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 A DK PUBLISHING BOOK
www.dk.com

First American Edition, 1996

First Paperback Edition, 1999
2468 10 97531
Published in the United States by DK Publishing, Inc.
95 Madison Avenue, New York, New York 10016

Copyright ©
1996 Dorling Kindersley Limited
Text copyright ©
1996 Michael Tambini

All rights reserved under International and Pan-American

Copyright Conventions. No part of this publication
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Library of Congress Cataloging-in-Publication Data

Tambini Michael.
The look of the century / [Michael Tambini]. — 1st American ed.

p. cm
Includes biographical references and index.
ISBN 0-7894-4635-9
1. Design. Industrial--History--20th century. 1. Title.

TS171.T35 1996
745.2'09' 04 -dc20 96- 1 1806
CIP

Reproduced by Colourscan, Singapore

Printed and bound in Italy by
Lego, Vicenza
Senior Kditors Janice Lacock. Louise Candlish
Senior Art Editor Tracy Hambleton-Miles
Project Editor Jo Marceau
Art Editor Dawn Terrey
Editors Jane Sarluis, David T. Walton
Designer Carla De Abreu
Design Assistant Stephen Croucher

Senior Managing Editor Sean Moore

Art Director Peter Luff

Production Manager Meryl Silbert

Picture Researcher Jo Walton
DTP Designer Zirrima Austin

Photography Dave King. Steve Gorton.

Andy Crawford

Consultants Robert Opie.

Professor Jonathan M. Woodham

National Design Museum Review Panel

Susan Yelavich. Assistant Director for Public
Programs Gillian Moss. Curatorial Chair, and
Assistant Curator. Textiles Department
Deborah Sampson Shinn. Assistant Curator,
Department of Applied Arts and Industrial
Design Joanne Warner. Assistant Curator,
Wallcoverings Department Caroline Mortimer,
Special Assistant to the Director
 CONTENTS
FOREWORD 8-9 BATHROOM, BEDROOM,
INTRODUCTION 10-53 & NURSERY 166-213
Bathrooms 168-175
Toothbrushes 176-179
THE LIVING Razors 180-183
ROOM 54-107 Perfume bottles 184-187
Chairs 56—67 Hairdryers 188-191
Coffee & side tables 68-71 Beds 192-195
Vases 72-77 Baby carriages 196-199
Bowls 78-81 Toys & models 200-205
Candlesticks 82-85 Games &
Lighting 86-89 outdoor toys 206-209
Radios 90-93 Dolls 210-213
Television sets 94—97
Video recorders 98—99
Music systems 100- 103 AROUND THE HOME
Tape machines 104—107 214-235
r Wallpaper 216-219
Storage 220-223
TTE KITCHEN & DINING Telephones 224-227
ROOM 108-165 Clocks 228-231
Stoves 110-113 Vacuum cleaners 232—235
Refrigerators 114—117
Washing machines 118-121
Coffeemakers 122-125 CLOTHING &
Kettles 126-129 ACCESSORIES 236- 271
Toasters 130-133 Childrenswear 238—245
Food processors 134—137 Womenswear 246-249
Cutlery 138-141 iMenswear 250-253
Tea & coffee sets 142— 149 Shoes 254-257
Dinner services 150— 153 Watches 258-261
Glassware 154—157 Fountain pens 262—265
Drinks accessories 158—161 Makeup 266-267
Dining furniture 162— 165 Jewelry 268-271
LEISURE 272-295 GRAPHICS, ADVERTISING,
Swimwear 274—277 & PACKAGING 358-449
Sports equipment 278—281 Typefaces 560-567
Cameras 282 2 3 1
Corporate ID 568-575
Guitars 288- 29 Magazine covers 576—585
Jukeboxes 292-295 Record covers 586-589 A
Posters590-409 M
TRANSPORTATION 296-325 Packaging 4 1 0- 449 M
Bicycles 298-501
Scooters 502-505 A-Z OF DESIGNERS M
Motorcycles 506-511
Cars 512-525
450-491 ^
GLOSSARY A
THE OFFICE 326-357 492-495 M I
Desks & chairs 528-551
Office
Desk
equipment 552—555
556- 559
accessories
INDEX ^^
496-509
Typewriters 540—545
Computers 544—549
Photocopiers& fax machines 550—555 ACKNOWLEDGMENTS
Adding machines 554—557 510-512

We're afresh Up
family !
 FOREWORD
The word "man-made" must characterize the look of much
of our environment over the past hundred years. Human
inventiveness and, increasingly, human consumption of
products invented by others has gathered pace, even though
the great powerhouse of the last decades of the century -
Japan — has deliberately slowed the galloping mania of
shorter and shorter product lifecycles. Its falter resulted from
the great recession of the 1980s, and almost coincides with
the first of the movements that have targeted conspicuous
waste: greenism, anti-exploitationism, portent of gloomism.
This reevaluation of the need for products is the moral lens

through which we can look at the environment and the

artifacts that we have made for a century.
Are we proud of this century? Have most lives been improved
by it? And, especially interesting to the designer, have we
changed most people's capacity to judge the aesthetics
and the functional achievements of the common culture?
This book's look at the products of a century shows
stylistic movements in the form and the detail of products,

just as clearly as an examination of a century of

painting, literature, or fashion would. Every one of

those movements threw up style leaders, and these are
inevitably the declared heroes of our look at the
century. There is, of course, a vastly larger number of
unsung heroes who are the engineers and designers
of the great majority of the artifacts — which are the
real landscape of the time. Our heroes are often only
the greenhouse keepers, breeders of the new flora in
that landscape.
Even so, it is the greenhouse that makes the brightest
colors and the rarest blooms and so inevitably we
look for them to give this book the focus and the
brightness that will form our remark on what a
century has done.
On perhaps a more prosaic level, there are changes
in common products and the effect of
the size of
manufacturing technology on their availability —
through the cost, longevity, and form of things.
The radio exemplifies this perfectly. Originally, it

was wooden-cased; then in everlasting Bakelite;

8
later, it was changed in size to hand-held; and by
vastly
2000 it will be available but virtually absent from
still

sight — the only trace a slender wire and a plug in the ear.
We've seen incomprehensible prejudices that affected
many products' looks overnight: as recently as the 1950s,
it was de facto forbidden to make anything other than park

color green — the omnipotent buyers

railings in the
dictated be unlucky — until Citroen sold a 2-CV, and
it to
then anything could be green. And as the century closes,
the greatest effect on how things look is undoubtedly
from man's inhumanity to man - the computer. Of course,
we all know how laborsaving and entertaining they are,

but their inhumanity lies in their theft of many

personal skills and, of course, jobs.
All that aside, their effect on product
form and construction profound is

and highly visible. If you can imagine

it, if you can depict it on your

screen, then you can have it.

The look of communications has
changed and is still dramatically
changing, the demands of the media
far outstripping the producer's
ability to care for long about
the look. The message — and
its effectiveness - is the force.
But the optimists among us know
that there are more and more
young - and older - designers who
are skilled and who can use these
tools. For the form maker of the
commonplace, we've had a good —
the best - century.

f^U^&CM

Kenneth Grange
Founder of Pentagram Design, London
10
INTRODUCTION
Our world is changing at a dizzying speed, and
technology is racing ahead so quickly that many
of us are overwhelmed by the multitude of new
designs and inventions that are available:
videophones, cable television, solar-powered
cars, virtual reality, the Information Superhighway. .

Yet so many of the things we take for granted, or

even feel are becoming outmoded, were the stuff

of dreams just 100 years ago. In fact, change has

been this century's only constant. As well as the
technical advances that science has contributed

to the product designs of the 20th century, designers

and craftspeople have also been influenced by

a bewildering succession of movements, from Art
Nouveau to postmodernism, Bauhaus to Psychedelia.
Some, such as De Stijl, were relatively short-lived

and affected only a limited number of countries.

Others, such as Art Deco, lasted longer and had
international exponents. The following pages,
which are divided by decade, give a concise
introduction to the most important of these
movements and their key designers, as well
as some of the most interesting developments
and innovations from each era.

1 1
 At the dawn of the 20th
1900-09 century, a frenetic series
of momentous advances
in technology was making
a major impact on society.
The internal combustion
ngine, the electric motor,

and the rudiments of

telecommunication allowed
manufacturers to aspire
to hitherto unimaginable
heights of efficiency.
Previously handmade
goods could now be made
more quickly and cheaply
by machine, undermining
the role of craftsmanship.
The machine was also
revolutionizing the
domestic world and, with the
advent of the radio, telephone,
and television, it was to completely

redefine "communication" at home

and at work. The assembly line

drastically accelerated the production

of vehicles, making the automobile
affordable to a much wider market.
In 1903, the Wright brothers realized
the centuries-old dream of flight by
traveling 131 feet (40 meters) through
the air in their gas-driven biplane.

Gustav Stickley chair

This beautifully crafted wooden and
leather chair was made in 1904—05.
Typical of Stickley 's work, it was
produced using mechanical processes.

12
 900-09
ss^ja
Arts and Crafts interior movement's most influential designer and
The walls of this room theorist was William Morris (1834-96). His
at If'ightwick Manor in
company, Morris and Co., produced a wide
Wolverhampton, England, are
range of items, including furniture, stained
lined irith William Morris'
Honeysuckle printed linen: glass, wallpaper, fabrics, and pottery. For
other items are by his followers. Morris, art and craft had equal status and
his designs utilized the skills of craftsmen and
Just six years later, Louis artists in collaboration. Arts and Crafts work
Bleriot flew his little is characterized by medieval and gothic
monoplane 26 miles references; Morris wanted the craftsman's
(42 kilometers) across the hand visible in the work, differentiating it

English Channel from France from the machine-made. The robust, simply
to England. Within 30 years, constructed furniture left the joints exposed,
flight would be available and in metalwork the hand of the craftsman
to anyone with money, with was visible in the textural hammerwork. Morris
regular passenger flights good design was uplifting and
believed that
crossing the world. would contribute to a happier society - a belief
shared by the modernists in the 1920s. Although
Arts and Crafts the Arts and Crafts movement began in Britain,

movement there were European and American

Although a product of the Victorian age, the Arts counterparts. Workshops, or guilds, following
and Crafts movement left a legacy that extended Morris' precepts sprang up in many countries.

deep into the 20th century. The primary concern While American designers, such as Gustav
of its central figures was that "machine-age" Stickley, followed the British model closely, many
manufacturers were driven Europeans moved away from the fundamental
by quantity rather tenets of the Arts and Crafts movement and more
than quality. The readily embraced Art Nouveau and modernism.

Bleriot's Type XI airplane

The airplane that Louis Bleriotflew over the English
Channel in 1909 was constructedfrom linen
stretched over a wooden frame,
supported by wire struts.

13
INTRODUCTION

Art Nouveau
By 1900, the dominant movement
of the decade, Art Nouveau,
was already established,
born of the Arts and Crafts
movement and the 19th-
century Aesthetic movement.
Its exponents were much more W|
willing to embrace the use of new ^
materials and mass production than
their Arts and Crafts counterparts.
While they also drew on the past, they

shared an enthusiasm for the future that

set them apart from the preceding
movement. The name is derived from art
dealer Samuel Bing's shop, L'Art Nouveau
which opened in Paris in 1895. Leading
designers from around Europe were
invited to display their work there,
including the Belgian Henry van de
Velde (furniture), the American Louis
Comfort Tiffany (glassware), and
Frenchmen Emile Galle (glassware) and
Rene Lalique. The latter was one o
the key exponents of Art Nouveau.
His exquisite jewelry, often based
on plant or insect motifs, used glass,
semi-precious stones, and gold.
Although Art Nouveau developed
in idiosyncratic ways in many
countries (it was closely related
to Jungendstil in Germany,
Secession in Austria, and
Stile Liberty in Italy), the

fluid, organic style is easily

recognizable. The dominating
characteristic is the whiplash

14
 1 900-09

curve that influences both the form and Crafts movement with the exuberance of Art
and the surface decoration of the Nouveau. Its work fused a geometric format
object. Its organic fluidity was with a flowing
nspired by nature, particularly linear pattern
plant-life. There are also based on
references to past traditions, organic
such as Celtic art and :

orm.
Rococo, to be found in the
style. Art Nouveau could be
nterpreted either naturalistically
or abstractly and its principles could
be applied to the design of anything
from architecture to jewellery. The most
important work took place in France,
Belgium, Austria, and Scotland.

The Glasgow School

In Scotland, the Glasgow School, a small,
but widely recognized group of designers,
led by the architect and designer Charles
Rennie Mackintosh, was producing work
that combined the functionalism of the Arts

Porte Dauphine
Metro entrance
Architect Hector Guimard
designed a series of ornate
entrances for the Paris Metro
in cast iron and glass. Some
remain intact today.

|
Cast-iron washstand
\ This highly ornate British

\ wash basin, datingfrom 1903

m to 1911, demonstrates the

curving, organic lines of Art
A outeau. Its majolica tiles are
typical of the period

15
INTRODUCTION

for producing fine pieces of jewelry, metalwork,

1910-19 textiles, furniture, and architecture. Its designers
occupied ground between the decorative Art
Josef Hoffmann was one of the leading figures
Nouveau and the austerity of modernism, which
in the group of Viennese artists and architects
was beginning to influence the design of objects.
known as the Vienna Secession. Although most
of the art of the Secession was fundamentally Art
Nouveau in style, its design is remembered for a The machine aesthetic
more geometric approach to decoration. The As the century progressed, designers became
Secession published its own journal, Ver Sacrum, less concerned with the crafts aesthetic and
and held regular exhibitions showing work from favored instead the aesthetic of the machine.
many international artists.
In 1917, a group of Dutch painters, architects,

designers, and philosophers formed a collective

Wiener Werkstatte called De Stijl ("The Style"). Moving away from
In 1903, Hoffmann formed the Wiener Werkstatte natural form in architecture and design, the De
with Koloman Moser. This association of Stijl group attempted to find a visual language
workshops owes much to the Arts and Crafts to express a new machine aesthetic by using a
guilds. The Wiener Werkstatte was responsible limited color palette and geometric shapes and

Excelsior Auto-cycle
By 1914, all the major components of the
modern motorcycle were already in place;
the designs that followed
represented a process
of refinement.

16
 1910-19

Coca-Cola bottle lines alone. Of all the work, oerhaps Gerrit

Based on the shape Rietveld's Red-and-blue chair of 1918 comes
ot the cola nut. the
closest to achieving this aim. Constructed from
Cocm-Colm bottle was
standardized lengths of machine-finished wood,
- igned in J 91 J

and has remained it is devoid of all unnecessary ornamentation.

virtually unchanged De Stljl's influence extended throughout Europe,
•
tince. particularly to the constructivists in Russia and
the Bauhaus in Germany. In Italy, the futurists,

who included poet Filippo Marinetti (1876-1944)

and artist Giacomo Balla (1871-1958) also

glorified the machine.

Mass production
The industrialist Henry Ford had founded
the Ford Motor Company in 1903, and over
the next few years he developed a system
of mass production that was to have a
permanent effect on the design process: the
standardization of parts for easy assembly
and, in 1913, the moving assembly line. When
these principles were applied to the Model T
Ford, it was so successful that by the 1920s
every second car on the world's roads was
a Model T. Mass production made goods
affordable to a much wider market, but also
left factory workers with a feeling of alienation.
Their role in manufacturing was reduced to an
anonymous, repetitive task. Some now took up
William Morris' argument that the only escape
was a return to craftsmanship; but the momentum
of mass production was not to be resisted and,
in fact, increased as the century progressed.
However, the quality of life of the average
worker began to be improved by the
introduction of a plethora of time- and
laborsaving devices, such as washing
machines, hair dryers, and irons.

17
INTRODUCTION

Electricity
The majority of these newfangled devices did
not really save time, but they did save labor,
making housework less tiring. Many of them were
electrically operated. A relatively new commodity
at the beginning of the century, electricity was

as yet unavailable to most homes. However, the

promise of a clean, odorless energy source,
bright lighting at the flick of a switch, and the
attraction of new inventions like the electrically
powered vacuum cleaner made electricity such
was quickly
a worthwhile investment that it

accepted throughout the Western world.

The birth of corporate identity

In Germany at this time, Peter Behrens became
artistic director of the electrical manufacturer
AEG (Allgemeine Elektricitdts-Gesellschaft).
The company recognized
the need to unify its

design, and Behrens'

standardization and
interchangeability of
components were crucial to

AEG's success. The clearest

example of this are his kettle

designs from 1909, which allowed

for 80 variations from just three

basic models. Behrens also ensured

Hoffmann's metalwork
This silver bowl was made by architect and
Gustav Klimt, Porfrait of a Lady, 1917-18 designer Josef Hoffmann in 1917. Much of

^
Austrian artist Klimt provided a bridge between fine art Hoffmann s furniture has similarities with
sz^
and Art Nouveau. His richly decorative paintings, with that of the Scot Charles Rennie Mackintosh
large blocks of flat pattern and heavy use of gilt, were Both utilized geometry and the repeat
firmly based in the traditions of the Vienna Secession. pattern in their work.

18
 1 91 0-1

that there was continuity in all other elements

of the company's output, from architecture to
advertising. AEG had taken on a corporate identity
- a practice copied by other companies later.

Behrens employed some of the most avant-garde

designers, including Walter Gropius, Mies van der
Rohe, and Le Corbusier. Their work has had an
enormous impact on product design and greatly
influenced the debate about art and technology.

The Bauhaus
In 1919, an art school was formed in Germany
The Bauhaus building
known as the Bauhaus. Under the directorship Halter Gropius designed the new school building
of Walter Gropius it became one of the most at Dessau in 1925. It has become a symbol of
influential design institutions of the century active modernism, with its emphasis on steel, glass, and
until 1933. Its simple aim was to train artists to concrete, and has had a great impact on the
development of 20th-century architecture.
work for industry; and although its achievements
can easily be exaggerated, it has left a lasting
impression on 20th-century design. Using
modern industrial materials, stripped down
."» to their basic elements and without added
decoration, Bauhaus designers attempted to
make products that avoided historic reference.

