historiography in the context of British Cold War cultural diplomacy. Sarah A. Lichtman is Assistant Professor of Design History at Parsons School of Design, The New School, USA, where she directs the Master of Arts program in the History of Design and Curatorial Studies, offered in affiliation with Cooper Hewitt, Smithsonian Design Museum in New York, USA. She is co-editor, with Pat Kirkham, of Screen Interiors (Bloomsbury, 2021) and has published widely on design and gender. Lichtman is currently Managing Editor of the Journal of Design History.Table of ContentsList of Figures Acknowledgments Foreword, Jonathan M. Woodham (University of Brighton, UK) Exhibitions Beyond Boundaries: An Introduction, Harriet Atkinson and Verity Clarkson (University of Brighton, UK), and Sarah A. Lichtman (Parsons School of Design, The New School, USA) 1. Universal Civilization and National Cultures: Producing Israel at the Venice Biennale, 1948–1952, Chelsea Haines (Arizona State University, USA) 2. Salvaging Through Merchandising: America’s Vietnamese Craft Diplomacy on Display in the US in 1956 and 1958, Jennifer Way (University of North Texas, USA) 3. “A Slightly Exotic Country”: Poland’s Contentious Debut at the 11th Milan Triennale, 1957, Katarzyna Jezowska (UNSW Sydney, Australia) 4. Self-management on Display: Negotiating the Visions of Yugoslav Socialist Modernity at Expo 58 and Porodica i domacinstvo Exhibitions, Rujana Rebernjak (London College of Communication, UAL, UK) 5. “One of the Puzzles of the Exhibition”: A Misunderstood Cittadina, Neoliberty, and the Italian Display at Brussels Expo 58, Rika Devos and Serena Pacchiani (Université Libre de Bruxelles, Belgium) 6. Assembling Smallness: The United States Small Industries Exhibition in Colombo, 1961, Nushelle de Silva (MIT, USA) 7. Painting from the Pacific and Artistic Exchange Across the Pacific, 1961, Ian Cooke (Independent Scholar, USA) 8. “A Wholly American Plastic Package”: Transnationalism, Technology, and Theology at The Vatican Pavilion in the 1964–1965 New York World’s Fair, Ethan Robey (Pennsylvania State University, USA) 9. “The Gentle Art of Cookery”: Exhibiting Transnational Anglo-Russian Diplomatic History During the Cold War, 1967, Verity Clarkson (University of Brighton, UK) 10. From FESMAN ’66 to FESTAC ’77: Competing Curatorial Strategies for African-American Art at Pan-African Festivals, Lindsay Twa (Augustana University, USA) 11. Designing Stability: Hong Kong’s Pavilion at Expo 70 and Local Expositions, Daniel Cooper (Columbia University, USA) and Juliana Kei (Royal College of Art, UK) 12. Pharaoh Diplomacy: The Soft Power of the Treasures of Tutankhamun, Mario Schulze (Zürich University of the Arts, Switzerland) 13. A “Tropic-Proof Container Exhibition”: The Role of Environmental Factors in Configuring Design, a Dutch Case Study, Joana Meroz (Vrije Universiteit Amsterdam, the Netherlands) Notes on Contributors Index

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Book SynopsisWith over 200 color illustrations, Byzantine Silk on the Silk Roads examines in detail the eclectic iconography of the Byzantine period and its impact on design and creativity today. Through an examination of the extraordinary variety of designs in these captivating silks, an international team of experts reveal that Byzantine culture was ever-moving and open to diverse influences across the length of the Silk Road. Commentaries from curators at key collections including the Museum of Arts, Boston, the Smithsonian (Cooper Hewitt), the V&A and the Vatican reveal the spread of silk embroidery and designs from East to West, and from West to East, from China to Rome, and from Constantinople to Korea. Drawing on exclusive imagery from worldwide collections within museums, churches and archives as case studies, their analysis of these unique woven silks explores the relationship between color and power, material culture and status, and offers broader insight into Byzantine culture, Trade ReviewTextile enthusiasts looking for a deeper dive into the specific history of Byzantine silk will appreciate Byzantine Silk on the Silk Roads ... The volume includes gorgeous and helpful color illustrations throughout, mainly photographs of silk textiles but also diagrams of the weaving process and images of Byzantine art to enhance the reader’s understanding ... [An] encyclopedic reference volume for scholars who have serious interest in silk textiles. * Dress: The Journal of the Costume Society of America *A wide-ranging exploration of the borderless terrains traversed by the alluring patterns and complex looms that created the most treasured cloths in the