The fashion industry has long been a particular victim of the borders between academic disciplines that have pursued their own agendas and employed their own language with minimum dialogue with outsiders. This book represents a sustained interdisciplinary and global assault on such artificial constraints which have constrained much research on the fashion industry in the past. Many historical studies have heavily focused on the ecosystems of Paris, Milan, New York, and other fashion hubs. It breaks new grounds as the authors trace the actors involved, from the luxury conglomerate LVMH to retailers, including the iconic Swedish firm H&M. The book also emphasizes the work of fashion professionals who worked behind-the-scenes as intermediaries: trendsetters, retail buyers, stylists, art directors, advertising executives, public relations agents, brand managers, and entrepreneurs. It examines the transition from the old system to the new in a series of case studies grouped around three major themes. The book deals with the transformation of Paris from a couture production centre to a creative hub for design and brand management. It examines the special role of retailers and retail brands in promoting European fashion, with reference to transnational exchanges between Europe, America, and the wider world. The book explores seminal developments in a select group of global fashion hubs on the European periphery or entirely outside of Europe, and their roles in critiquing the mainstream fashion system with heritage marketing, vintage aesthetics, ethical brands, and local styles.
This book explores artisanal identity and culture in early modern London. It demonstrates that the social, intellectual, and political status of London’s crafts and craftsmen was embedded in particular material and spatial contexts. Through examination of a wide range of manuscript, visual, and material culture sources, the book investigates for the first time how London’s artisans physically shaped the built environment of the city, and how the experience of negotiating urban spaces impacted directly upon their own distinctive individual and collective identities. The book identifies and examines a significant cultural development hitherto overlooked by social and architectural historians: a movement to enlarge, beautify, and rebuild livery company halls in the City of London from the mid-sixteenth century to the start of the English civil wars. By exploring these re-building projects in depth, the book throws new light on artisanal cultural production and self-presentation in England’s most diverse and challenging urban environment. Craft company halls became multifunctional sites for knowledge production, social and economic organisation, political exchange, and collective memorialisation. The forms, uses, and perceptions of company halls worked to define relationships and hierarchies within the guild, and shaped its external civic and political relations. Applying an innovative and interdisciplinary methodology to the examination of artisanal cultures, the book engages with the fields of social and cultural history and the histories of art, design, and architecture. It will appeal to scholars of early modern social, cultural, and urban history, and those interested in design and architectural history.
Manliness in Britain offers a new account of masculinity in the long nineteenth
century: more corporeal and material, more emotional, more cross-class, and less
heteronormative than other studies. Using diverse textual, visual, and material
culture sources, it shows that masculinities were produced and disseminated
through men’s bodies, very often working-class ones, and the emotions and
material culture associated with them. It analyses idealised men who stimulated
desire and admiration, including virile boxers, soldiers, sailors, and
blacksmiths, brave firemen, and noble industrial workers. Also investigated are
unmanly men, such as drunkards, wife beaters, and masturbators, who elicited
disgust and aversion. The book disrupts the chronology of nineteenth-century
masculinities, since it stretches from the ages of feeling, revolution, and
reform, to those of militarism, imperialism, representative democracy, and mass
media. It also queers these histories, by recognising that male and female
desire for idealised male bodies and the gender attributes they embodied was
integral to the success of manliness. Imagined working-class men and their
materiality were central to broader ideas of manliness and unmanliness. They not
only offered didactic lessons for the working classes and made the labouring
ranks appear less threatening, they provide insights into the production of
middle-class men’s identities. Overall, it is shown that this melding of bodies,
emotions, and material culture created emotionalised bodies and objects, which
facilitated the conveying, reproducing, and fixing of manliness in society. As
such, the book will be vital for students and academics of the history of
bodies, emotions, gender, and material culture.
This book analyses Anna of Denmark’s material and visual patronage at the Stuart
courts, examining her engagement with a wide array of expressive media including
architecture, garden design, painting, music, dress, and jewellery. Encompassing
Anna’s time in Denmark, England, and Scotland, it establishes patterns of
interest and influence in her agency, while furthering our knowledge of
Baltic-British transfer in the early modern period. Substantial archival work
has facilitated a formative re-conceptualisation of James and Anna’s
relationship, extended our knowledge of the constituents of consortship in the
period, and has uncovered evidence to challenge the view that Anna followed the
cultural accomplishments of her son, Prince Henry. This book reclaims Anna of
Denmark as the influential and culturally active royal woman that her
contemporaries knew. Combining politics, culture, and religion across the courts
of Denmark, Scotland, and England, it enriches our understanding of royal
women’s roles in early modern patriarchal societies and their impact on the
development of cultural modes and fashions. This book will be of interest to
upper level undergraduate and postgraduate students taking courses on early
modern Europe in the disciplines of Art and Architectural History, English
Literature, Theatre Studies, History, and Gender Studies. It will also attract a
wide range of academics working on early modern material and visual culture, and
female patronage, while members of the public who enjoy the history of courts
and the British royals will also find it distinctively appealing.