Their aspirations were not always achieved.

Marcel Breuer's famous Wassily chair has many
of the characteristics associated with the Bauhaus
style - made from tubular steel and with a
stripped-down geometric form. Yet its construction

still owes more to the craftsman than the machine.

The Bauhaus' greatest success was its teaching

methods, which have been copied the world
over. Gropius attracted highly respected
painters, including Wassily Kandinsky (1866-1944),

Josef Albers, and Paul Klee (1879-1940), to

teach the foundation course. Celebrated
architects such as Marcel Breuer and Mies
van der Rohe also taught at the school.

19
INTRODUCTION

concrete frame, and large expanses

1920-29 walls,

of glass were unified by an uncompromising

At the influential 1925 Exposition Internationale geometry. The inside was decorated with
des Arts Decoratifs et Industriels Modernes held in commercially available, unpretentious furnitun
Paris, the Swiss architect Le Corbusier designed including the bentwood Thonet armchair (see
one of the pavilions, naming it U Espirit Nouveau. p.57). However, the Exposition is remembered
This was a model of modernism: its plain white less for the functionalism of Le Corbusier's
contribution and more for the look that the

rest of the exhibits in the other pavilions

encapsulated. For was from this exhibition
it

that the term "Art Deco" was derived.

Art Deco
This decorative style was inspired by non-
western art, particularly that of Africa and
Egypt, made popular by the discovery in

1922 of Tutankhamun's tomb by Howard

Carter. Diaghilev's Ballets Russes (which first

danced in Paris in 1909) and the cubist

paintings of Pablo Picasso (1881-1973)

and Georges Braque (1882-1963)
captured the imagination of designers
However, Art Deco was not a design
movement, but rather a shared
approach to styling. The interplay of
geometric forms; abstract patterns of
zig-zags, chevrons, and sunbursts,
rendered in brilliant colors; and the
use of bronze, ivory, and ebony were
all common features. Criticized by

Art Deco doors

These beautiful elevator doors
are from the Chrysler building
in New York (see right). They
are inlaid with wood veneers
and brass, and were designed by
the architect William van Alen.

20
 1 920-29

Chrysler building, New York Chanel No 5

The headquarters of the American motor ' — T^ The world's most
manufacturer was a stunning example of famous perfume was
the mainstream acceptance of Art Deco launched by Chanel
in America. The upper floors were clad in
^Hl
in 1921. Its name came
metal, reflecting the company's product PARFUM from the fact that Coco
N°5 Chanel had allegedly
some for its opulence, it was seen CHANEL rejectedfour other
to distract from the purist theories PARIS scents by perfumer
expounded by the modernists. Furniture Ernest Beaux before
settling on his fifth.
designers such as Jacques-Emile
Ruhlmann (who designed the interior ^^^^^^^^
of one of the pavilions at the 1925
Paris Expo) used exotic veneers and
ivory inlays in a rich, decorative through the exterior architecture and the plush
scheme. He was inspired by 18th- interiors of the picture palaces. In New York,
century design, but updated the the greatest monument to Art Deco architecture
look by using geometry and was William van Alen's Chrysler building. This
modern materials. extraordinary skyscraper expresses the glamour
Art Deco did not remain the of Art Deco both in its interior and exterior
preserve of the wealthy. Indeed, decoration and forms. The semi-circular
new, inexpensive materials pinnacles were faced in Nircosta metal to
such as Bakelite were flexible create gleaming white surfaces reminiscent of
and popular. In Britain, platinum (the metal most frequently chosen for
Wells Coates used Bakelite contemporary jewelry).
to great effect in his radio Many famous designers who had made their

designs (see p.91). In names with products featuring the Art Nouveau
architecture, colored style now adapted their designs to the new look.

glass and chromium For example, Rene Lalique switched from his

created the Art Deco trademark organic-looking jewelry to Art Deco

look at relatively low cost glassware, including car mascots, perfume
and was used successfully bottles, and statuettes.

in public buildings such as

the Odeon theaters. 1 920S' FASHION
The cinema itself In the 1920s, the Charleston became the first
played an important of many dance crazes to sweep America. To
role in popularizing perform such energetic dancing, dresses had to
the Art Deco style, be worn shorter to allow for greater freedom of I

21
INTRODUCTION

Jazz Age fashion

Vogue was one of the magazines that
introduced women, first in the US and
later in Europe and Australia, to the
latest fashions. This stylized cover was
designed by Eduardo Benito in 1927
for the Par~is fashions issue.

Suprematist ceramics
Kazimir Malevich designed and
Ilia Chashnik decorated this quite

impractical porcelain cup in 1923, in

line with the ideas of the Russian
suprematist movement. Producedfor
the State Porcelain Factory, it was
intendedfor export and exhibition
in western Europe.

movement. Young women, known as "flappers," The Jazz Age

began to cut their hair into short bobs, and often Popular entertainment also influenced public
wore cloche hats or berets. Designer Coco taste. Jazz, which evolved in New Orleans at
Chanel created a look to accompany women's about the turn of the century, was now mainstream
new-found sense of confidence. Adapting men's popular music. With the development of swing in

clothes, she promoted a flat-chested, boyish Chicago, there were large ensembles playing
silhouette, frequently worn with flamboyant with written orchestration. Benny Goodman,
costume jewelry, but above all designed Count Basie, Artie Shaw, and Glenn Miller were
for comfort and style, and to radiate youth. It all major musicians. The interior of Radio City
perfectly reflected the spirit of the new era. Music Hall in New York, which opened in 1932,

22
 1920-29

was designed in an Art Deco style by Donald name is an abbreviation of Higher State Artistic

Deskey using a jazz motif. Similar patterns were and Technical Workshops.) Like the Bauhaus (see
used in textiles, wallpaper, and ceramics. p.19), the school's aim was to train artists for

industry. It shared many the characteristics with

SUPREMATISTS, CONSTRUCTIVISTS, the German school; indeed, Wassily Kandinsky
AND VKHUTEMAS and El Lissitzky were active in both organizations.
In Russia, a desire similar to that of the Dutch De One of the teachers at VKhUTEMAS, Aleksandr
Stijl designers (see p. 1 6) inspired a number of Rodchenko, designed furniture for the Workers'
artists, among them the painter Kazimir Malevich, Club at the 1925 Paris Expo. Textiles produced
to attempt to find a universal relationship between by his wife Varvara Stepanova (1894—1958) and
geometric forms and pure color. Their work, Lyubov Popova (1889-1924) were also put into
termed suprematism, was more concerned with production. However, of the many furniture

aesthetics and geometry than with functionality. prototypes created by the school, not one
It was superseded by less abstract constructivist became an industrial reality.

design. The constructivists, who included the

graphic designers El Lissitzky and Aleksandr Photographic advances
Rodchenko, eschewed fine art and were Photography was popularized by the Brownie and
the Vest Pocket Autographic Kodak cameras, and,
committed to putting art to the service of the
by the 1920s, was an increasingly common hobby.
emerging socialist state. In 1920, constructivist
The Leica A went into production in 1924 and was
ideas strongly influenced the VKhUTEMAS, a newly the first widely used 35mm camera, producing
opened avant-garde design school in Moscow. (Its good- quality black-and-white shots.

23
INTRODUCTION

curved unitary body, with sloping windshield

1930-39 and extended tail, was so different from

Since the beginning of the century, designers previous cars that the public did not take to
had been experimenting with hydro- and aero- it and manufacturing stopped after just three
dynamics. Based on studies of the shape and years. However, the car was an engineering
movement of fish and birds, it was discovered success and contributed much to the appliance
that boats and aircraft could be made more of aerodynamics to car design, paving the way
efficient by smoothing and curving the hull for car designers such as Ferdinand Porsche

or fuselage. In 1933, the Douglas DC1 appeared to create their aerodynamic sports cars.

as a commercial passenger aircraft. Strikingly

different from its cumbersome predecessors, American streamlining
it had a streamlined monocoque structure, Streamlining suggested speed, efficiency, and,
integrated wings, and a stressed aluminum skin most of all, modernity. Like Art Deco, it had a
that was strong enough not to need bracing commercial imperative, for it became obvious
wires. Along with the Boeing 247, it marked the that the consumer was attracted, if not to the
beginning of modern passenger flight. In 1934, Airflow, then to other streamlined products.
Chrysler launched its new streamlined car, the The first sure evidence of this came in 1929
Airflow. Designed by Carl Breer, it was the result when Raymond Loewy redesigned the Gestetner
of thorough research into aerodynamics. Its duplicator (see p.350). Until then, it had been a

City of Salina train

This, the first American streamlined train, was
designed in 19)5. The torpedo- shapedfront
and rear ends and the enclosed chassis
reduced wind resistance.

24
 1930-39

1930s' shipping poster

e G- TRANSATLANTIOUE With transatlantic
product designers such as
travel becoming popular,
Loewy and Teague
were influenced by the streamlining of ocean
liners, as shown on this poster.

US INDUSTRIAL DESIGN
Raymond Loewy was one of the most successful
designers ever to work in the US. Essentially
a stylist, he was responsible for redesigning
the look of numerous products, including the
Coldspot Super Six refrigerator (p.l 14) —which
increased sales by 400 percent — the Lucky Strike
cigarette packet (p.428), the Silversides Greyhound
bus, and the Shell Oil company logo (p.368).

LONGITUDINAL Si
^^9 ^fc

typical example of industrial

machinery - no attempt had been

made to make it pleasing to look at or
easy to use. Loewy, using a full-size clay model
to achieve the desired effect, enclosed all the
working parts within a smooth, unifying body. The
duplicator was a great commercial success and,
in the US, designers began applying streamlining
Ergonomic design
to a whole range of domestic appliances.
Henry Dreyfuss designedfor the human form,
Although the restyled products suggested
and in 1937 he collaborated with engineers to
improved efficiency, sometimes all that had develop this telephone, making it supremely
changed was the housing. practical as well as stylish.

25
INTRODUCTION

London Underground maps

The original maps showing the routes on the London
Undergroundfollowed a traditional geographical
approach (left). Then, in 1933, Henry Beck persuaded the
newlyformed London Transport to adopt a diagrammatic
map (below). The vertical, horizontal, and 45 -degree
angles betray Beck's training as an electrical draftsman.
Besides being easy to read, the main advantage is that the
map permits the crowded central area to be enlarged in
relation to the outlying areas. The hugely successful map
has been imitated around the world.

When it came to streamlining,

American designers led the way:
in addition to Loewy, Norman Bel
Geddes, Walter Dorwin Teague, and
Henry Dreyfuss all made contributions
that influenced design throughout the

world. Eventually, Dreyfuss developed

a design theory concerned less with
styling and more with the relationship
between the machine and the
operator. He believed that for a
machine to be efficient it had to be adapted Swedish Modern
to people. He developed this theory into a study Although Art Deco and American streamlining
of ergonomics (how humans relate to objects) dominated the 1930s, a separate style evolved
and anthropometrics (the study of body size and in Scandinavia that was to be of increasing
strength). Dreyfuss' reputation was established international importance during the 1940s and '50s.

with the Bell 300 telephone. He designed it The term "Swedish Modern" was coined. Key
"from the inside out," carrying out detailed designs during the 1930s were Wilhelm Kage's
tests to ensure it would be easy to operate. ceramics, Kaj Franck's glassware, and the furniture
It remained the standard American telephone of Alvar Aalto. The look was characterized by a
for over 40 years, perhaps largely due to its soft, organic, natural feel influenced by traditional
enlightened approach toward the user. Scandinavian design, and a human scale.

26
 1930-39

Bakelite and new materials

In the 1930s, Alvar Aalto and Marcel Breuer
both experimented with new forms of machine-
processed wood such as plywood. Interest in

other new materials was strong and centered on

Bakelite. Invented and patented in 1907 by Belgian-
born inventor Leo Baekeland, it was one of the
first plastics to be used extensively. Its malleable
properties were the perfect expression of the
smooth, sleek contours of a streamlined product.
Initially, it was used as a substitute for wood or
ivory and was carved into shape from blocks.
As designers began to exploit its own unique Jazz motif
properties, it was molded into myriad shapes Victor Schreckengost's 1931 punch bowl is an
and used for electrical products. Bakelite example of the continuing popularity of jazz.
was the most successful of the early plastics,
and gave freedom to designers to style and Bakelite products
was usedfor a wide range of
Bakelite goods. The
restyle artifacts, leading to the boom in
Radio Nurse (shown left) was designed by the Japanese
plastics after World War II.
sculptor Isamu Noguchi in 1937 after the sensational
Lindbergh kidnapping in the US. It consists of a
microphone in the baby's room and a receiver shaped
like a stylized nurse's head. The four-valve mains

radio from 1950 (below) was nicknamed "the Toaster.

27
INTRODUCTION

1940-49
World War II had a major impact on product
design and manufacturing. Countries involved
in the hostilities were quick to restrict the use
of raw materials, and factories themselves were
frequently turned over to military production.
In 1941, Britain introduced a utility program in

an attempt to ration the use of scarce resources

The Design Panel, which had Gordon Russell

as its chairman, was charged with approvin

designs for production. The panel followed
principles derived from the Arts and Crafts
movement, but was also influenced by the
European modernists. The furniture was
required to be strong and attractive, but FREE A MARINE
not wasteful
use of some
in the use of materials. Th
materials, such as silver

and aluminum, were completely

TO FIGHT
restricted or not available. Even

dyes for textiles had to be approved

through the utility program.

Austerity designs
Of course, it was not only in Britain

that government placed controls

on manufacturing. In most of Europe, War posters
Japan, and the US, government
During wartime, the
governments of all
restrictions prevented the
the participating
unnecessary use of scarce materials. countries were quick
In Germany, under the Schonheii der to commission graphic
Arbeit ("Beauty in Work") program, designers to produce

designers adopted an Arts and information and

propaganda posters.
Crafts style, similar to that of Britain,
Many encouraged
with a particular emphasis on
women to work in
vernacular or rustic designs. In the factories, on farms,
US and Japan, industries were cut or to join the forces.

28
 940-49

back and price controls were put in place. Dior's "New Look"
After' years of rationing
Designers were put to work on a range of
and constraint, Dior's "New
government commissions and often given an
Look " made a powerful
unexpected opportunity to try out new materials. impact. His clothes
This experimentation paid dividends after the made women feel
war, as designers applied the new materials feminine again.
to the products they created for the domestic
market. The results of these austerity measures
were severely pared-down consumer products
made from the most basic materials. Although
theywere low cost and by and large well
made, they tended to be drab in appearance
and lacked any sense of flair or luxury. In many
countries, the regulations lasted long after the

end of the war, and consumers soon became

impatient with the continuing restrictions.

New look fashion

It was, therefore, hugely refreshing when the
French designer Christian Dior showed off his

first Paris collection in 1947. Women, desperate

to escape from the sensible clothes of the war
years, embraced the "New Look" - powerfully
feminine, with softly rounded bodices, tight

waists, long, very full skirts, and high-heeled

shoes. With rationing still in place in many
parts of Europe, the yards of fabric required to
construct the huge skirts of Dior's designs were
mostly unobtainable. Not all women loved the
look. Some, who saw it as extravagant and
indulgent, picketed the House of Dior, further
adding to his reputation. Nevertheless, the more
elegant look quickly gained popularity, and
manufacturers tried to produce something
akin to Dior's vision but using less fabric.
For men, too, shapeless wartime suits were
replaced with a narrower silhouette.

29 U
INTRODUCTION

Charles Eames' chair New materials

Husband and wife Charles and Plastics became increasingly important
Ray Eames werefamousfor
materials after World War and theirII; use has
their chair designs for the
Herman Miller company. significantly changed the way things look. Before

Their work featured then, they had been regarded only as substitutes.
simple, open designs But after the war, many designers deliberately
and the recurrent
chose to exploit the properties of particular
use of molded wood.
plastics for individual projects. The following are
just a few examples. Acrylic, such as Plexiglas,
had been discovered in the 1930s and was put
to use in furniture design and as a lightweight
replacement for glass. See-through films, such
as PVC, were used to produce waterproof
raincoats and umbrellas. Nylon was utilized by
the American forces for parachutes. In 1942, Earl
Tupper introduced
lightweight
polyethylene
containers with
airtight lids.

Known as
Tupperware, they
were available in

a range of pastel
colors and were
Italian design both flexible
In Italy in 1946, former helicopter designer and hardwearing.
Corradino d'Ascanio designed the Vespa One of the most exciting
scooter for Piaggio (see p.305). This exciting, developments was in the use
streamlined,modern vehicle became a symbol
of postwar r/cosfruz/'one and attracted worldwide
sales. After the war, Italy consolidated its design Unconventional vase
practice, eventually becoming a world leader. Italian designer Paolo Venini

Companies such as Fiat, Olivetti, and Cassina combined his bold sense of color and
texture with traditional glassmaking
employed avant-garde designers to make
techniques to produce the Handkerchief
products that would hold their own in the
vase. First made in 1946, the design
world of international commerce. became extremely popular.

30
 940-49

of plastics for modern chairs. The pioneers of

this work were the American architect Charles
Eames, together with his wife, Ray, and Eero
Saarinen. During the war, Eames had worked
with glass-reinforced polyester to make radar
domes for aircraft. By applying the knowledge
he had acquired from this work to chair design,
he produced a one-piece molded seat shell

supported on wire legs, which was known as

the DAR chair, in 1948. Unlike the Womb chair
produced earlier by Saarinen (see p.62), Eames's
chair was left uncovered so the glass-reinforced
plastic construction was exposed. Many of
were put into
Eames's seating designs
production by Herman Miller.