Medieval period and continue to inspire today. * Mary Schoeser, V&A, The Textile Society and the School of Textiles, UK *As interesting to read as it is to look at. ... This sumptuous book is richly illustrated and almost as carefully crafted as the Byzantine silk of its title. * Newtown Review of Books *A must-read for scholars and students of textile design … Thoroughly researched and beautifully illustrated. * Steeve Buckridge, Grand Valley State University, USA *A detailed, comprehensive and lavishly illustrated study of Byzantine Silk, offering a genuinely transcultural perspective on the manufacture and dissemination of these key textiles. * Craig Benjamin, Grand Valley State University, USA *Table of ContentsList of Illustrations: Ryoko Yamanaka Kondo List of Contributors: Sarah E. Braddock Clarke Preface: Sarah E. Braddock Clarke Introduction: Ryoko Yamanaka Kondo Acknowledgements: Ryoko Yamanaka Konda and Sarah E. Braddock Clarke List of Abbreviations: Sarah E. Braddock Clarke Glossary: Sarah E. Braddock Clarke General Maps - Maps of East to West Silk Trade Routes: Ryoko Yamanaka Kondo 1: Silk Along the Silk Roads: Diversity & Eclecticism, Sarah E. Braddock Clarke 2: Ancient Chinese Silk Textiles: Focusing on Warp-faced Silks, Sae Ogasawara 3: A Study of Sassanian Brocade, Ryoko Yamanaka Kondo 4: Byzantine Brocades: A Contribution to Art History, Dr Tomoyuki Masuda 5: The Spread of Byzantine Silk Towards the Jacquard Loom, Ryoko Yamanaka Kondo 6: Four Categories of Ancient and Medieval Classical Figured Textiles, Kazuko Yokohari 7: Islamic Textiles, Louise W. Mackie 8: On Medieval Lampas: Textiles in the Iberian Peninsula from the Al-Andalus Period, Silvia Saladrigas Cheng 9: Byzantine Court Dress, Ryoko Yamanaka Kondo 10: Collections of Museums, Cathedrals and Churches, Ryoko Yamanaka Kondo with with Dominique Bénazeth, Toko Hirayama, Dr Rei Ito, Anne Hedeager Krag, Esclarmonde Monteil, Elena Ota, Alexandra Van Puyvelde, Kimberly Randall, Yoko Tanaka and Monica Vroon 11: Pattern and Colour in the Byzantine Empire, Ryoko Yamanka Kondo 12: The Spread of Silk to Japan, Ryoko Yamanka Kondo 13: Warp-faced Brocade in Japan, Shizuo Takata 14: Ancient Textiles Preserved in Japan, Reborn, Kiyoshi Tatsumura 15: Chronological Charts of Civilizations & Textiles, Ryoko Yamanaka Kondo Bibliography: Sarah E. Braddock Clarke Image Credits: Ryoko Yamanaka Kondo Index: Sarah E. Braddock Clarke

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Book SynopsisKyunghee Pyun is Assistant Professor in the History of Art Department at the Fashion Institute of Technology, USA.Minjee Kim is an independent researcher based in San Francisco, USA.Trade ReviewFashion history has been a Eurocentric field for much too long. Dress History of Korea makes an important contribution to the global and interdisciplinary study of dress and fashion. By emphasizing primary sources and case studies, it provides an essential scholarly foundation for future work. * Valerie Steele, The Museum at FIT, New York, USA *Marilyn DeLong's Foreword, plus case study instances, provide examples from early sources through the 21st century that thoroughly document Korean dress. This deep research furnishes scholars and students with more comprehension of and appreciation for Asian dress. * Joanne Eicher, University of Minnesota, USA *Fashion students, fashion historians, and anyone intrigued by Korean history and traditional culture will find this an accessible and informative read. * OverDressed for Life *Table of ContentsList of Illustrations List of Contributors Acknowledgements Notes on the Usage of the Korean Language Introduction 1. Making Dress History in the Context of Primary Sources, Kyunghee Pyun Part 1: Primary Sources - Historiography and Chronological Reviews 2. Identity and Fashion in the Ancient Dress of Korea, Minjee Kim 3. Goryeo (918 – 1392): Dress in Literature, Bulbokjang, and Visual Arts, Jaeyoon Yi 4. Reading Fashion of Joseon (1392 – 1910): Textual Sources with Clothing Illustrations, Ga Young Park 5. Scholarly Discourses on Fashion Change in Late Joseon, Lee Talbot 6. Joseon Portraiture Paintings for Dress and Fashion, Gilhong Min 7. Bodily Ornaments in Korean Archaeology and Dress History, Kyeongmi Joo 8. Shift of Worldview: Changes of Dress in Korea, 1870s – 1910s, Kyungmee Lee 9. Magazines and Photographs for Fashion History of Korea, Yunah Lee Part 2: Case Studies - Museum Practice, Tourism, and Costume Design 10. Chulto boksik (Excavated Dress) and the Collection at Chungbuk National University Museum, In-woo Chang 11. Collection and Exhibition of Dress at the Seok Juseon Memorial Museum, Myung-eun Lee 12. Acquisition of Reproduction and Identification of Mystery Items: Case Studies in Scotland, Rosina Buckland & Minjee Kim 13. Hanbok and Korean Identity: An Anthropological View, Millie Creighton & Elias Alexander 14. Costuming Korean Period Dramas, Minjung E. Lee Selected Bibliography Index