This book is about the making of London in the period 1660-1720. This period saw the beginnings of a new understanding of built form and a transitional stage in the transmission and articulation of that form in design procedures. The book discusses the processes and methods by which the development of the city was financed and organized. It considers the leading developers and questions to what extent the traditional model which attributes responsibility for the development of London to aristocratic landlords is a viable one. The book looks at the structure of the building industry and assesses how it was adapted to meet the demands of the production of speculative housing on a scale and at a pace never previously experienced. It outlines how concepts concerning the form of the new terraces were communicated and transmitted through the building chain and finally realized in the built product. The book focuses on the discipline of architectural history and is primarily concerned with architectural and urban design issues. It talks about drawings as the sum of an architect's oeuvre, rather than the buildings, or the drawings and the buildings together. The book provides information on the style and layout of the new developments and explores the extent to which they can be categorized as a 'modernizing' phenomenon.
This book carefully considers the myriad and complex relationships between queer male masculinity and interior design, material culture and aesthetics in Britain between 1885 and 1957 - that is bachelors of a different sort - through rich, well-chosen case studies. It pays close attention to particular homes and domestic interiors of Lord Ronald Gower, Alfred Taylor, Oscar Wilde, Charles Shannon and Charles Ricketts, Edward Perry Warren and John Marshall, Sir Cedric Morris and Arthur Lett-Haines, Noel Coward and Cecil Beaton. The book underscores the discursive history and conceptual parameters of the bachelor as these collided with queer sexualities through social and cultural perceptions. It focuses on the seven deadly sins of the modern bachelor: queerness, idolatry, decadence, askesis, decoration, glamour, and finally, artifice. The seven deadly sins of the modern bachelor comprise a contested site freighted with contradiction, vacillating between and revealing the fraught and distinctly queer twining of shame and resistance. Together the furniture and collections that filled Gower's Windsor home compel us to search out the narratives that bric-a-brac at once enliven and expose well beyond the shadows of the endless and meaningless accumulation that late Victorians were said to been have afflicted by.
With the increasing digitisation of almost every facet of human endeavour, concerns persist about ‘deskilling’ and precarious employment. The publishing industry has turned its energy to online and electronic media, and jobs continue to disappear from printing, publishing and journalism. The replacement of human labour with computerised technologies is not merely a contemporary issue; it has an established history dating from the mid-twentieth century. What is often missing from this record is an understanding of how the world of work is tightly interwoven with the tangible and affective worlds of material culture and design, even in ‘clean’ computerised environments. Workplace culture is not only made up of socio-political relationships and dynamics. It is also bound up with a world of things, with and through which the social and gendered processes of workplace life are enacted and experienced. Understanding how we interact with and interpret design is crucial for appreciating the complexities of the labour experience, particularly at times of technological disruption. Hot Metal reveals integral labour-design relationships through an examination of three decades in the printing industry, between the 1960s and 1980s. This was the period when hot-metal typesetting and letterpress was in decline; the early years of the ‘digital switch’. Using oral histories from an intriguing case-study – a doggedly traditional Government Printing Office in Australia – this book provides an evocative rendering of design culture and embodied practice in a context that was, like many workplaces, not quite ‘up-to-date’ with technology. Hot Metal is also history of how digital technologies ruptured and transformed working life in manufacturing. Rather than focusing solely on ‘official’ labour, this book will introduce the reader to workers’ clandestine creative practices; the making of things ‘on the side’.
This book analyzes the early stages of the interior design profession as
articulated within the circles involved in the decoration of the private home in
the second half of nineteenth-century France. It argues that the increased
presence of the modern, domestic interior in the visual culture of the
nineteenth century enabled the profession to take shape. Upholsterers,
cabinet-makers, architects, stage designers, department stores, taste advisors,
collectors, and illustrators, came together to “sell” the idea of the unified
interior as an image and a total work of art. The ideal domestic interior took
several media as its outlet, including taste manuals, pattern books, illustrated
magazines, art and architectural exhibitions, and department store
catalogs. The chapters outline the terms of reception within which the work
of each professional group involved in the appearance and design of the
nineteenth-century French domestic interior emerged and focus on specific works
by members of each group. If Chapter 1 concentrates on collectors and taste
advisors, outlining the new definitions of the modern interior they developed,
Chapter 2 focuses on the response of upholsterers, architects, and
cabinet-makers to the same new conceptions of the ideal private interior.
Chapter 3 considers the contribution of the world of entertainment to the field
of interior design while Chapter 4 moves into the world of commerce to study how
department stores popularized the modern interior with the middle classes.
Chapter 5 returns to architects to understand how their engagement with popular
journals shaped new interior decorating styles.
Richly illustrated with over 110 colour and black and white images, the book
productively contests the supposedly exclusive feminine aspect of the style
moderne (art deco). It explores how alternative, parallel and overlapping
experiences and expressions of decorative modernism, nationalism, gender and
sexuality in the heady years surrounding World War I converge in the protean
figure of the deco dandy. As such, the book significantly departs from and
corrects the assumptions and biases that have dominated scholarship on and
popular perceptions of art deco. The book outlines how designed products and
representations of and for the dandy both existed within and outwith normative
expectations of gender and sexuality complicating men’s relationship to consumer
culture more broadly and the moderne more specifically. Through a sustained
focus on the figure of the dandy, the book offers a broader view of art deco by
claiming a greater place for the male body and masculinity in this history than
has been given to date. The mass appeal of the dandy in the 1920s was a way to
redeploy an iconic, popular and well-known typology as a means to stimulate
national industries, to engender a desire for all things made in France.
Important, essential and productive moments in the history of the cultural life
of Paris presented in the book are instructive of the changing role performed by
consumerism, masculinity, design history and national identity.
Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.