Early television set

Radio and television This television set by Bush has a Bakelite case
Radio stations molded into a shape reminiscent of the Art Deco
had started radios produced a decade earlier.

broadcasting in the
early 1920s, and After the war, television began to make an
domestic radio impact on domestic life. A television transmitter
became more had been demonstrated by John Logie Baird
popular during the in 1926, but it was not until the late 1930s that
following decade. cathode ray tubes were capable of receiving
However, it was only high-definition broadcasts. As with radios and
with the outbreak record players, early televisions were housed in

of World War II that traditional cabinets, giving them the appearance

the various warring of items of furniture, with no indication as to
governments realized the true purpose. As the technology improved,
radio's potential for designers began experimenting with new
disseminating information materials and finding solutions more fitting to

and propaganda both to the function. Bakelite could be molded, initially

their own civilians and to the to fit the shape of the screen and subsequently
enemy. The importance of national to find expressive forms. In Europe, however,
broadcasting during the war led it was not until decade
the following that

to an explosion in the use of the radio. the television became commonplace.

31
INTRODUCTION

1950-59
The inferno that was World War II had given
way to the chill of the cold war, played
out by the capitalist US and the communist
Soviet Union. Competition between the two
systems came to be symbolized by the space
program: the frantic race between the
superpowers to become leaders in space
exploration. The Soviets took the initiative: in

1957, they launched Sputnik 1, the first satellite Dan Dare toy
to orbit the earth. Then in 1961, the Soviet Many manufacturers saw enormous opportunities for
product development in the space obsession, and geared
cosmonaut Yuri Gagarin became the first man
product design to this market. A whole new range of
in space. Just eight years later, American Neil
toys, for example, featured Dan Dare, hero of the
Armstrong took his "giant leap for mankind" British comic Eagle (founded 1950).
by walking on the Moon. Science, space travel,
and science fiction became an all-consuming
Harley Earl's dream machine
obsession. Scientific motifs came to be Regarded by many as the epitome of 1950s' style, the
associated with modernity and appeared rocket- styled 1959 pink Cadillac Eldorado convertible
everywhere throughout the decade. is truly a fantasy vehicle.

32
 950-59

Youth culture
marked the emergence of a
tOs

vibrant new teen culture irith its own dress.

behavior, music, and language. Singers
:s Presley and film stars like
:

James Dean became role models for-

tius afrlucnt consumer group.

Consumerism
In the 1950s, car design in the US took on a
new, extravagant look. Inspired by aircraft
and rockets, Harley Earl of General Motors
began to alter the shape of cars in a way that
expressed the postwar confidence of American
society. His cars were wide, low, and very long.
They had lavish interiors, imaginative tail fins,

loads of chrome, wraparound windshields,

and came in striking colors. During this time, the
controversial strategy of planned obsolescence
emerged in the US. By introducing small stylistic

changes, companies could launch new versions

of their products each year, thereby appealing
to those conscious of social status by making last
year's model stylistically obsolete. Of greater
concern was the decision to build in physical

33
 )

INTRODUCTION

machine aesthetic further than before; it

required design to be forward-looking,

reflecting modern life, and embracing
technology. This functionalist approach, which
is often referred to as the International Style,
was most clearly represented in product design
by the Ulm school. Financed by commissions, the
school had close links with industry. Among its

first and most important commissions was a series

of radios and phonographs for Braun by Hans

Gugelot and Otl Aicher. This helped formalize
Braun's reductionist design philosophy, and the
continued collaboration between Gugelot and
Braun Phonosuper SK55 1956 Dieter Rams of Braun brought about the
This stylish piece of minimalist design came just in development of the "black box syndrome" in
time for the revolution in music marketing caused by modern design. Anything unnecessary to the
the arrival of rock music. The single unit incorporates
function of the product was stripped away.
both radio and record player. A Plexiglass hood kept
the record in view while protecting Clean lines, durability, balance, and unification
it from damage.
were key requirements. All Braun products are
clearly related, often finished in glossy white
obsolescence, so that through a lack of actual or black, with the company logo visibly

durability the product only had a limited lifespan. marked on the casing.

The debatable defense of this huge waste of

resources was increased employment. Transistors
One of the most significant developments
International Style in the look of electronic equipment was the
In contrast to the cynicism of planned invention of the transistor in 1947 by Bell

obsolescence, some companies, most notably Laboratories. Made from silicon and only
Braun in Germany and Saab in Scandinavia, requiring a low electric current to function,

began to design and market goods on the basis

of their durability. In 1955, the Swiss industrial
designer, sculptor, and painter Max Bill (1908- Molded chair
co-founded the Hochschule fur Gestaltung in
Arne Jacobsens 3107 chair is one of many
19'50s 'furniture designs that incorporated steel
Ulm, Germany. Bill had studied at the Bauhaus,
rods or steel wire. Ernest Race 's Antelope
and his aim was to continue that school's
chair (see p.62) and Harry Bertoia 's

rationalist approach to design. This revival Diamond chair (see p.63) are others.
of the modernist style took the search for a Jacobsens chair is still much copied today.

34
 1 950-59

these small, robust components were used for

items such as radios, televisions, and record
players, in which they replaced the cumbersome
vacuum tube. The Tokyo Telecommunications
Engineering Corporation (later known as Sony)
produced the first mass-produced transistorized
pocket radio in 1 955, and in 1959 developed the

Transistor radio
By replacing radio valves with transistors, which were

smaller, more robust, and used less power, radio sets

shrank in size. Their low cost and portability made
them popular with teenagers, and bright colors

were often adopted to add to their appeal.

This particular model was made in the US.

first all-transistorized television with an 8-in

(20-cm) screen. The diminutive size of the

transistor gave designers the freedom to

miniaturize all other electronic appliances.

Important countries
The 1950s marked a high point in 20th-century
Italian design. Designers such as Gio Ponti,

Marco Zanuso, Marcello Nizzoli, the Castiglioni

brothers, "Pinin" Farina, and Ettore Sottsass
achieved great success for themselves and for
Italian companies such as Olivetti, Artemide, and
Brionvega. Elsewhere, Denmark became a major
player on the international design stage, noted
for its mass-produced furniture, luxury silverware,

and innovative textiles and wallpapers. Denmark's

Scandinavian neighbors Finland and Sweden
were also enjoying much design success.
Finnish glassware became a design leader
for years to come.
INTRODUCTION

Mass consumerism
1960-69 During this period, the power
During the 1960s, the postwar baby boomers of advertising, particularly on
were growing up, and en masse they created television, led to the birth of

a powerful new army of consumers. They were mass consumerism. Manufacturers

coming of age in a period of unparalleled, quickly recognized the buying
unrestrained optimism and self-belief: the war, power of the teenage population
and the postwar austerity, was over,- humans and began to create products
were in space and would soon walk on the aimed specifically at the youth market.

Moon; the first heart transplant had taken A combination of new materials, new shapes,
place; and 60 years after the first flight across new technology, and new colors vied for the
the English Channel, Concorde would be attention of these affluent young people. This
flying faster than the speed of sound across manifested itself in all areas of design: in the
the Atlantic Ocean. "We automobile industry, the

live," one commentator said, Mini was born; in fashion,

"in a throwaway society, the miniskirt appeared; and

obsolescence is created in graphics, Wes Wilson
by the rapid advances produced his barely legible
in technology; built-in posters. There were myriad
obsolescence is no longer radical furniture designs:
relevant, so why is the Danish designer Verner
functionalism of the Panton produced his bright
International Style relevant?" red, moulded plastic

So began the rejection of stacking chair; and Gunner

Modernism, which was no Aagaard Anderson (1919—)
longer able to meet the of Denmark created his
demands of this eager new polyurethane Armchair,
force of consumers, who an extraordinary item that
wanted change and variety in looks like - and, in fact, is
-
the place of permanence and a huge solidified blob of
uniformity. Most of all, they poured liquid plastic.

wanted a look they could call This period also saw Europe
their own, that divorced them Psychedelic poster adopting the values that had
from their parents, and that for the Dylan album
been prevalent in the United
Bob Dylan has himself become an icon
gap that had
reinforced the States a decade earlier,
of the 1960s. Illustrated here by Milton
grown between the pre- Glaser in 1966, Dylan's hair is rendered as those of shortlived products
and postwar generations. a pattern of colorful psychedelic swirls. in a throwaway society.

36
 1960-69

Black-and-white textile 1 960s Fashion

Danish furniture and textile designer
In the world of fashion, one of the names that
Verner Ponton designed this Op Art
fabric in 1961.
stands out above the others is Mary Quant.
Rejecting haute couture, she aimed her designs
at the young, and produced inexpensive and
fun clothes. She remains best-remembered as
the designer responsible for introducing the
Space-age clothes miniskirt and hot pants to Britain. The space age
In 1969. models displayed the latest
continued to influence fashion, and designers
Martian wigs by French coiffeur
Jean-Louis St Rochu "Space-age"
created outfits in futuristic materials,

clothes were made popular by Pierre typified by Courreges' "silver-foil" suits.

Cardin and Andre Courreges.

INTRODUCTION

Psychedelia Pop Art

Youth movements abounded; each had its own Fashion and art have
music, its own dress code, and
language. One, Psychedelia,
its

was a
incandescent revivalist movement that had a
own

reaching influence. Psychedelic designers rejected

visual

shortlived but

far-
had a huge influence
on product design, and
no art movement has
had a greater impact
%
modernism out of hand. Where modernists looked on commercial design
only to the future for inspiration, Psychedelia than Pop Art. Pop artists

looked anywhere and everywhere, often through such as Andy Warhol,

the blur of hallucinogenic drugs. Artists sought Jasper Johns (1930-),
inspiration from the early part of the century, Roy Lichtenstein
incorporating aspects of Art Nouveau and the (1 923-), and Robert
Vienna Secession into their work; they looked to Indiana were turning
the art world on its

head by drawing the

everyday into their

studios and recycling

it as ironic, irreverent
art. Andy Warhol
openly celebrated American consumerism
in his repeat-image paintings of iconic images
of popular culture, be it Campbell's soup
cans or Elvis Presley. Ironically, manufacturers
themselves began to use Pop Art in product
design, marketing, and advertising — so much
so that it soon became a part of everyday
life. For example, Robert Indiana's "LOVE"
image appeared on 320 million postage
stamps. Other fine art movements, notably
Pop Art jewelry Op Art, were also taken up by product and
Pop artist Robert Indiana's LOVE ring was made in textile designers.
gilded metal in about 1966 and became an instant classic.

Italian influence
the East, and as far into the past as ancient Egypt In Europe, Italian designers had taken the lead
for references; and they looked at their own role on the international stage, and many
world, creating a visual drug-inspired language acknowledged the influence of the Pop artists
that was aimed at a select audience. in their work. Joe Colombo, Ettore Sottsass, and

38
 960-69

Interior design plastic Grillo telephone, regardless of its material.

This 1960s domestic Other Italian designers were making a contribution
dining area shows the
with innovative furniture designs. Two of the most
contemporary fascination
famous are the Sacco chair by Gatti, Paolini, and
with plastics, transparent
materials, bright colors, Teodoro-a structureless, polystyrene-filled bag
and soft shapes. that is now regarded as the first beanbag chair;

and the Blow Armchair by de Pas, d'Urbino, and

Lomazzi — an inflatable plastic chair that relied
on air for its shape and comfort. These radical
Spherical television Italian designers in turn influenced the post-
•// Cs I ideosphere from modernist designers of the following decades.
1970 has a plastic case and
looks like an astronauts
helmet, reflecting public
interest in space travel.

Marco Zanuso, freed from the

constraints of modernism, took
on board the playfulness of the
age and began to toy with the
new themes. Their work, dubbed
"Radical" or "Anti-Design," drew
on popular taste. Joe Colombo
experimented with plastic for his

furniture designs, as did Sottsass in such

classics as the vividly styled orange-red
and yellow Valentine typewriter. The Italian

designers more or less rescued plastic from its

reputation as cheap and therefore undesirable,

an image that had grown from its use in M
disposable designs such as the Bic Biro. Few
could fail to see the beauty and sophistication
of Marco Zanuso and Richard Sapper's

39
INTRODUCTION

1970-79
Italy continued as a center for design excellence
into the 1970s and as a leader in Radical design.
Many of its chief designers are linked to the

most important design movement of the decade

- postmodernism.

Postmodernism
The term can be applied to many aspects of
our lives, cultural and social, but has particular

relevance in the world of art, architecture, and

design. It is essentially a rejection of everything

entailed in modernism, which detracters argue

is elitist, unintelligible, unattractive, and
unappealing. The postmodernist's aim was
to popularize the highbrow, and to make the
intellectual accessible. Exponents borrowed
freely from history, reworking the color,

texture, or material, often as a witty parody

of the original source. While many of the most
important protagonists of postmodernism are
Italian, it is a truly international movement. Its

leaders include Ettore Sottsass, whose work is

typified by the Carlton sideboard (see p.222) ;

the American architect Robert Venturi, who

designed the classic postmodernist building
Chestnut Hill House in Pennsylvania; and
Michele de Lucchi, who created the prototypes
shown here. The postmodernists rejected the

Furniture in irregular forms

This wooden chest of drawers is one of the best-
known pieces by Shiro Kuramata and was created
for Fujiko in 1970 at a time when Japanese design
was being recognized as an innovative force on the
international stage. It is shaped like an elongated "S.

40
 1970-79

Postmodernist
architecture
Architect John
Outram s pumping
station at Blackwall,
Isle of Dogs, London,
is a classic example
of postmodernist
architecture. Many-
structures described
by this term feature
elements borrowedfrom
the architecture of older
periods, such as classical
columns and pediments.

modernist's Utopian aims and their search for a elitism they despise by assuming an understanding
universal aesthetic, and instead looked to create of the references made in their work, and for the
a visual language that was made up of signs, prevalence of "in-jokes." Another criticism that

visual metaphors, references to the past, and to has been leveled at postmodernism is that it has
the work of other designers. As a result, the post- been manipulated by the forces of commerce,
modernists have been accused of continuing the and has produced little more than an incoherent

Toaster prototype
Muhele de Lucchi created
a series of ten appliance
prototypes for Girmu
Made of colored wood,
Fan prototype they included a vacuum
Although de Luce his cleaner, coffee grinder,
colorful prototypes (see teapot^ and hair dryer,
also right; never went into as well as this toaster.
production, they encouraged They were first
more decorative, fun shown at the 1979
product design. Milan Tnennale.

41
INTRODUCTION

mishmash of styles. By the 1970s, manufacturing 1973, made gas-guzzling cars less popular, and
allowed for limited production, and for all types so manufacturers began to look at more fuel-

of products to be tailored to accommodate the economic alternatives.

demands of a small market. This caused a shift Japan began to emerge as a main player in car
in emphasis away from mass production and design in the 1970s, and more so in the field of

towards meeting the needs of the individual. motorcycle design, an area now dominated by the
Japanese through the efforts of Yamaha, Honda,
Sports cars Suzuki, and Kawasaki. The Japanese also led the

Another important area of Italian design world in the development of new technology.
influence in the 1970s is the sports car. The By the 1970s, many of its manufacturing companies,
decade saw the birth of the supercar, with Italian such as Nikon, Olympus, Sony, and Sharp, were
manufacturers Lamborghini, Ferrari, and Lancia growing in commercial stature. Their goods
competing with the likes of Porsche, Triumph, and typically featured a "high-tech" look. In graphic
Jaguar to produce the sleekest, lowest, fastest, design, fashion, and furniture production, too,
most powerful car in the world. Cars such as the young Japanese designers were increasingly
Lamborghini Countach were capable of 0-60mph being recognized as playing an important
(0-96km/h) in 5.1 seconds, and had a top speed international role. They were among the
of 187mph (301km/h). However, the spiraling first to recognize and exploit the value of
gas prices that resulted from the oil crisis of computer technology in the design process.

42
 1970-79

Olivetti Divisumma 18
.1 leading exponent qt Italian
! . Mario Bellini has produced
4rCCCC
many stylish productsfor Olivetti.
III / C

U
This brightly colored calculator-
is typical of his work, featuring

an expressive surface created bv

the rubber "skin.
rt
The microchip
The theory behind the microchip, one of the commonplace in the household and workplace:
most important inventions of the century, was in telephones, washing machines, video
originally devised by an American, Jack Kirby recorders, and cars. In industry, its use has
of Texas Instruments. Its development meant seen the monotonous tasks of the production-
that electronic components could be reduced line worker slowly being taken over by
unimaginably in size. By 1970, for example, robots. A classic example of the application
thousands of components could be printed on of microchip technology is the Sony Walkman
top of a single silicon chip measuring only Xin personal stereo (see p. 105), which was introduced
(5mm) square. Without this invention, a personal in 1979. It was originally thought that because
computer would take up the space of a living it could not record, the product might not be
room and a pocket calculator would be the size successful; yet it was an instant success and
of a small car. Microchip technology is now spawned numerous imitators.

Ferrari 365 GT4 Berlinetta Boxer

In production from 1973 to 1976, only
387 Boxers were built. At the time
of the launch, it was hyped as
one of thefastest GT cars
ever built. In fact, it was
slower than the Ferrari model
t replaced, achieving 170mph
(274km/ h). During the boom of
the mid-1980s, when classic cars

were highly sought after, the Boxer

was sellingfor double its original price.

43
INTRODUCTION

1980-89
Technological advances produced
many changes in the penultimate

decade of the 20th century. The

computer age had definitely arrived,

and designers were increasingly

utilizing sophisticated programs to
carry out many aspects of product
design that had traditionally been
drawn or made by hand. For graphic
designers, too, the new technology
created myriad new possibilities
for manipulating typesetting and
image reproduction.