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Book SynopsisDuring the prosperous, forward-thinking era after the Second World War, a growing number of men, women, and children across the United States were wearing fashions that evoked the Old West. Westernwear: Postwar American Fashion and Culture examines why a sartorial style with origins in 19th-century agrarian traditions continued to be worn at a time when American culture sought balance between technocratic confidence in science and technology on one side, and fear and anxiety over global annihilation on the other. By analysing well-known and rarely considered western manufacturers, Westernwear revises the common perception that fashionable innovation came from the East coast and places western youth cultures squarely back in the picture. The book connects the history of American working class dress with broader fashionable trends and discusses how and why Native American designs and representations of Native American people were incorporated broadly and inconsistently intoTrade ReviewSonya Abrego has unearthed a wealth of examples from the westernwear archives and shares these through an expert and absorbing commentary. Generously illustrated and accessibly written, this fascinating history of fashion at, and of, the frontier questions, complicates and, ultimately, enriches. * Alison L. Goodrum, Norwich University of the Arts, UK *Impeccably researched and written with clarity, Westernwear broadens existing fashion history narratives and offers fresh insights on topics such as American sportswear, and important issues including appropriation and representation. Beautifully illustrated, this new book will be an indispensable resource for scholars and students alike. * Rebecca C. Tuite, Fashion Historian and Author of 1950s in Vogue *Table of ContentsList of Figures Acknowledgements Introduction Chapter 1: Westernwear: Histories and Contexts Chapter 2: Four Westernwear Companies Chapter 3: Dressing the Atomic West: Locating the Western in Midcentury America Chapter 4: Westernwear as ready-to-wear Chapter 5: Westernwear in youth culture and subculture Chapter 6: The Native American Presence in Westernwear: Design and Representation Conclusion Bibliography Index

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Book SynopsisBonnie English was Associate Professor in Art History & Theory at the Queensland College of Art, Griffith University, Brisbane, Australia.Nazanin Hedayat Munroe is Director of Textiles and Assistant Professor of Business & Technology of Fashion at the NYC College of Technology - CUNY, where she lectures on textiles, historic dress, and contemporary issues in the fashion industry. A former Educator at the Metropolitan Museum, Nazanin is also a nationally acclaimed textile artist.Trade ReviewThis edition has been updated to include key developments in fashion consumption and production, such as the impact of digital technology, climate change, economic downturns and geo-political shifts. It provides a comprehensive overview of the cultural history and future of fashion for students and researchers alike. -- Caroline Alexander, Senior Lecturer, BA Fashion, Kingston School of Art, UKPraise for the previous edition: This book has been adopted as a textbook in fashion schools and it is easy to see why. It's a solid introduction to fashion history and to the significant social importance of fashion. The language is accessible and its coverage of relevant issues ...comprehensive. [It] is a good balance of interesting anecdotes and modern fashion theory, which means the book will appeal to both the general reader and to fashion scholars. -- TRCEnglish has created a very respectable academic treatment of the last century of fashion... What is most notable about the content of this volume is the way English handles her broad topic; there are some powerful fashion images in this book, but this is no pretty coffee table accessory. English selects unique subjects within fashion for each chapter and zeroes in to prevent a deluge of meaningless and broad historical summaries. -- WORN Fashion JournalThis new edition of Bonnie English's invaluable introduction to the cultural perspectives on fashion in the twentieth century expands upon her original text, covering and updating her investigation of both the commercial and