Computer technology with the introduction of the Apple Macintosh in

Home computing began to slowly take off in the 1984 (see p.344). It improved the user-friendliness
1980s, accelerating astonishingly into the 1990s. of the home computer, and introduced the now
The first personal computer (PC) had been ubiquitous mouse. The compact disk (CD), which
developed by IBM in the late 1970s, and first appeared in 1982, has revolutionized the
was introduced as the IBM PC music industry. CDs record information digitally
in 1981 . However, the real as a series of numbers. This stored information
breakthrough came is read and translated by a laser beam, which
allows the music to be reproduced clearly.
The CD has now all but replaced the vinyl disc
Marketing in most homes.
phenomenon Sound is not the only type of information
In less than ten
that can be recorded on CDs; they are also
years the compact
disk has established able to store text and pictures, and even video
itself as the pre- sequences. This ability is utilized in the CD-ROM
eminent method player. Invented in 1985 by the Dutch electronics
of sound recording manufacturing giant, Philips, this innovation was
for the home
jointly marketed with Sony. Basically a CD
entertainment market,
despite being more
adapted for use with a computer, a CD-ROM can

expensive than the vinyl store one thousand times as much information as
recordings that it superceded. a floppy disk. The initials ROM stand for "Read-

44
 1980-89

Only Memory," indicating that the as an international force. Punk also had a great
information can only be read, not added influence on new-wave graphics, exemplified
to or changed. The CD-ROM did not in Britain by Jamie Reid's controversial record
conquer the domestic market until the 1990s. covers for the Sex Pistols, and in Terry Jones's
i-D magazine. Something of the shock appeal
The global village of Punk is also evident in the furniture of Ron
The term "global village" began to be Arad (see p.452) and the industrial designs

used as new technology made possible of Daniel Weil (see p.93).

instant communication with virtually any
part of the world. Fax machines became Memphis
a familiar part of the office, and modems Undoubtedly, the most important design group
and electronic mail (e-mail) enabled the decade was Memphis. It was started in

people to communicate cheaply and Milan by Ettore Sottsass after he

instantly via computer. Satellites were left the radical Studio Alchimia in

developed in the US in the 1960s by 1980. He surrounded himself with

NASA, the National Aeronautics a group of international architects
and Space Administration, and by and furniture, fabric, and ceramics
the 1980s thousands of satellites designers, including Andrea Branzi,
orbiting the earth were being Martine Bedin, George Sowden
used for telecommunications and (1942-), Peter Shire, Michael
broadcasting. Another invention, Graves, Javier Mariscal (1950-),
the cellular, or portable, telephone, Michele de Lucchi, and Matteo
first developed in 1979 by the Thun. They first showed their work
lifcj IcErj .
LsaJ
Swedish company Ericsson, became at the 1981 Milan Furniture Fair,

commonplace during the 1980s. Liij leva) LaJ where it was an immediate success,

E): B| ® although some critics attacked

Punk and
In
British design
the late 1970s, Britain saw the
E*} SB it for being tasteless.

modernist group, Memphis

A post-

appearance of a new, aggressive

- -
m e? m
street style Punk
tamer forms, to have an influence
that was, in
ll! Cellnet mobile telephone
on graphics, fashion, and culture Portable telephones have evolved
in the 1980s. In fashion, Vivienne from large and cumbersome units
into sleek, pocket- sized instruments.
Westwood's 1981 Pirate collection
It has been predicted that their
translated the Punk look into
rapidly increasing popularity
successful main street fashion and will one day see the disappearance
marked the revival of British fashion of fixed- point telephones.

45
 '

INTRODUCTION

Universal design
In total contrast, the industrial design

consultancy Ergonomi Design Gruppen was

founded in Sweden in 1969 to specialize in

the ergonomic design of everyday tools. A key

interest for partners Maria Benktzon (1946—) and
Sven-Eric Juhlin (1940-)was design for people
with limited physical abilities, and one of the
group's best-known designs is a line of cutlery
called Eat/Drink, which clearly embodies the
design philosophy that "the need and desires
of the user shall form the basis of the project."
Despite being the focus of increasing concern
through the 1980s and '90s, universal design, or
Post-
design for disability, as it is also known, is still
modernist
ceramics a largely neglected area. Attention is likely to

Peter Shire, who was a increase as the population balance shifts with
member of Ettore Sottsass more people living into old
Memphis group, is notedfor
age. Computer technology
his eccentric ceramic
is also increasing access and
designs. The California
Peach Cup, made in creating opportunities for
1980, is typical of his all people. For example,
work and a good despite having been
example of post-
modernist design.
"disabled" at the age of 20 —
by a crippling disease that left JA ^
him unable to walk, speak, or
borrowed from an eclectic variety of sources,
including anything from classical architecture
Eat/Drink
to 1950s' kitsch. It made startling and innovative
cutlery
use of bold, often outrageous, coloring, and
This functional yet
laid more emphasis on the look and meaning attractive cutlery set
of the object than on its practical usage. What was designed in 1980
started out as a polemical venture proved to for people with
limited strength. The
be an enormous commercial success. However,
design of the knife is
the ideas of theMemphis group, which typified
such that pressure is
themore excessive aspects of postmodernism, applied with the arm
were quickly exhausted. rather than just the wrist

46
 1 980-89

write, the eminent British became one of the most celebrated designers

physicist Stephen Hawking of the 1980s, created his Louis 20 stacking chairs
has been enabled to work by (see p.331 ) with the legs screwed rather than
communicating through a voice glued to the body, so that the parts could be
synthesizer and computer. separated and recycled. Designers began
to realize that they had an important role to

Social conscience play in finding solutions to large-scale global

"Design for need" started as problems of the environment and the way
an international conference that people live

that took place in London

in 1976. It pointed to the
growing feeling that
design should be
addressing issues relating to
the environment, ecological
concerns, and special problems
occurring in underdeveloped
countries. The problem was that
design had for too long been
concentrating on production
and consumerism. A series o
ecological threats in the 1980s
provoked designers into focusing

more clearly on green issues. One

result was a move toward designing
products that could be recycled. This
began to feed through to affect all

areas of design. For example, the

French designer Philippe Starck, who

Modern vase
Philippe Starck's work often gives an
appearance of instability that is confounded
byits actual sturdiness. This three-legged vase

seems precariously balanced on the tapered

slantingfeet However, the sheer weight of the
glass makes the structure rigid and stable.

47
INTRODUCTION

1990-99
On a visit to Africa in the early 1990s, Trevor
Baylis, a British inventor, became aware of
the importance of radio for sending information
to remote communities that lacked an electric
power supply. Although many village communities
had radios, these were more or less unused,
because the batteries were prohibitively
expensive. This meant valuable information,
particularly relating to health, did not always
reach those who needed it most. Baylis'
response was to invent a wind-up radio that Wind-up Freeplay Radio
could generate enough power to be self- Trevor Baylis' wind-up radio was launched

sufficient. In collaboration with a manufacturer, in 1995. It shows how knowledge that has been
available for generations can be used as
he produced a model that is now being
effectively as new technology.
successfully used across the world. The
wind-up radio highlights two of the most
important design imperatives for the 1990s: Ecological concerns
ecology and communication. Some designers in the 1990s have been
concerned with undoing the damage that

humans have inflicted on the planet with the mass

industrialization of the 19th and 20th centuries,

or at least with trying to stem future damage.

In 1985, scientists discovered that there was a
dangerously large hole in the ozone layer. They
contended that if it was permitted to grow, the
temperature of the planet would increase with
catastrophic effects. Governments responded with
atypical speed, collaborating with the Montreal
Protocol - signed in 1987 and reinforced in 1990-
and imposing controls on items such as aerosols
and refrigerators that contained potentially
Plastic Can
harmful chlorofluoro-carbons (better known as
These plastic cans are made from a new molding
technique where the lid and container are made from CFCs). It had already become clear in the 1970s

the same type of plastic. The patented design can and '80s that the world's resources were being
be produced in- house alongside the product itself. exhausted at a rate that could not be sustained.

48
 1990-99

Fossil fuels will not last forever, emissions, lasts a long time, can

so designers are beginning be easily repaired, and at the

to explore solutions that may end of its life can be broken

slow down and even stop the down with the component
depletion of raw materials. materials either being recycled
For example, alternative or disposed of safely. In the
sources of energy are being rapidly advancing computer
devised: solar cars have been industry, the trend is now
developed in Australia and to create machines that can

elsewhere; and the electric car, be upgraded to keep pace

once an inventor's dream, is with new developments, rather
now a reality. In response than having to replace the
to the rapid depletion of the whole machine.
forests caused by the ever-
increasing demand for paper Advances in mass
and wood, alternative communication
forms of communication and The 1990s have also seen
information storage are the most astonishing advances
being developed, in addition in communication. The
to using more recycled paper. Internet and the World Wide
However, the idea of a Web promise to have as much
paperless office, relying solely impact on our lives as the

on electronic storage, is still a invention of the telephone,

long way from being realized. the television, or the
automobile. All you need is a
Recycled goods fee-"?
j '
•
"•/'•;
computer and modem to have
Built-in obsolescence instant access to information

W0¥ M
is

beginning to be replaced by f databases around the world.

a more responsible approach For example, from your own
to product durability. As well
as incorporating more recycled Recycled storage unit
materials in their products, Jane Atfield's shelving unit, made
designers are creating more from plastic recoveredfrom used
dish detergent bottles, is an
energy-efficient products that
example of the growing trend
can be recycled or repaired.
among designers to produce
A well-designed car is one that furniture and other products
uses little fuel, produces few from recycled materials.

49
INTRODUCTION

Building for the future

There is growing pressure on developers to
consider the environment when constructing new
houses. Although they still remain in a minority,
some architects and designers are taking the
idea further by choosing environmentally friendly
materials for their buildings. New homes are
being made that are energy efficient. Better

ventilation systems and improved insulation

means less energy is required for cooling and

heating. Solar panels are being used to generate
electricity or supply hot water. Consumers are
also starting to buy "green" products such as
low-energy light bulbs and washing machines
with economy settings. These not only save
Hot Springs money, they also have a long-term benefit
radiators for the environment. In the 21st century we may
These efficient see buildings and products that are ecological,
tubular radiators
yet still able to deliver the conveniences of a
are madefrom
modern home.
a continuous
length of steel.

Heat output is The influence of the computer

increased by air Microprocessors form an integral part of
being drawn modern technology. They feature in a huge
up through the
range of household objects, from refrigerators
center of the coil.
to video players; but their most spectacular
use is in computers. The processing power of
living room in Paris or Sydney computers has grown incredibly since they were
or Munich, you could access the first introduced to the public. Most personal
Smithsonian Institute in computers are able to carry out a wide range
Washington DC, or tour the Natural of programs and support complex interactive
History Museum in London. At this games. The influence of the computer in our
relatively early stage in its development, it working and domestic lives and its use in mass
is impossible to guess just how great its impact communication has led to a process of
will be on the 21st century, just as noone could digitization in other technologies. Videos are now
have guessed in 1900 how great the impact of available in digital format, music on compact discs
the telephone would be on our lives. is recorded digitally, and the digital camera now

50
 1990-99

Traveling the world

Even with all the advances in mass
communication people still desire to travel
around the world for business or pleasure
and, more than ever, our skies are filled with
aircraft. To accommodate this growth, new
airports are needed. At the same time, older
airports are being expanded and local road and
rail networks developed to take the extra traffic.

The impact of this expansion can be damaging to

the surrounding region. New aircraft are being
designed to carry more passengers, making them
less harmful to the environment. But the damage
caused by the infrastructure required to cater
for the movement of large numbers of people
may be less easy to manage.

Modern architecture
Kansai International Airport situated on Osaka
Bar. Japan, was designed by Renzo Piano.
It has been built on a man-made island and
has its own train running the length of
its 1 mile- (1.6km) long terminal.

means that images can be recorded directly

onto a computer disk. The image can then be
manipulated on the computer screen before
being printed out or even sent across the Internet.
The influence of computing is also evident in the
The iMac
The iMac is a general purpose home computer, with
modern typefaces seen in magazine design, and in
a built-in modem, that breaks awayfrom traditional
the public's increasing acceptance of technology
computer design. It is constructedfrom a strong
that looks like technology, machines no longer translucent plastic and comes in a range of colors:

designed to look like articles of furniture. strawberry, grape, blueberry, tangerine, and lime.

51
INTRODUCTION

A BREATH OF FRESH AIR

THE FUTURE Our towns and cities are choking from pollution
As we look forward most would agree there caused by motor vehicles, cars compete for
is a pressing need to protect the world's space and public transportation fails to meet
resources and control the causes of pollution. the demands of a population that has grown
The arguments for responsible design and up accustomed to the benefits of private travel.
manufacture have been well made and our There have been some successes with public
current systems of production and consumption transportation: for example the black taxi has

are clearly not sustainable. Yet we in the West become a design icon for London. The latest
seem unwilling to abandon the conveniences version of the cab has rounded forms, typical
of late 20th-century mass production. We of late 1990s car design. But this particular cab
have grown accustomed to the advantages of is unique; it is powered by a fuel-cell engine.
the latest electrical appliances and shopping Until recently, experiments with electric cars
in stores filled with seductively packaged failed to provide an acceptable alternative to
new goods. In spite of increasing congestion the internal combustion engine. They still require
Western drivers insist on traveling even large heavy batteries and the regular need to
short distances by car. recharge them is inconvenient. The fuel-cell
engine offers an alternative; it uses hydrogen
to generate electricity, removing the reliance
on batteries. The result is an almost silent

car that emits little more than water vapor.

The Future
In the final decade of the century, scientific

and technological developments are not

slowing down; they are increasing with mind-
boggling rapidity. The changes that will take
place in the next century will be even more
marked than those that took place in the last.

Although it is impossible to predict exactly what

the future will bring, there are some indicators.

The mobile phone

In the 1990s the mobile phone became ubiquitous and
manufacturers had to constantly come up with new models

in order to market their product. One innovative design was

Nokia phones with interchangeable colored covers.

52
 For example, the
V 4 t
between humans and
THE FUTURE

miniaturization of much technology, and between

technology: machines are A ' > our bodies and machines,
being created that are a mere will clearly be one of the
! half a millimeter in diameter most challenging aspects in

and that can be injected into the next millennium. It remains

the veins to clear blood clots. to be seen what impact these
Probes from the International changes will have upon design.
Space Station visiting Mars,
Remarkable Recycled Pencils Generally, developments in

Jupiter, and beyond will These pencils are made from 70 per- technology have created new
increase our knowledge of cent recycled polystyrene vending possibilities in design, and the
the solar system. Already the cups. They write and sharpen like development of increasingly
traditional pencils, but do not waste
Hubble telescope is sending sophisticated materials has
natural resources.
back photographs that are freed up designers to
rewriting our understanding experiment with different
of the universe. This may reawaken interest in forms and ultimately change our preconceptions
space exploration. In the transportation industry of how an object should look. Sometimes our
there is now talk of a revolutionary new glimpses of the future can be disturbing; but
generation of superjets, superseding Concorde by studying how designers have found solutions
and flying outside the earth's atmosphere. These to the problems of the past through the history
superjets will make transglobal flights possible of design we may look to the future with more
in a fraction of the time they currently take. optimistic eyes.

The new millennium

Scientific and technological developments,
then, are speeding up, often at a pace that
overwhelms us. The increasing interface

Millennium taxi - TX1

The new London taxi
retains its familiar shape
andfeatures a host of
innovations to improve
driver and passenger
comfort The example
shown here contains a
prototype hydrogen fuel
cell that does not prAlute.
THE LIVING ROOM Chairs

Coffee & side tables

Vases

Bowls

Candlesticks

Lighting

Radios

Television sets

Video recorders

Music systems

Tape machines

>^»
THE LIVING ROOM
1900

CHAIRS
IT IS POSSIBLE TO TRACE all the major themes of
20th-century furniture design through the look,
construction, and materials of the chair. Whether
it is made from modern or traditional means,
the chair has been used by designers to make
statements about their personal design philosophy.
Gerrit Rietveld's Red-and-blue chair from the late
1910s says more about spatial harmony than it does
about sitting in comfort. Charles and Ray Eames,
on the other hand, used advanced technology and
applied ergonomic theory to make chairs that were
better able to support the human body (see p.64).
By the 1960s, furniture designers were exploring
a less deterministic approach: the Sacco chair, for
example, allows each sitter to shape the chair
her body (see p.66).
to fit his or

High-backed chair 1902

The beautiful harmony and proportioning of
this high-backed chair is typical of Charles

Rennie Mackintosh's work. His approach was

closer to European Art Nouveau than to the

Arts and Crafts movement that was dominant

in Britain at that time. The highly stylized
floral motif provides surface ornamentation
on the top panel of the backrest. It is

repeated on the fabric in subdued

pastel shades of green and mauve.
Specifications
The chair has a Country: UK
repetitive geometric

structure
Materials: Oak and
linen upholstery
1
1900
56
 CHAIRS

Thonet chair 1902-03

Michael Thonet was an extremely successful mass producer of
chairs. His revolutionary manufacturing process, developed in
the 1 9th century, used steam to bend solid wood into ready-

made components which could be assembled later. The design,

which reduces the chair to a simple structure, is an early
example of machine aesthetics.

Specifications
Country: Austria
Material: Bentwood

Cushions were available for the

Sitzmaschine, but distracted
from its clean lines .

Sitzmaschine c.1908
This "Sitting Machine" was designed by Josef Hoffmann for

the refurbishment of the Purkersdorf Sanatorium. Constructed

from bent beechwood. it is notable for its adjustable backrest.
The grid of squares on the backrest and the cut-out vertical

lines on the sides follow a strict geometrical pattern that was

the hallmark
of his design.

Specifications
Country: Austria
Materials:
Beechwood
and brass
THE LIVING ROOM

Side chair 1908

Architect and furniture designer Hector Guimard is recognized
as one of the leading proponents of Art Nouveau. This chair is

a fine example of his style: it has a tall, slender back, elegant

legs with out-turned feet, and delicate ornamentation. The long
structural supports on either side
of the backrest and the open
spaces in the headrest
give the chair an
organic quality.

Red-and-blue chair 1 917-1 8

This Gerrit Rietveld design became an
icon of the De Stijl movement and is

an important example of early

modernist chair construction and
design, which rationalized the act of

sitting and reduced the chair to basic

planar shapes. The construction, made

up of 15 beechwood supports and two
plywood boards, displays Rietveld's
interest in the processes of mass
Specifications
production. The lines, shapes, and
Country: Netherlands
colors are reminiscent of the work of Materials: Beechwooc
the artist Piet Mondrian (1872-1944). and plywood

58
 CHAIRS

B3 chair 1925
Architect Marcel Breuer decided to
experiment with tubular steel after being
inspired by the construction of a bicycle.

The outcome - later known as the

Wassily chair - is one of the first and
finest examples of modern tubular-steel
furniture. The cubic proportions and the

contrast between the fluidity of the steel

work and the tautness of the canvas

straps find perfect expression in

this structure.

Specifications
Country: Germany
Materials: Tubular steel
and canvas

Barcelona chair 1 929

Mies van der Rohe's chair was designed
for the King and Queen of Spain for

the opening ceremony of the 1929

International Exhibition in Barcelona.
Its modern appearance retains the sense

of luxury and ceremony associated with

traditional thrones. The frame is made
from two flat, chrome-plated steel bars,

which cross over to provide back and

leg supports.

Specifications
Country: Germany
Materials: Steel and leather

-
59
THE LIVING ROOM

Gentleman's chair 1931 The woven fiber

The cane furniture produced by Lloyd is attached to the

woodenframe
Loom was particularly popular in the 1920s
with staples
and '30s. The company was founded in 1919

by an American, Marshall B. Lloyd, who

invented a method of weaving a cane-like
material from twisted paper and wire.
This chair is part of a suite comprising
Gentleman's and Lady's chairs and a sofa.

Specifications
Country: US
Materials: Woven fiber
and wood

Pressed layers of wood

are molded into shape to
create the pliancy required
for the scrolls

Paimio chair 1932

This armchair was designed by Alvar
Aalto for the Tuberculosis Sanatorium
at Paimio, Finland. Aalto spent a
number of years developing
the techniques that would
allow his uncompromisingly
modern designs to be realized.
With the Paimio, he shows that
molded plywood has all the
properties suited to modern
furniture design.

Specifications
Country: Finland
Materials: laminated birch
and birch plywood

60
 CHAIRS

Lounge chair 1933—34

A milestone in the evolution of modern
furniture design, Gerald Summers'
extraordinary chair is made from a

single sheet of plywood. It was designed

for use in the tropics, where any
joints would have been susceptible
to the effects of high humidity.

Specifications

The fluidity
Country: UK
Material: Plywood
of the curies
help*
a sculptural
quality

The leather seat is

fixed hammock- like 4 lightweight

to the frame
tubularframe
provides the
chairs structure

Butterfly chair 1938

The much -copied Butterfly hair
has a tubular-steel frame with a seat
in the form of a canvas and leather
sling. It was designed bv the
Argentinian architects Antonio
Bonet. Juan Kurchan, and Jorge
Ferrari -Hardov. inspired by a

folding wooden model that dated

from the previous century-.

Specifications
- i^tina
Materials: Tubular steel
and leather

61
THE LIVING ROOM

Womb chair 1947

This iconoclastic item was the first

fiberglass chair to be mass-produced.

Finnish-born architect Eero Saarinen

was eager to produce a modern
chair that would accommodate
a relaxed sitting posture. He
sought to provide the sitter
with "psychological comfort,"
believing that the large,
cuplike shell would
create a feeling of security.

Specifications
Country: US
Materials: Tubular steel,
fiberglass, fabric,

and latex foam

Antelope chair 1950

Ernest Race's Antelope chair was one of
two models the British furniture designer

produced in 1950 for the outdoor terraces

of London's Royal Festival Hall during the

It is constructed from
1951 Festival of Britain.
enameled metal rods — the designer's
trademark material — with a plywood
seat. The open structure, biomorphic
shape, and splayed legs (ending in ball-like
feet on one model) reflected a popular

contemporary interest in science and

the atomic age. Such motifs continued
to appear throughout the 1950s in
designs for household items as diverse
as clocks and curtains.

Specifications
Country: UK
Materials: Steel and plywood

62
 CHAIRS

3107 chair 1952

Arne Jacobsen's hugely popular chair
was clearly influenced by the work of
Charles Eames (see p.30). The seat and
backrest are made from a single sheet
of plywood, molded into shape and
supported by a bent tubular-steel
base. The first version had just
The par, three legs and was available only
diamonds is lost
in black, but it was later produced
when the chair is
in a range of colors and
uphols:.
with four legs.

Specifications
Country: Denmark
Materials: Tubular
steel and plywood

Diamond chair 1952

Enormously influential in the 1950s

and '60s, this chair was designed by

the Italian-born sculptor Harry Bertoia.
He was concerned with the sculptural
qualities of chair design: for him, space,
form, and the use of materials were as
significant as functional demands. The
Diamond chair has two distinct parts:
The base is
the diamond-shaped seat, with its criss-
constructed
from bent cross pattern of smaller diamonds, and
and welded the steel base on which it sits.

steel rods
Specifications
Country: US
Materials: Steel
and upholstery

63
THE LIVING ROOM

Lounge chair and ottoman 1956 The chair swivels on its

stand, allowing considerable

This complicated piece of furniture involves three
flexibility and comfort
plywood shells padded with upholstery and joined by
aluminum supports. Unquestionably placed at the luxury

end of the market, the chair was originally designed by

Charles and Ray Eames as a birthday gift for film

director Billy Wilder.

Specifications
Country: US
Materials: Plywood,
aluminum, rubber, and
leather upholstery

"READY-MADE" STOOLS
Achilleand Pier Giacomo Castiglioms
Mezzadro stool is clearly influenced by the
"
ready-made " sculpture of Marcel Duchamp
(1887-1968). The stool consists of a brightly
colored, enameled metal tractor seat
attached by a
wing-nut to a
cantilevered bent
steel support and with
a wooden footre st. The
Ball chair 1963-65 original stools, atfirst
Finnish designer Eero Aarnio used state-of- considered too radical to be put
the-art manufacturing processes to produce his into production, did not have holes
space age Ball, or Globe, chair. It is made from in the seat and had a dark metal base.
a fiberglass ball, cut in section, and swivels on This revised version did not appear until
an aluminum base. It was often equipped with the 1970s. The
speakers or telephone. name derives
Specifications
from the Italian
mezzadro, meaning
Country: Finland "
Materials: Fiberglass,
"tenantfarmer. Mezzadro stool, 1 957
aluminum, and upholstery J
64
 CHAIRS

signers integrated
_ est into the overall
design of the chair

Stacking chair 960-67 1

The Danish designer Verner Panton

is credited with having created the world's
first single-piece plastic chair. This unusual

cantilevered chair, produced in a range of

vivid colors, has become an icon of the 1960s.

The original versions were produced in 1960,

but it was seven years before technical

problems were resolved and the chair was
put into commercial production. Strong,
comfortable, and with a glossy,
^^^
brightly colored finish, the
piece is a tribute to the

unique properties
of plastic.
THE LIVING ROOM
•

Sacco 1968-69
In 1968, Piero Gatti, Cesare Paolini, and Franco Teodoro produced a chair without
fixed form - the first successful beanbag chair. It does not have a frame, but a soft

skin filled with polystyrene balls. The idea is that the user should be able to shape
the chair to suit his or her body and needs. This reflects a sympathy with the
radical anti-design movements prevalent in Italy during the late 1960s.

Specifications
Country: Italy

Materials: Leather or
vinyl and polystyrene

Made by Zanotta,
the beanbag was
available in
leather or vinyl

The pieces of
cardboard have
been laminated
together to form
i strong structure .

Proust's armchair 1 978

Alessandro Mendini was a leading activist for the
radical design group Alchimia when he designed this

chair. The group rejected modernist design theory in

favor of ornament and craftsmanship. For Proust's
armchair (Mendini's aim was to create a chair that
Proust might have sat in), the designer took a
traditional 19th-century chair and hand-painted
it all over in the Impressionist style.

Specifications
Country: Italy

Materials: Hand-painted wood

and hand-painted upholstery
Little Beaver armchair 1987
Frank Gehrv is an American architect and designer
whose work includes the Vitra Design Museum in

Germany, where some of his own chairs are displayed.

This armchair and footrest were designed to form part

of a series of low-cost pieces of furniture made from
corrugated cardboard. Strength has been achieved by
using the edges of the cardboard for the chair's surface.

Specifications
Country: US
Material: Laminated
cardboard

sg^3®*.-

'vik-ter chair
1991
This traditionally styled stackable
chair by the American designer
Dakota Jackson hides some
innovative construction features
that allow the back to pivot to
adjust to different sitters. The
wooden seat is wedge-shaped,
and the backrest curved to

provide greater comfort. The

orange-brown seat and backrest
are supported by a thin black
metal structure. The overall
effect is one of elegance
combined with strength.

Specifications
Country: US
Materials: Wood
and steel tubing

— 2000
67
THE LIVING ROOM
1900

COFFEE & SIDE TABLES

IN THE EARLY PART of the century, the search for pure
form found expression in Jacques-Emile Ruhlmann's
handcrafted furniture, made to commission using
expensive materials. Eileen Gray, also active in
France at that time, was allied with the Parisian avant-
garde, who were experimenting with new materials
and solutions. Donald Deskey's furniture echoes the
American aesthetic that was emerging in 1929 and was
to peak in the streamlined 1930s. Isamu Noguchi's and
Carlo Mollino's strong biomorphic designs of the late
1940s were influenced by the work of Charles Eames.
In the 1970s, there was a renaissance of traditional Gueridon en palissandre c.1922
forms, and it was against this backdrop that the radical, Jacques-Emile Ruhlmann was one of
antiestablishment Memphis group came together. the foremost French furniture makers
of this century. Specializing in luxury,
highly crafted furniture, his classic
pieces simplified traditional forms and
lent a timelessness to modern design.

Ruhlmann was famous for his use of

veneers and inlays, and those skills are

visible in this beautifully constructed

table. Its simplicity is belied by closer

The geometric inspection of the two table-top surfaces,

forms are influenced which reveal a complicated grain effect.
by Art Deco
Specifications
Country: France
The table surface can
Height: 19J4in (50cm)
move up and down on
this steel pole
Materials: Rosewood and ivory

E-1027 adjustable table 1927

Designed by Eileen Gray as part of a commission for a villa

in Roquebrune, France, this table demonstrates a progressive

attitude to the forms and materials of the machine age.

Specifications
Country: France
Adjustable tabletop height: 30-35in (76-89cm)
Materials: Tubular steel and glass

1900
68
 COFFEE & SIDE TABLES

The two-tone still life

uses the base color

as part of the design

Aluminum became an
increasingly popular-
material as the
century progressed

Occasional table c.1929

Produced bv Deskev-Yollmen a partnership formed in 1927

between Donald Deskey and Phillip Vollmer, this table is a good

Specifications
example of Deskey's design. His interest in innovative materials
Country: US
and techniques is exemplified by the aluminum strapwork Height: 24in (61cm)

base. The abstract still life of the enameled top is evidence Materials: Aluminum,
enameled metal, and wood
of his training in fine art.

69
THE LIVING ROOM

De Lucchi's enthusiastic use of

decorated plastic laminate is

typical of Memphis designers

The glass top allows

the sculptural base
to be viewed

The weight of
the glass keeps the
Biomorphic table 1 947 structure stable
Japanese-American designer Isamu
Noguchi's table is, as its name suggests,

organic in form. His grounding in sculpture is

obvious in the structure of the legs: two identically carved

pieces of ebonized birch, one inverted and connected to the

other by means of a socket and pin coupling. The table was

mass-produced by the Herman Miller Furniture Company
from 1 947 and is still popular today.

Specifications
Country: US
Height: 15Min (39.7cm)
Materials: Birch
and glass

70
 COFFEE & SIDE TABLES
2000

Kristall 1981
Together with his Sofa Lido, Micheis de Lucchi's Kristall
side table was exhibited in the first Memphis collection

in September 1981. Like many of the Memphis

designers, de Lucchi created playful pieces with the

emphasis on bright colors and asymmetrical form.

Specifications
Country: Italy
3
Height: 19 /in (50cm)
Materials: Plastic laminate,
laquered wood, and metal

Arad's immaculately
gleaming steel table is a
three-part construction

Three
Ron Arad's table is made of mirror-

polished stainless steel, and like many

of his works, it has a distinctly futuristic
appeal. Israeli-born Arad made his name
as the "Mad Max of design" in the early
1980s, with furniture crafted from
salvaged materials. Since the late 1 980s
his designs have become more sculptural
The legs and neck of the
and more expensive.
table are madefrom blue
enameled tubular metal Specifications
.

Country: Italy

Height: 20^in (51.5cm)

Materials: Plywood and glass

9QOO
71
THE LIVING ROOM
1900

VASES
DISPLAYING FRESH FLOWERS in the home brings natural beauty
to an otherwise man-made environment. Whether plainly
understated or flamboyantly decorative, the vessels that
hold flowers are, above all else, designed to enhance the
splendor of their contents. During the 20th century,
vases have provided inspiration for an extraordinary
diversity of designs — from the sculptural, organic forms
crafted by Art Nouveau designer Hector Guimard to the
simplest, most functional pieces typified by Enzo Mari's
double vase (see p. 76). While a variety of materials
have been used, from solid silver to the lightest
plastic, the outstanding tradition of the
glassblower's skill is ever present.
Peacock vase c.l 900
Louis Comfort Tiffany was the outstanding producer
of Art Nouveau glassware. He developed a method of
manipulating color into his blown glass vases to produce
an iridescent effect. These glassworks were known by the
Organic forms trademark Favrile (French for "handmade"), and were
are characteristic
enormously popular in the US and Europe.
of Guimard's work
Specifications
Country: US The brilliant, iridescent
Material: Favrile glass colors and shimmering,
Height: 13%in (33.7cm) satin finish are associated
with Favrile glassware

Ceramic vase 1 908

When the French porcelain manufacturer Sevres
undertook to modernize its output, it employed
a number of progressive artists. Among them
was Hector Guimard, a renowned Art Nouveau
designer best-known for his entrances to the
Paris Metro. This was one of a number of
vases Guimard produced for the company.

Specifications
Country: France
Material: Porcelain
Height: 10><in (26.5cm)

1900
72
 Rookwood vase 1 909
Founded m Cincinnati in 1880,

Rookwood became one of the

most successful art potteries in

the US. This hand-painted vase,

with its muted tones and yellow
and brown coloring, is a typical

Rookwood piece. The influence

of the company's Japanese

painter, Kataro Shirayamadani,

is clear m the imagery.

Specifications
Country: US
Material: Glazed stoneware
Height: 12%in (32.5cm)

Dark tones characterize

the Rookwood style I

The arabesque pattern of

leavesand berries is typical
of Peche's decorative work

Silver vase c.l 920

Dagobert Peche designed
this wide-bowled solid

silver vase for the Wiener

YYerkstatte. It stands on
a fluted base and has a

naturalistic floral motif in

relief on the surface. Peche

work came to represent an

alternative to the strictly geometric

designs originally produced by Josef

Hoffmann and Koloman Moser
for the Wiener Werkstatte.
Specifications
Country: Austria
Material: Silver
Height: 9Xin 123.9cm)
THE LIVING ROOM

Ruba Rombic 1928

Reuben Haley's Art Deco vase, produced by the
Consolidated Lamp and Glass Company, has a

complex multiplane shape influenced by cubism.

It is made of green glass that has been blow-

molded into shape. The name is derived from

Rubyiay (meaning "poem") and Rhomboid
(meaning "irregular shape").
Specifications
Country: US
Material: Molded, cased glass
Height: 15in (38cm)

Three layers of glass have

been used to produce the
subtly changing colors

Rose flute 1 926

This extremely refined,
blown glass rose flute was
produced by the Austrian
company Lobmeyr. Its

lines are restrained and

unadorned, the long,
delicate bowl of the vase
tapering almost to a point.
The design emphasizes the
transparent and fragile
nature of glass.

Specifications
Country: Austria
Material: Blown glass
Height: 5in (12.7cm)
 VASES

Bronze vase 1930

The work of German designer Margot Kempe, this heavy
bronze vase is cone-shaped, with a rounded base. The vessel

is supported by two inverted "u" -shaped An important

legs.

teacher of ceramics after World War II, Kempe arrived in

the US via Ecuador in 1947. She taught at the renowned
potters' studio Greenwich House, New York, until 1978. The heavy, dark
material and
Specifications
simple design
Country: Germany
make this an
Material: Bronze
austere piece
Height: lOttn (47cm)
Aalto s vase was also
produced in brown,
green, and azure blue

Savoy vase 1 936

Designed for the Helsinki Savoy Hotel, and
produced by Karhula Glassworks, this vase

is by Alvar Aalto, one of the pioneers of a

biomorphic style of furniture. The organic
Specifications
shape inspired by natural forms, and

'T by the work of

(1893-1983).
is

artists

The glass
such as Joan Miro
was blow-molded
Country: Finland
Material: Blow-
molded glass
into shape, and the walls vary in thickness. Height: Not known

Orrefors vase 1 940

In the 1930s, the Swedish company
Orrefors Glasbruk employed three artists,

Simon Gate, Edvard Hald, and Vicke

Lindstrand, to work on its ornamental
glass production. Their output included
this green vase. Made of thick glass, it has

*'!*
Wr 'l^^*^
a simple, geometric shape that tapers off
toward the base.
there is
On one of the four
a flowing figure of a cross-legged
sides,

woman, who seems to be floating in water.

Specifications
Country: Sweden
Material: Glass with acid-etched decoration
Height: 6'A\r\ (16.2cm)

75
THE LIVING ROOM

Handkerchief vase 1 946

In 1921, Paolo Venini became a partner in a Murano glassmaking Made from ABS plastic,
company now known as Venini & Co. Originally, it concentrated the vase is colored a
deep, glossy purple
on traditional Venetian forms; but eventually, under Venini's
direction, it adopted more progressive styles. One of the designers,
Fulvio Bianconi, worked with Venini to produce this Handkerchief
vase. It is made from a square of glass, which is shaped into
an irregular form in a manner that inspired its name.
Specifications
Country: Italy The irregular
Material: Blown glass contours of the glass
Height: 8Xin (21cm mimic the folds in
a handkerchief

Pago Pago 1 969

Enzo Mari's Pago Pago
vase is cleverly designed to

hold both small and large

bouquets. It is made from
deeply colored plastic and
has a small, cone-shaped
inner vessel (shown here).
By inverting the vase, the
outer chamber becomes
available for smaller

displays. The cutaway

nature of the design
clearly reveals the

interlocking structure.