cultural aspects of fashion. Situating fashion as both intercontextual and interdisciplinary, English provides a solid grounding of issues, concerns and debates that are essential to understand for any scholar of fashion. -- Shaun Cole, London College of Fashion, UKThis edition has encompassed all the intricacies of the fashion world and refreshingly included insight into the ‘business’ of the industry. A valuable tool for opening up the fashion world to students, and a one-stop read that will be entertaining for ‘fashionistas’ who are keen to learn more about the mysteries of fashion. -- Kay McMahon, Queensland University of Technology, Australia[T]his book has a fine, thoughtful, well-researched approach to the subject of 20th- and 21st-century fashion history. I can imagine that a new student would be very inspired by this volume, having gotten a taste of the philosophy of Quentin Bell, an introduction to Yamamoto and Yves Saint Laurent, and a broad but nuanced sense of the chronology of cultural historical events and ideas. Laying a dynamic and intriguing groundwork for lifelong study, A Cultural History of Fashion in the 20th and 21st Centuries would be an excellent starting point. -- Worn Through, Arianna FunkGives a comprehensive history of fashion in the 20th and 21st centuries, including fashion trends, influential designers and much much more... A fascinating fashion history text which is also surprisingly readable. -- We Heart Vintage, Mary MicourisIt's a great book to understand both the main actors and the more informal links of fashion labels in the field. -- Alexander Bretz, Mediadesign Fachhochschule, University of Applied Sciences, GermanyTable of ContentsIntroduction 1.The Commercialization of Fashion Dress and Society in Europe Before the Twentieth Century Social Implications of Dress The Rise of Haute Couture Charles Frederick Worth The Rise of Consumerism The Social Equalizer of the Department Store 2.The Artistry of Fashion Artist-Led Workshops Haute Couture at the Turn of the Twentieth Century Paul Poiret: King of Fashion The Goddess Silhouettes of Vionnet and Fortuny Sonia Delaunay: Simultaneous Contrast of Colours Elsa Schiaparelli: Surrealism in Fashion 3.The Democratization of Fashion Changes in Commerce and Social Structure The Art of Fashion Advertising Flooding the American Market: Reproductions and Fakes Coco Chanel: Pauvreté De Luxe Jean Patou: Style meets Scandal Fashion and Functionalist Theory Stepanova and Popova: Russian Constructivism Dressing Thousands: The Birth of Prêt-À-Porter 4.The Americanization of Fashion Slop Shops, Sweatshops, and Factory Work Fit and Function Piracy in Fashion American Couture The ‘American Look’ in Ready-to-Wear Changes in Menswear: Shirts, Jeans, and Suits Fashion in Film: Costume Designer as Couturier Fashion as Sociopolitical Statement: Zoot Suits 5.The Popularization of Fashion Haute Couture Following the Second World War Christobal Balenciaga Christian Dior Yves Saint Laurent André Courrèges Pierre Cardin Clothing and Popular Culture The Swinging ‘60s in London Mary Quant Alternative Fashion Zandra Rhodes Laura Ashley 6.The Postmodernization of Fashion Postmodernism in Fashion and Art The Rejection of Fashion Vivienne Westwood: Anarchy as Inspiration Fashion and Music Anti-Fashion as Feminism Japanese Conceptual Fashion: Miyake, Yamamoto and Kawakubo Redefining Popular Culture Through Heritage Contextualization 7.The Deviance of Fashion Franco Moschino Viktor & Rolf Martin Margiela Alexander McQueen Harajuku Street Fashion Fashion Imagery and Notions of Gender Construction The Reinvention of Menswear 8.The Lifestyle of Fashion American Sportswear Designers Ralph Lauren Calvin Klein Donna Karan Redefining Womenswear: Power Dressing Fashion as Ideological Billboard Street Style on the Catwalk 9.The Corporatization of Fashion Global Conglomerates LVMH: The Super Syndicate Luxury Heritage Branding The Designer as Product Fashion as Philanthropy and Installation Perfume: A License to Make Money The Death of Haute Couture? Counterfeit Chic Ecommerce and Online Shopping 10.The Sustainability of Fashion The Origins of Disposable Fashion Industry Issues: Waste, Pollution, and Labour Sustainable Alternatives Green is the New Black Vintage Clothing as Recycling Other Sustainable Approaches Ethical Concerns 11.The Digitization of Fashion Virtual Couture Technology in Fashion: A brief history Fashion and Technology in the 21st Century Hussein Chalayan Iris van Herpen Fashion as Future and Fantasy Representation and Inclusivity in Fashion Conclusion Notes Glossary Bibliography

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