Specifications
Country: Italy

Material: Plastic
Height: 11 Kin (30cm)

76
 VASES
2000

Ruby vase 1989

Czech designer Bofek Sipek used both blown and
applied glass in the construction of his Ruby vase.

It shows an interesting exploration of textures,

colors, and shapes. The clear glass vessel takes on

a form reminiscent of an elegant evening dress

which is adorned with a belt of red spikes at the
waist and a band of red rubies at the neck.

Specifications
Country: Czech Republic
Material: Blown and applied glass
Height: 23/<in (60cm)

The replaceable glass

flower tube is made from
a commercial test tube

Flexi vase 1 992-93

This vase by Miguel Calvo
is notable both for its

innovative use of materials

and its unusual shape. It is

constructed from a bent wire

frame onto which a translucent
yellow vinyl is sewn. This, in
turn, has a sewn-on pocket
containing a glass tube for the
flowers. The result is a soft,

flexible structure that reflects

many of the qualities of

the flowers it holds.

Specifications
Country: US
Materials: Vinyl, metal,
glass, and thread
Height.- 14/ir. (37cm)

2000
THE LIVING ROOM
1900 =

BOWLS
A WIDE RANGE OF MATERIALS and a variety of styles
have contributed to the wealth of extraordinary and
beautiful bowls produced over the past century. Bowls
may serve a functional purpose as containers, but they
are frequently intended to be purely ornamental. An
expression of the designer's artistic philosophy is often
discernible in theform and decoration of the product. Dragonfly c.1900
Josef Hoffmann, for example, used hammered silver to One of a limited production, this delicate
express the hand of the craftsman, while keeping the centerpiece is by the Royal Copenhagen
bowl free of unnecessary ornamentation. In contrast, Porcelain Factory. Perched on the edges
Leila and Massimo Vignelli used inexpensive synthetic of the rim is a pair of dragonflies,
materials to produce household goods that challenged whose outstretched wings form
the principles of functionalist design and celebrated the elegant handles.
the fresh ideas of an emerging pop culture. Specifications
Country: Denmark
Material: Porcelain
Widest point: 12in (31cm)

Bowl and stand 1926

Edvard Hald designed this

attractive glass bowl for the

Stand and bowl echo Orrefors Glasbruk, where he was

each other's forms artistic director from 1924 to 1933.

It is engraved with the flat, stylized

outlines of four seated women and is

typical of Hald's work at this time.

Oval fruit bowl 1917 He had spent four years in Paris
The architect and craftsman Josef studying under Henri Matisse
Hoffmann designed this fluted silver (1869-1954), whose
bowl for the Wiener Werkstatte. The
paintings of nudes
hammered finish enhances the silver by clearly influenced
providing a softly textured surface. The
this piece.
Specifications
sympathetic use of materials, classical
Country: Austria Specifications
Material: Silver
proportions, and lack of ornamentation Sweden
Country:
Widest point: 15Min are typical of the work produced by Material: Glass
(39cm) the Wiener Werkstatte. Diameter: 7in (17.8cm)

1900
78
 BOWLS
S
Jazz 1930-31
In 1930, the American Jazz Age was in

full swing. Viktor Schreckengost's punch

bowl is decorated with stylized images of
New York life. The sgraffito designs were
made by scratching through a thin layer
of black clay over white ground before

The sketches
applying the glaze. The interior is

depict a livelv decorated with musical notations.

\:zz theme
Specifications
Country: US
Material: Glazed ceramic
Diameter: 16^in (42.2cm)

Earthenware bowl 1 947

The painted black lines and geometric
shapes on this bowl are suggestive of an
industrial skyline. Detroit-born artist John
Foster was probably inspired by the city's
major industrial and commercial status.

He produced this piece at a time when

the automobile industry was recovering
from its wartime concentration on
the production of armaments.

Specifications
Country: US
Material: Stoneware
Diameter: 9in (23.2cm)

79
THE LIVING ROOM
-

Plastic allows a greater

freedom of color andform

Small bowl 1950-60 Fruit bowl 1 960-70

many
Flavio Poli was awarded prizes for Produced by Heller Designs, New York,
his glasswork, including the Compasso this compartmentalized fruit bowl was
d'Oro in 1954. This heavy, hand-blown created by Italian design team Leila and
glass bowl demonstrates Poli's bold use Massimo Vignelli. The use of plastic,
of sharply contrasting colors. which could be easily formed in bright

Specifications and unconventional colors, is typical

Country: Italy of Italian design of the 1960s.

Material: Glass The cactus
Specifications
Widest point: 7><in (19cm) stem goes
Country: Italy
through the
Material: Plastic
glass itself
Diameter: 16in (41cm)

Nevada 1987-88
American-born designer Hilton
McConnico created this

the established French glassware

bowl for
^
manufacturer Daum. In an amusing
reference to nature, the stem, made
from green pdte-de-verre, is shaped in

the form of a cactus plant. The bowl itself

is made from a thin clear glass, which

is actually pierced by the cactus stem.

Specifications
Country: France
Material: Glass
Diameter: 1 1 Kin (30cm)

80
 BOWLS
2000

uwHigrain is

enharuid irith
1
turning

Wooden bowl 1989

Ronald Kent makes his
exquisite bowls from Norfolk

Island pine. Each bowl is a work

of art, individually produced on a

lathe and turned until it is extremely

Specifications
: thin and translucent. Kent then works
Country: US
Material: Pine wood on the surface with sealant and fine

Diameter: I4JSn sandpaper to enhance the natural

(37cm grain and color of the wood.

Basket bowl 994 1

Made from a single sheet of hardened silver, this bowl Specifications

was designed by British artist Rebecca de Quinn. Country: UK
The piece was laser cut according to the artist's pattern,
Material: Gold
plate on silver
polished, then hand-formed using a speciallv created jig,
Fullest width:
and finallv gold plated. De Quinn is inspired by creating 2in (35cm)
hree-dimensional forms from single pieces of metal.

2000
81
THE LIVING ROOM
1900

Chamberstick 1905
This brass chamberstick was made by
German designer Paul Haustein, who was
best-known for his enamel work of the
1920s. Intended for use in the bedroom, it

is typical of the handicraft work influenced

by the European Arts and Crafts movement
Specifications
Country: Germany
Height.- 4in (9.6cm)

Material: Brass

The finely
executed brass
wasfashioned
'~^.»u«Mi£ ' :..
— ""*"
with a spinning
technique

CANDLESTICKS
ALTHOUGH THE FIRST commercially viable electric light
bulb, or incandescent bulb, was invented by Thomas
Edison in 1879, for many decades electric lighting
in the home was a luxury beyond the reach of all

but the most wealthy. Instead, kerosene or gas

lamps were used along with candlelight. With
the widespread introduction of affordable electric
lighting, candlesticks were relegated to creating
Candelabrum c.1902 atmospheric lighting for the dining table or used for
Josef Maria Olbrich was a leading member religious and ceremonial purposes. During the last
of the Wiener Werkstatte. This two-armed two decades of the 20th century, however, candlesticks
pewter piece is typical of his use of curved have once again become fashionable decorative
organic shapes. Like much of his decorative objects in the home. This has encouraged designers
work, it illustrates the transition between to invent new forms and to experiment with
the naturalistic forms of Art Nouveau and different materials to produce objects in a
the more abstract geometry of Art Deco. variety of contemporary and classical styles.

1 900 ^===!—5====^^
82
 candlestick;
»

Candelabrum 1928
I -rti

ttricml pattern
This candelabrum was produced bv silver manufacturers Reed
. \d on and Barton, which had started to produce pewterware in 1903.
each component of One of a pair, the candelabrum's lines are uncompromisingly
the candelabrum
geometrical and the overall design is functional and devoid of
excessive ornamentation.

Specifications
Country: US
Height: 8in (21cm)
Material: Pewter

The symmetrical
branches and central
post are topped with
identical angular
candle holders

Rectangular-
shaped base is

typical of Art Bubble candlesticks 1930s

Deco styiing During the 1930s, the Chase Brass and Copper Company
was the most successful American producer of chrome
and nickel domestic utensils and accessories. These Art
Deco candlesticks consist of a polished sphere sitting on
a deep blue square of glass mounted on a chrome base.

Specifications
Country: US
Height: 25fin (7cm)

Materials: Chrome-plated
metal and glass

83
THE LIVING ROOM

Candlestick 1959
This amusing candlestick was
designed for Boda by Erik Hoglund.
It is made in thick, clear blown glass

with a heavy base. Applied to either

side of the body are two
The elegant
short arms with four-
shape is inspired
fingered hands, which are by the graceful

raised in jubilant fashion. arch of the

bird's neck
Specifications
Country: Sweden
Material: Glass
Height: 4%in (12cm)
Crane 1988
Matthew Hilton's sensuously curved

candlestick is made from polished cast

aluminum, although it was also available

in bronze. It stands on a flared base, from

which it develops into an elongated "S"-
shape. The zoomorphic form, in this case

derived from the neck of a crane, is

carefully controlled and balanced.

Specifications
Country: UK
Material: Cast aluminum
Height: 16^in (42cm)

: j The polished
finish has a
Cat's eye 1991 Light passing pinkish tinge .

This award-winning candle holder, also through the

available in blue, was designed by Laura translucent finish
illuminates the
Handler for Design Ideas. It is made of
internal structure
ten separate units, each made from frosted
glass. The overall size and appearance of the
Specifications
finished item is dependent upon the number
Country: US
of units used and how they are interconnected.
Material: Cast glass
Here, the units have been formed into a Height: 2in (4.8cm)
slightly curved triangular shape. each unit

84
 CANDLESTICKS
2000

CANDLESTICKS IN THE 1990s

The final decade of the century-
saw a revival of interest in
candlesticks, and shops sold
a dazzling array of candles
and receptacles in which to put
them. These include original
and traditional candlesticks,
sconces, lanterns, floorstanding
candelabra, garden lamps and
pots, chandeliers, and bowls for
floating candles. Some of the most
popular designs are re interpretations
of Gothic wrought iron and pewter pieces.
Ethnic influences can be seen in many of the
wooden, ceramic, and papier-mache candlesticks.
From the austere to the whimsical, each style attests
to the enduring charm of the flickeringflame.
Mirrored wall
sconce

Selection of glass Tree-shaped Candlestick with

candlesticks candelabrum Napoleonic wreath

2000
85
THE LIVING ROOM
1900

LIGHTING
EARLY SHADES WERE DESIGNED simply to hide
the mechanics of the light bulb. However, Louis
Comfort Tiffany's stained glass lampshades cast a
soft, colorful light in room and were beautiful
the
objects in their own right. The move toward a
machine aesthetic, through Art Deco and later
modernism, produced lighting designed with
geometric forms. The functional design of George
Carwardine's 1933 Anglepoise lamp allowed the
user to aim the light directly onto thework area.
New materials such as plastic became popular
for lighting in the 1950s, and,
since then, the use of low-
voltage technology has
allowed greater
flexibility.

Dragonfly c.l 900-10

Typical of the Art Nouveau work produced
by the Tiffany Studios, Clara Driscoll's design

employs a theme from nature. A series of

dragonflies is positioned around the edge

of the shade, and the stem is also inspired

by an organic form — waterlilies.

Specifications
Country: US
Materials: Glass, gilt bronze, and lead
Height: 26^in (67.5cm)

1900
86
 LIGHTIN"
5=
P H Artichoke 1958
Poul Henningsen's lamp is designed

to prevent glare while maximizing

reflected light. Overlapping "leaves"

achieve this by spreading the light

over a large area. Manufactured by
Louis Poulsen & Co., it was originally
designed to hang in public spaces.

Specifications
Country: Denmark
Materials: Copper, steel,
and enameled metal
Height: 27in (69cm)

Copper "leaves
wash the room
in a warm light

Anglepoise 1933
George Carwardine. the designer of the century's most
successful desk lamp, was an automobile engineer by

profession. Reflecting his engineering skills, the design

uses hinges that mimic the joints in a human arm. The

Anglepoise is flexible, balanced, and able to hold any

position. As this example dates from about 1960,
its design differs slightly from the original model.

Specifications
Country: UK
; Materials: Steel,
enamel, and plastic
: Height. 35/^in (90cm) extended
THE LIVING ROOM

Eclisse 1966
Winner of the Premio Compasso
d'Oro prize at the 1967 Milan
Triennale, Vico Magistretti's
table lamp, manufactured by
Artemide, has an adjustable
light. Its name, Italian for

"eclipse," refers to the

way the light is eclipsed

as it revolves.

Specifications
Country: Italy

Material: Enameled
metal
Height: T/i\n
A low voltage
(19cm) is conducted
through
the arms

The free-standing
lamp may be wall-
mounted by hinges
on its base

Tizio 1972
Low- voltage lamps started to become popular in the 1970s.

Richard Sapper's high-tech table lamp is a classic example.

A transformer housed in the base greatly reduces the voltage,

which is then conducted through the metal arms to power
the lamp, eliminating the need for internal wiring. The
result is a slender, elegant structure: finely balanced
and, with its heavy transformer, perfectly stable.

Specifications
Country: Italy

Materials: ABS plastic and aluminum

Height: 46>2in (118cm) extended

88
 20

Jazz c.1990
Ferdinand Porsche is from a family of renowned
designers, best-known for its contribution to
the automobile industry. Made by PAF, his

Low-voltage halogen table lamp has sensors

that electronically regulate the light.

The switch is luminous.

Specifications
The adjustable
Country: Italy
and movable
Material: Plastic
arm allows
Individual spikes Height: 25in (63.5cm) extended
the lamp to
move around.
foldflat
creating a soft.

tsed light

Urchin IL36 1991

GoldmanArts describes

its products as "hysterical

architecture." This is

one of several inflatable

lamps designed by Jonathan
Goldman. The gently swaying,
colorful, and playful nylon
structures are intended to resemble

a sea urchin as it moves in the ocean's

current. The lamp's soft shades have no

structural support — a small fan both

inflates the shade and cools the bulb.

Specifications
Country: US
Materials: Ripstop nylon
fabric and metal
Diameter: 25in (64cm)

1QL
89
THE LIVING ROOM
1900

RADIOS
THE EARLIEST RADIOS, known as crystal sets, had their
workings left totally exposed, and the listener was
required to wear headphones. It was not until the late
1920s that radios were designed to incorporate all of
the components within a single housing. Initially,

these resembled items of furniture; but with the

introduction of plastics, they began to acquire a
visual language of their own. In 1955, Sony launched Gecophone c.1925
its first transistor radio, and with it began the journey Using a horn to amplify sound was a
toward miniaturization. Today, it is possible to make huge advance on the early crystal sets, for

radios only a few millimeters wide. which headphones were necessary. Apart

from the horn, the parts were housed in

Vol ksempf anger a plain wooden box, which was better

suited to the domestic environment.
VE 301 1928-33
As with the VW Beetle Specifications

(see p.514), the design for

Country: UK
Height: 6Xin (16cm)
this radio was endorsed by
Materials: Wood and metal
Adolf Hitler. The model
number refers to the date

Hitler became Chancellor —

January 30, 1933. The
Volksempfanger, meaning
"people's radio," bears a
symbol of the Third Reich
under the dial. For propagand
reasons, it was not possible to
Bakelite control knobs
receive transmissions from
add a modern touch
abroad on this set.

Specifications
Country: Germany
Pye radio early- 1930s
Height: 15Xin (39cm) The loudspeaker grille gave designers the
Materials: Bakelite opportunity to develop a visual identity
and fabric for their company. Pye used a stylized
sunburst, which was a popular Art Deco
motif. The trademark also served as
Country: UK
decoration, which increased the radio's Height: 16in (41cm)
aesthetic appeal. Materials: Wood and Bakelite

1900
90
 RADIO
!
Ekco Model AD 65 1 932-34
Early cabinet wireless sets often had the appearance
of pieces of furniture. Breaking with this tradition,
the Ekco AD 65, designed by Wells Coates, was
made from the new man-made material Bakelite.
Its bold circular form, chrome-plated grille, and
prominent dials were uncompromisingly modern.
Specifications
Country: UK
Height: 40Min (103cm)
Materials: Bakelite
and fabric
Handles were a

a
distinct feature of
the period, meeting
the demandfor
portability

mmnimmmfflmmmmmmmmmmffl

EiiiEEEEiS
ssssss
HfflHRSSSSHSa

Ekco Type U122 1950s

Plastics radically changed the appearance of radios,

which became available in a range of colors

and shapes. This process was aided by the

miniaturization of the receiver through
advances in valve technology.
Specifications
Country: UK
Height: 8Min (22cm)
Material: Bakelite

I
THE LIVING ROOM

Braun SK 25 1955 Super RT 20 1961

In 1954, Fritz Eichler was hired by Artur The range of stereophonic equipment that Dieter
Braun to modify the company's product range Bams designed for Braun in the 1950s and '60s was all

by adopting a more functionalist approach. executed in the same austere, functionalist style. The
The basic plastic shell and simple controls of Super BT 20 had many of the same characteristics as

the SK 25 typify the rationality that has come his earlier Phonosuper record player (see p. 102).

to be associated with Braun products. Specifications

Specifications Country: Germany
Country: Germany Height: lOin (25.5cm)

Height: 6in (15.5cm) Materials: Plastic, metal,

Materials: Plastic and metal and wood

The telescopic
Brionvega Ls 502 1 964 antenna could
In the 1960s, Bichard Sapper and Marco One side of the be pushed into
radio housed the the cube when
Zanuso were commissioned by Brionvega
speaker, the other not in use
to design a series of radios and televisions.
the receiver
The Ls 502 folding radio,
an early example of the
application of transistor
technology, was a battery-
powered portable designed
to go anywhere. For easy
transportation, the radio

folded up to form
a small box.

Specifications
Country: Italy

Height: 5in (12.5cm)

Materials: Plastic and metal

92
 RADIOS
2000

RADICAL RADIO
Daniel Weil's Bag Radio,
part of his degree show at
the Royal College of Art,
London, challenges
traditional notions of
how a radio should look.
Instead of hiding the
components within a
solid shell, Weil has chosen
to display them in a
Hitachi KH-434E 1970s transparent PVC hag.
This portable radio is tvpieal of the
The exposed workings,
wide range of electronic consumables combined with the
produced in Japan. With its competitive splashes of color.
prices. Japan now dominates the radio provide a quirky,
market. This model can be powered decorative quality. Radio in the Bag, 1981
either by battery or AC electncitv.

Specifications
Sixty turns of the
J : . il japan
winding handle give
Height: 4Ain (1 1 cm) The heavy plastic
about JO minutes
Material: Plastic casing protects the
playing time
internal generator
and gearbox

Windup Freeplay
Radio 1995
Trevor Bavlis invented the
Y\ indup radio for use in

developing countries, where

a free and convenient energv
source was needed to receive
broadcasts. Although very
simple in design, the radio
incorporates two of the main
design concerns of the 1 990s:
ecology and communication.

Specifications

Height: TAin (20cm)

Material: ABS plastic

2000
93
THE LIVING ROOM
1900

TELEVISION SETS
IN A BROCHURE aimed at its retailers,
manufacturer E.K. Cole Ltd. predicted
that 1939 would go down in history as
"Television Year." In fact, it was the radio
that dominated homes as people avidly
followed the year's historic international
events. Since then, however, the television
Televisor 1926
set has made a greater impact on our
The world's first demonstration of
domestic lives than almost any other 20th-
television, or "visual wireless," was
century invention. In early form, its sheer
given by Scottish inventor John Logie
size made it the dominant item in any
Band (1888-1946) in 1926. However,
room; but the miniaturization of electronic
his mechanical Televisor, with its small
components in the 1950s facilitated its
screen positioned on the right, could not
transformation from large, bulky wooden
broadcast sound and pictures together.
box to the slim, slickly styled consumer
Specifications desirable we know today.
Country: UK
Materials: Metal and Bakelite
Height: 22in (56cm)

Bush TV12 1949

In the 1930s, mechanical
television sets were replaced
by electronic models that used
cathode ray tubes to project
electrons onto the screen. Early

sets cost as much as a car; but

by 1949 less expensive models,

such as this Bakelite television
by Bush, were widely available.
Specifications
Country: UK
Material: Bakelite housing
Height: 16^in (42cm)

1900
94
 TELEVISION SETS

The screen can be

both protected and
disguised behind
cabinet doors

The large, chunky

controls typify the
uncomplicated
styling of the set

Specifications
Country: UK
Material: Wood
Height: 35%in
(89.3cm)

Mullard 1950s
By the 1950s, the television set was
part of the furniture — in some cases,

literally so. With its two wooden doors,

this Mullard set had the appearance of
a cabinet, to be opened when its services

were required and disguised when

not. Its impressive size indicates the

dominant presence that television

had established in the home as the

century entered its second half.

- !
95
THE LIVING ROOM

Sony TV8-301 1959

Original in its design, as well as
technically innovative, the TV8-301
was the world's first all-transistor

television and established Sony as

the world leader in electronics.

Sony was able to utilize the
Specifications
miniaturized parts it had developed
Country: Japan
for its pocket transistor radios to
Material: Metal
develop this remarkable-looking Dimensions: Not
portable set. known

JVC Videosphere 1 970

In an effort to distance plastic from
its disposable associations, designers
used it for expensive consumer items
like television sets. A radical rethink

of the traditional television shape, the

Videosphere looks like an astronaut's helmet
reflecting public interest in space travel.

In 1969, 600 million people had tuned

in to watch men walk on the Moon.
Hi
Specifications
Country: Japan
Material: Plastic III III III
Height: 11 in (28cm)

96
 ———r
TELEVISION SETS
2000

Sony KV-32 FD 1 1 998

Millions of dollars are now spent by
electronics companies in an effort to

produce the highest -quality television

set with the most desirable appearance
and price. There has been a vast range

of technological innovations in the

B - ind "90s. including the develop-

ment of flat- and wide-screen televisions,

exemplified by this sleek, angular Sony

Trinitron® flat-screen model.
Specifications
Country: Japan
Material: Plastic
Height: 27in (68.5cm), Width: 35^in (90cm)
Minimalist I

designs dominated
the late 1990s

With a depth
of less than
6in (IS cm), the
screen can be
positionedflat
against a wall

Sony PFM500A1WU 1999

These large, flat-panel, plasma display screens opened a new
world of viewing possibilities. They offer dramatic home theater
Specifications
images with clear, crisp detail and high-quality color purity.
Country: Japan
This model includes features such as adjustable picture size,
Material: Plastic
picture zoom, picture still function, on-screen display in five Height: 25in (63.5cm)
languages, self-diagnostic function, and a built-in audio amplifier. Width: 40Min (103 5cm)

2000
97
THE LIVING ROOM
1900 =
VIDEO RECORDERS
THE FIRST VIDEO RECORDER was developed
by John Mullin and Wayne Johnson in
California in 1952. Early models, such as
the Ampex VR-1000 and the BBC VERA
enormous machines that used more than
10 miles (16km) of tape per hour — were
never intended for use in the home. The
first domestic video recorder, the Sony

CV-2000, was developed in 1965. Video

cassette recorders were introduced by Philips N-1500 1971
Philips in 1971, and soon became as Although a monochrome video recorder was developed
commonplace in the home as a television. in 1956 and a color recorder in 1959, the Philips
Integrated television and video recorders N-1500, with its mechanical clock, was the first
were introduced in the mid-1990s. commercially successful video recorder.

Ferguson Videostar 1980

After the 1970s' "video war"
between Sony and Matsushita
(the latter's VHS format won the
day), video recorders, like the

Videostar, became technically

more sophisticated. However,
they remained bulky appliances.

Panasonic NV-
HD645 1999
Highly-styled slender
video machines
dominated the 1990s.
Features included
remote control, multi-program
operations, long play facilities, and bar-code programming.
This Panasonic model also features 60-second jet rewind, a power
saving function, and an owner identification code for security.

1900
98
 VIDEO RECORDERS
— 9QOO

The compact
design of this
palm- top unit
includes an
LCD screen

Panasonic
DVD-L10 1998
In the late 1990s, the DVD
(Digital Versatile Disc)

format revolutionized home

entertainment. In addition
to excellent audio and video
performance. DVD players
offer viewing features that
include widescreen format
and multiple camera angles
This model was the worlds B«GHT COLOUR
first portable DVD player.
Specifications
Country: US
Height: lfcin (4.3cm)

Width: 6A\n (16cm)

r
»o/»/c

The built-in

speakers can
provide virtual
surround
sound

2000
99
THE LIVING ROOM
1900

MUSIC SYSTEMS
MECHANICAL, WIND-UP disc players were introduced in 1886 by Emile
Berliner, who coined the term "gramophone." Their sound quality
was better than the cylinder versions they replaced and the discs
could be mass-produced. The huge amplifying horns meant that Sound travels

up through
these first machines were uncased; but designers soon reduced the
the body of
size of the motor and developed the internal horn, so the whole the horn

unit could be housed in a single cabinet. In 1956, Braun transformed

the look of the radio-record player with the Phonosuper SK4. With
its clear plastic lid and detached speakers, it became the industry

standard. Bang & Olufsen's 1972 Beogram 4000 was one of the
most sophisticated turntables ever produced, only to be superseded
in the 1980s by the compact disc player. Today, digital
technology threatens the vinyl disc with obsolescence.

Graphophone c.1900
The cylinder phonograph was developed by Thomas Edison in
1878. Initially it was sold for dictation, but companies soon turned
to the more profitable line of music. The Graphophone worked
by picking up vibrations from a cylinder through a stylus, which
was connected to an amplifying horn. With this system it was
possible to make home recordings, but the sound quality was poor.

Specifications
Country: US/UK
Length of stand: ll^in (29cm)

1900
100
 MUSIC SYSTEMS

Pathe gramophone c.1908

This gramophone was designed as a piece of furniture
— something that would be given center stage in
the home. A clockwork motor is housed beneath
the turntable in a wooden box, which has a carved

decorative edging. The influence of Art Nouveau

can be seen both in the carving and the attractive,

flower-shaped horn. This style of horn was known

as "Morning Glory" after the flower.

Specifications
Country: France
Height: 26^in (67cm)

Selecta portable 1 920s

Portable gramophones
changed little in style from
the 1920s to the 1950s. This
example, housed in its own

carrying case, is wound by a

spring and has an internal
horn. Records can be stored
in a pocket under the lid.

Specifications
Country: UK
Height: Not known

Bermuda Dansette 1 950s

By the 1950s, popular music had
become a major industry. With the
advent of rock 'n' roll, teenage
culture was taking off and new
commercial opportunities were
beginning to emerge. The
The large horn
shaped Dansette, with its colorful,
is to

resemble the modern styling, was aimed

petals of aflower at this youthful market.

Specifications
Country: UK
Height: 23Min (60cm)

101
THE LIVING ROOM

Braun Phonosuper SK55 1956

Also known as "Snow White's SK55 was exhibited
Coffin," the

at the XI Triennale in Milan in 1957, when Braun was awarded

the grand prize. Designed by Dieter Rams and Hans Gugelot,

o it is a fabulous piece of minimalist design. The clear Plexiglass

lid was an innovative concept that was widely copied

hi-fi industry.

Specifications
Country: Germany
Height: 9Xin (24cm)
in the

The flat, minimalist

design still seems
contemporary

Beogram 4000 1972

Aimed at the top end of the market, Jakob
Jensen's Beogram 4000 turntable for Bang
& Olufsen was designed using the most
sophisticated electronics and precision

engineering. It was the first record player

to have an electronically operated tangential
arm, which gives superior sound quality.

Specifications
Country: Denmark
Height: 4in (10cm)

Denon Stacking
System D-90 995 1

The compact disc has become so popular that in the 1990s most music
systems do not include a record player. Integrated stacking systems,
like this D-90 by the British company Denon, are the most commor
This system includes receiver, CD player, and cassette tape deck, each
styled in the sleek silver gray that characterizes Denon products.

Specifications
Country: UK
Height: 11 Kin (30cm)

102
 MUSIC SYSTEMS
- 2000

CD TECHNOLOGY

m:: in

Philips compact disc player, 1983

In a joint venture in 1979. Philips
and Sonv developed the compact disc.
Sound is recorded onto an aluminum
plate in millions of tiny micro-cells,
known as "pits. " It is then reproduced
bv a laser beam scanning across the
surface of the disc as it spins, and
tending a signal back to the player
for decoding. The first compact disc
player was launched in Japan in
1982, and in Europe in 1983. This
Philips CD 200 was one of the
earliest models available.

The loudspeakers are made

of aluminum and mounted
on a solid cast-iron base ,

Beosound 9000 1 999

This unit can
This audio system by Bang & Olufsen can
be used vertically
play sixCDs one after another without a (as here) or

pause. An arm that plays the CDs moves horizontally

up and down the row of discs. The unit

can be displayed vertically, laid on its side.

or face up. Amplifiers are housed in the

loudspeakers, one has treble, the other bass

Specifications

Main unit (without stand):

35/,xl2in (90 x 30cm)

2000
103
THE LIVING ROOM
1900

TAPE MACHINES
LATE 19TH-CENTURY EXPERIMENTS with tape recording
included Danish engineer Valdemar Poulsen's
Telegraphone, the first magnetic sound recorder.

However, itwas not until the 1930s and the invention

of plastic magnetic tape that tape-playing machinery
became a practical proposition. The appearance of the
machine itself has changed and adapted as technology
has advanced. Early reel-to-reel tape machines looked
plain, utilitarian, and prohibitively bulky. However,
Compact Cassette in
since the launch of Philips'
1963, machines have became more portable, more
streamlined, and more inventive in design.

Reel-to-reel tape machine 1 950

Traditional reel-to-reel, or open-reel, tape machines like this
1950 model had their origins in a system called the
Magnetophon, produced by AEG Telefunken in 1935. The
design determined the shape of tape recorders into the 1960s
and '70s, with the flat, top-loading system challenged only
by the introduction of the front-loading rack systems.
Specifications
Country: Not known
Material: Not known
Width: HXin (36.2cm)

The carrying
case suggests this
model was aimed
at reporters Philips EL3300 1964
In 1963, Philips introduced the world's first compact
tape cassette, measuring just 4in (10cm), it could
play both stereo and mono recordings. It was
launched with the first compact cassette recorder.

Specifications
Country: Netherlands
Material: Polystyrene housing
Width: 4^in (11.5cm)

1900
104
 TAPE MACHINES
-

Yamaha TC800D 1 975

In the mid-1970s, Yamaha commissioned Mario Bellini
to design a new cassette recorder. The result was this
innovative wedge-shaped "Natural Sound Stereo Cassette

Deck." The recorder has a pitch control that can vary

the tape speed, and a Dolby noise reduction system.

Specifications
Country: Japan
Material: ABS plastic housing

Width: 12in (30.5cm)

The recording
button is on
the outside

of the casing

Sony Walkman 1979

The world's first personal stereo, the Walkman, was launched by
Sony in 1979. pioneering a major new product in the audio industry.

The Walkman uses advanced micro-electronics to produce high

quality, unwavering sound from the smallest possible unit.

Specifications
Country: Japan
Material: Aluminum & plastic housing
Width: Not known

105
 .

THE LIVING ROOM

-

Panasonic ghetto blaster 1980s

"Ghetto blaster" is a generic term
derived from the young urban population
that was attracted to a particular type of

large, portable music system. Produced in

hard-edged black or, like this Panasonic

model, brightly colored, these
rectangular boxes often have detachable
speakers. Even though they are battery-

operated, they produce a powerful sound.

Specifications
Country: Japan
Material: Plastic housing
Width: 21 Xin (55cm)

Matsui STR323 1996

The 1990s have witnessed the return of softer
styling in tape machinery, with rounded forms
and pastel colors recalling 1930s streamlining

and the car designs of Harley Earl. As the

Matsui STR323 shows, the hi-tech features
that were given center stage
on models like the Yamaha
TC800D have been hidden
Philips DCC170 1995 in favor of retro styling.
In 1992, Philips introduced the Digital
Specifications
Compact Cassette system, an innovation
Country: Japan
in digital sound recording. The Material: Plastic housing
technological sophistication is reflected in Width: 16Xin (42.5cm)
the hardworking design of the housing,
with its numerous function buttons.
The rounded
Specifications speaker casing
Country: Netherlands recalls 1930s styling

Material: Plastic housing

Width: 4Xin (11cm)

+ *> — 106
 TAPE MACHINES
2000

(*> i» r n <»

:<13 6 — 6- -^
— llllw J3VSY5TP.'!
1 1
1

3ED r
. ^_ •-

Panasonic
: i j £ - - «

Sony Minidisc
player 1999
The minidisc records and
decodes sound digitally with
the quality of a CD, so the
unit is stable enough to be
used while on the move.
Specifications
Country: Japan
Materials: Aluminum
alloy housing
Width: 4Xin (11cm)

2000
107
 KITCHEN & Stoves

DINING ROOM Refrigerators

Washing machines

Coffeemakers

Kettles

Toasters

Food processors

Cutlery

Tea & coffee sets

Dinner services

Glassware

Drinks accessories

Dining furniture
KITCHEN & DINING ROOM
1900

The Metropolitan c.1910 Gas was turned on

by means of these
By the 1900s, many urban households
simple levers
had access to a gas supply. This gas stove
constructed from cast iron, is typical of

early kitchen appliances. It has a crude,

industrial appearance and would

have been difficult to operate. Later,

enamel replaced the rust-prone

cast-iron finish.

Specifications
Country: UK
Height: 33in (84cm)

STOVES
EARLY GAS STOVES resembled the
heavy cast-iron ranges of the 19th
century. Later, they were raised
on slender legs — a feature that
emphasized the lighter mechanics
of the gas appliance. Designs for
electric stoves, introduced in the
1920s, tended to emulate their gas
counterparts; and by the end of the
1930s, a standard type had been
established that was to endure in
popularity for decades. This compact,
flat-topped stove formed a continuous
surface with the kitchen worktop.
Today, technical advances make it

possible to combine electric oven and

gas stove or vice versa, an innovation
that coincides with a flexible new
kitchen aesthetic catering to the
individual's taste.

1900 , -
1 10
 STOVES

Ago 1929
Gustaf Dalen, a Swedish Nobel
Prize winner, invented the Aga
stove in 1922. It was licensed for

production in the UK in 1929 and,

after several redesigns, it is now
available in a range of colors, in

addition to the traditional cream

enamel finish. The Aga burns fuel
constantly, retaining heat for

cooking — used through several

ovens and the hotplates — in its

cast-iron shell.
The sirrunering and
Specifications
boiling plates have
Country: UK
elegant, chromed
Height: 33^in (85cm)
insulating lids

"
New World
stove 1950s
Designed for the modern
home, this cream enameled
stove is representative of
the standard type established
in the late 1930s - a flat-

topped box that fitted into

the continuous horizontal

work surface of the custom
kitchen. It has four
hotplates, a grill, a plate

rack, and a thermostatically

controlled oven.

Specifications
Country: UK
Height: 56in (142cm)

11 1
KITCHEN & DINING ROOM

FAST FOOD
The idea of microwave
cooking was developed
by Percy LeBaron
Spencer, an engineer
at a radar equipment
company in the US. The
microwave oven was
patented in 1946, but the
first models were bulky,
expensive, and restricted
to industrial use. In the
1960s, domestic models
became available. Microwave oven, 1 955

Kitchen Tree 1 984

Designed by Stefan Wewerka for Tecta, the Kitchen The fan-
Tree is the ultimate in space economy, comprising a sink, shaped stove
three electric hotplates, a work surface, storage basket, maximizes use

— of space
and hanging facility all extending from a central
around the tree
column. Wewerka's asymmetrical design breaks with
convention, challenging the traditional kitchen.

COMPACT KITCHEN
Designedfor the Italian
manufacturer Boffi by Joe
Colombo, this self-contained
mobile mini kitchen consists
of a two- ring electric stove,
refrigerator, cupboard,
and drawer space — all
housed within an area of
approximately one cubic
meter 05 cubic feet).
Specifications
Mini kitchen. 1963 Country: Germany
Height: 77in (196cm)

1 12
 COOKERS
2000

Mjk

Neff B1441
oven and
stove 1996
The integral oven and stove unit is no longer
the standard in cooker design. The two parts

can be bought separately and the kitchen

layout manipulated to suit the consumer's
requirements. Top-of-the-range built-in
ovens offer a range of user-friendly features,
including a heat-reflective glass oven door, Specifications
slender bar handle, pushaway control Country: Germany
knobs, and illuminated dials. Height: 23in (58.9cm)

2000
1 13
KITCHEN & DINING ROOM
1900 =
REFRIGERATORS
AT THE TURN OF THE CENTURY, for those lucky
enough to have one, refrigerators were simply-
wooden cabinets housing ice boxes. The first
domestic refrigerators appeared in 1913. These were
cumbersome and had relatively small storage spaces.
Some had the cooling mechanism mounted outside
the appliance, above the food compartment, earning
them the nickname "the beehive." The use of sheet
I
metal led to the traditional metal box shape. For a
long time, Europeans considered refrigerators to be
an unnecessary luxury. In the US, refrigerators were
far more popular with consumers (sixty percent of
the population owned one by 1941) and, as a result,
many design features originated there. Since the
1950s, refrigerators and freezers have been available
in a much wider range of styles,
colors, and configurations. The lower half
of the refrigerator
houses a heavy motor

STREAMLINING
This refrigerator was Small-capacity fridge 1930s
designed byRaymond Made by The British Thomson-
Loewyfor the US mail Houston Company, this refrigerator
orderfirm Sears
is typical of early models. Although
Roebuck. Its streamlined,
it is large and heavy, the cold storage
pressed-steel styling
area is small, with the motor
resembles the bodywork
occupying considerable space. The
of a The rounded
car.

corners and gleaming two dials at the top of the fridge

white finish created a operate the on/off mechanism and

new "hygienic " look that the temperature control.
Coldspot Super Six, was widely copied by Specifications
c.1934 other manufacturers. Country: UK
Height: 52in (132cm)

1900
1 14
 Prestcold fridge late- 1950s
This Prestcold refrigerator is clearly

influenced by Raymond Loewy's Coldspot

Super Six. Its shape demonstrates many
of the characteristics of the automobile

industry's products. The gently curving

lines, the handle, and the logo in the
right-hand corner are all reminiscent
This handle of car styling.
pulls down to
Specifications
reveal a large
Country: UK
freezer section
Height: 47in (119cm)

Prestcold
fridge 1 950s
This Prestcold refrigerator
demonstrates a move away
from the functional, hygienic-
looking white or cream finish
that had become standard.
The inside is light blue,

which, along with pink,

was particularly popular.

The spacious interior is

compartmentalized to

separate different food types.

A small freezer section is

for frozen foods, which had

started to become readily

available after World War II.

The exterior's rounded

corners, refined graphics,

and square handle give

it a modern look.

Specifications
Country: UK
Height: Not known

=============
115
KITCHEN & DINING ROOM

1 16
 REFRIGERATORS
2000

Smeg SP16 1995

During the 1980s the vogue was for

refrigerators to be invisible, hidden behind

panels in custom kitchens. The Italian

manufacturer Smeg is one of a number

of companies that challenged this in
the 1990s: its large-capacity fridges and
freezers are produced in bold primary
colors. The overall shape maintains a

simple geometry with clean lines.

Specifications
Country: Italy

Height: 64/«in (164cm)

Amana SRDE520TBW 1999

Traditionally, the US market has favored
larger capacity refrigerators than have been

standard in Europe. However, large models are

steadily gaining popularity with Europeans, like

this side-by-side Amana unit, which measures

35Xin (91cm) wide. The left-hand door opens
onto a freezer cabinet, while the right houses
a normal refrigerator. This model includes an
external cold water and ice dispenser and
aluminum cladding.

Specifications
Country: US
Height: 68Xin (174cm)

- ?ooo
1 17
KITCHEN & DINING ROOM
1900 =

WASHING MACHINES
WASHING MACHINES HAVE BEEN AVAILABLE in one form or
another for over 200 years. Before the widespread use
were aimed at the industrial market
of electricity, they
and those who could afford to send their clothes to
public laundries. Early tubs had to be filled manually
with preheated water, and then turned by hand. Until
the introduction of the twin-tub, with its separate
drum for spinning, saturated clothes were passed
through a mangle or wringer. Twin-tubs, such as the
Rolls Duo-Matic (see pp.120— 21), remained in common
use until as recently as the 1980s, as acceptance of
the less labor-intensive front-loading machine was
surprisingly slow. As discreet in styling as they are
powerful in performance, front-loaders now dominate
the market. The latest models minimize environmental
Early washtub 1920s impact, attesting to the eco-conscious attitudes of
Before electricity became widely the 1990s consumer.
available, washtubs were hand-operated.
There were numerous ways of agitating
the wash, including pounding, squeezing,
and rocking, which were all very labor
intensive. This machine is driven by a
handle linked to a central paddle that
churns the laundry.

Early wringer 1 920s

From the beginning of the century,
most households would have been
The flywheel
equipped with a wringer. This was turns the

used to squeeze water out of wet rollers, which

apply pressure
laundry and to smooth linen. There
to the clothes
were many different styles of wringer,

both freestanding and table-mounted.

This one is attached to a hinged roller-
frame, which folds downward to

convert into a table.

1900
1 18
 WASHING MACHINES

Protos washtub c.1930

Throughout the century, advertisements for domestic
appliances have tended to exaggerate their laborsaving
properties. This advertisement for the Protos electric When not in use,
washtub implies that the machine will relieve the the wringer can

drudgery of laundry day giving the housewife be folded into

the machine
freedom to pursue other interests.

The detachable
handle enables
the wringer to

fold into the

machine

Simple in

design, the
square lid has
C two aid
l/Uur KENMORE its
slots to

placement

operator
UNIT CONTROL

Kenmore Toperator 1933 Hoover Model 0307 1 948

Designed by Henry Dreyfuss and sold This freestanding washtub with hand wringer was the
through the Sears catalog, the Toperator first product manufactured by the UK branch of Hoover.
shows the growing importance of styling Capable of handling a full family wash, the semi-
in domestic appliances. Finished in mottled automatic machine could heat the water electrically
green enamel with chrome trim, the sleek, to maintain a steady temperature. The wash was
streamlined bodv conceals the mechanics. agitated by a pulsator attached to the side of the tub.

1 19
KITCHEN & DINING ROOM

l^fr

English Electric Liberator c.1950

Relatively expensive front -loaders were
introduced m the 1940s, revolutionary
for combining fully automatic washing
and spinning in a single drum.

Rolls Duo-Matic 1963

The twin -tub has separate drums for
washing and spinning. It did not require
plumbing, but included hoses for water
input and waste. The machine can be
wheeled to the sink for water.

120
 WASHING MACHINES
;^-2000

The twin-tub was

still a relatively
awkward top-loader

Compared with early

machines, these flush
settings are operated
with minimum effort

Miele Novotronic 1 996

The Xovotronic's advanced electronic
programing minimizes consumption
of water, energy, and detergent — an
indication of the environmentally
conscious spirit of the 1 990s.

2000
121
KITCHEN & DINING ROOM
1900

COFFEEMAKERS
MOST COFFEE CONNOISSEURS have their own preferred
— and usually very precise — techniques for preparing
their favorite beverage. This is reflected in the rich
assortment of coffee machines available, which
includes percolators, drippots, vacuum pots, cafetieres,
and cappuccino makers. One of the most popular is

Alfonso Bialetti's Moka Express, still favored by

Italians for its excellent, strong espresso. Among the
modern pots, the elegant Filumena 2 by Sabattini
best embodies the simple, formal aesthetics that
perfectly suit the ritualistic nature of coffee-making.

Moka Express 1933

The enduringly popular Moka Express coffee-
maker was first designed and manufactured in
the 1930s by Alfonso Bialetti. This octagonal-
shaped percolator is cast in aluminum and has
a plastic handle. It continues to be manufactured
today by Alberto Bialetti, grandson of Alfonso.

Specifications
Country: Italy

Materials: Aluminum
and Bakelite
Height: 8in (20.2cm)

Wear-Ever coffee pot 1 934

Lurelle Guild was employed by a number of
companies in the 1930s to design aluminum
kitchen utensils. The form of this well-
proportioned cylindrical coffee pot clearly
Specifications
expresses function. Designed by Guild for easy
Country: US
production, the pot is made from aluminum, Materials: Aluminum and Bakelite
with the handles molded in Bakelite. Height: 11 in (28cm)

1900
122
 COFFEEMAKERS

"CONA" coffeemaker 957 1

This attractive, hourglass-

shaped coffeemaker is by
British industrial and graphic
designer Abram Games. The
heat-resistant glass bowls are

suspended from a plastic arm,

which is mounted on a

polished metal base.

Specifications
Country: UK
Materials: Glass and plastic Glass coffeemakers
Height: 11 ^in (29.6cm) have traditionally
been considered more
Hot water is drawn sanitary than their
from the lower bowl metal equivalents
and mixes with the
coffee grounds

The plastic arm

holds the coffee- As the lower bowl
maker above cools, a vacuum is

the flame formed and the

coffee is filtered

back into it
 Specifications
Country: Finland
Materials: Enameled
metal and plastic
Height: 7^in (18.8cm)

The body of the pot is

tall and slender, with
Finel coffee pot 1 957 simple, elegant lines
The work of Finnish interior and
industrial designer Antti Nurmesniemi,
and a product of Wartsila, the Finel pot
has a cylindrical metal body that narrows
toward the top. It is finished in bright

red enamel, with a black plastic handle.

The innovative,
radiating spiral
design prevents the
handlesfrom
overheating

Filumena 2 1985
Filippo Alison's design
for the tall, elegant

Filumena 2, manufactured
by Sabattini, was motivated
by the Neapolitan tradition of
coffee making, which involves
using the grounds twice. Coffee
is made by first filtering the
water through previously used
Specifications
grounds, before passing it
Country: Italy
through fresh grounds
Material: Silver-plated
to produce a strong and brass alloy
aromatic drink. Height: lO^in (27cm

>>
124
 COFFEEMAKERS
2000

Cafetiere 1986 Specifications

Aldo Rossi began working Country: Italy

Materials: Stainless
with Alessi in the early
steel and glass
1980s. His method of working
Height: 6%n (22cm)
is to present the technicians

with outline sketches, rather

than finished plans. From
GAGGIA
Although the first espresso
these, some of Alessi's most
machine was patented in
successful coffeemakers have
1902 by Italian Luigi
been created. This cafetiere Bezzera, the process of
shows Rossi's passion for
forcing hot water through
architecture — the lines a filter of ground coffee
and proportions of the beans was popularized by
machine have clearlv been Achille Gaggia in the late
inspired bv classical columns. 1940s. His domestic espresso
machine, with its piston
and lever system, was
introduced in 1948 and
became an essential
ingredient in the 1950s'
Hot Cafetiere 1 998
cult of the coffee bar.
This innovative design
consists of a glass jug inside <

plastic outer walls. The

-
unique twin-w alled system
r
m
keeps the coffee warm for

up to 90 minutes, while
the outside of the cafetiere \ %':

remains cool to the touch.

"ttBai
Although insulated models
had been produced for K5.*f ;-:.- $

catering use, this was the

first see-through design,
thus maintaining the look
of the traditional cafetiere
while adding new features.

Specifications
Country: UK
Materials: Glass, plastic,
and stainless steel
Height: 9in (22.7cm)
Ga ggia espresso
m achine, 1990
i 2000
125
KITCHEN & DINING ROOM
1900 •;

Copper kettle 1 909

One of the most successful and influential projects by the
pioneering German designer Peter Behrens was the line
of kettles he introduced in the early years of the century.
There were three basic body shapes: octagon, cylinder, and
half-oval; three different colors: brass, copper, and nickel;

three types of finish: hammered, dragged, and plain; two

lid designs; two handle shapes; and two plinth styles.

They were all interchangeable, so that 8 1 di

kettle combinations were possible,

though only 30 were marketed.

Specifications
Country: Germany
Materials: Plated, hammered
copper and wicker

Silver kettle 920s

KETTLES When
1

Danish silversmith Georg

EARLY ELECTRIC KETTLES were hazardous Jensen died in 1935, the New York
appliances: the metal heating element was not Daily Herald called him "the greatest
waterproof and therefore had to be configured craftsman in silver of the last three
beneath the base of the kettle. Immersable hundred years." This hot water pot
elements appeared in 1921 — some 30
first from the 1920s is a fine example of
years after thefirst kettle had been produced his craft. Although the solid silver pot

by the US company Carpenter Electric Co. could be lifted from the base to be
However, the electric version never filled, to pour water it was pivoted
completely replaced the traditional hob forward on its two side arms. The
kettle, which enjoyed a new lease of life in stand included an integral oil

the 1980s when the Italian company Alessi lamp that heated the water.
produced its "Kettle with a Bird-shaped Specifications
Whistle" (see pp. 128-29). The company has Country: Denmark
since sold more than 100,000 of these a year. Materials: Silver and ebony

1900
126
 KETTLES

The arch of Whistling kettle 1950s

the handle is
A good example of durable,
carved from
ebony utilitarian design, this whistling

kettle has a Bakelite handle and an

integral whistle, which can be lifted

The skill of the to open the spout and pour by

silversmith is
depressing a lever on the underside
evident in the
of the handle. The polished stainless
delicate decoration
steel body of the kettle has simple

styling elements reminiscent of

1930s designs.

Specifications
Country: UK
Materials: Stainless steel
and Bakelite

By placing the
handle at the
back, the hand is

kept awayfrom
rising steam

127
KITCHEN & DINING ROOM

AUTOMATIC TEA MAKERS

nInk-

Goblin Teasmade, 1950s

Goblin introduced its legendary
Teasmade automatic tea maker
in 1937. With its curvaceous cream
styling, this plastic 1950s model
was handsome in appearance,
but not without technical
drawbacks. In theory, the kettle The blue plastic

would heat the water to boiling grip is highlighted

with red details
point as the user slept; but, in
practice, it did so with such clatter
that only the heaviest sleeper
wouldfail to wake up. Tea was
produced when the boiling water
was drawn up the metal pipe to
the teapot, where it dribbled
onto the tea leaves.

Alessi kettle 1 983

The architect Michael Graves designed this

"Kettle with a Bird-shaped Whistle" in 1983

for Alessi. With its ornamental detail and
playful imagery, it is a highly successful
and typical piece of postmodernist design.

Specifications
Country: Italy

Materials: Stainless steel

and polyamide

128
 KETTLES
2000

Rowenta Express 1983

The development of plastics able

to withstand high temperatures

revolutionized kettle design and paved the
way for the jug kettle. Exemplified in this
1985 model bv Rowenta, jug kettles are able to
hold more water than traditional kettles. Some
have a coolwall feature that makes them safer
than metal kettles, and all have a gauge to
indicate how much water there is in the jug.

Specifications
Country: Germany
Material: Plastic

The whistle is shaped like

a bird inflight

fosrfHobb

Russell Hobbs
Millennium kettle 1999
This kettle has an OPTEC
heating element constructed by
screen printing conductive ink
onto a stainless steel substrate.
It has a low thermal mass so that
r

energy is rapidly transferred to

water. The kettle's flat OPTEC
element produces rapid boiling
and reduced energy consumption.
Specifications
Country: UK
Material: Plastic

2000
129
KITCHEN & DINING ROOM
1900

TOASTERS
THE AUTOMATIC POP-UP TOASTER was the invention
of American mechanic Charles Strite. His pioneerin
appliance had a spring device that was operated by
thermocontact and ejected the toast at a set time.
There were earlier electric toasters, but these
were not thermostatically controlled and had
tobe watched to avoid burning. Today,
burnt toast is a thing of the past,
with electronic timing
control enabling
toasters to be set
to suit any taste.

The grilling plates were

lowered by pressing
the heat resistant
wooden buttons

Universal 1920
Designed as a centerpiece for the

dining room table, the Universal toaster

was more advanced than earlier

machines. Although it could only

toast one side at a time, it turned
the bread to toast the second side.
A decorative front plate held
the bread against a heated
metal element.
Specifications
Country: US
Materials: Metal and wood

1900
130
 TOASTERS

Toast-O-Lator mid- 1930s

An innovative solution to

toasting both sides of the

bread at once was the Toast-

Emrfy toasters were
a hmzmrd as the O-Lator — the bread was
exposed hearing grilled as it traveled from
element glowed
one side of the machine to
red-hot during use
the other on a mini conveyor
belt. The lower section of this

model features Bakelite styling.

Specifications
Country: US
Materials: Chrome
and Bakelite

Decora live features Sunbeam Model T-9 1937

indicate that the The "Sunbeam silent automatic
uas a dining
toaster
toaster," created by George
room 'ornament"
rather than a Scharfenberg, was patented
kitchen appliance as an "ornamental"
toaster, revealing its

dual purpose as a
practical household

appliance and status

symbol. Pop-up toasters
were available in the

US long before they

appeared in Europe.
Specifications
Country: US
Materials: Chrome and Bakelite

131
KITCHEN & DINING ROOM

Pye Toaster 1 950

Created by Hawkins, this toaster has
a Bakelite base and handle designed
to protect the user from the heat. The
aerodynamic design shows the American
passion for streamlining. Drop-side
toasters of this type were superseded
in the 1950s by an American
invention, the pop-up toaster.

Specifications
Country: UK
Materials: Chrome and Bakelite

Dualit 1950s
This classic stainless steel toaster is still

available today in two-, four-, and six-slice

versions. It was originally intended for use
in the catering trade, but is now a sought-
after domestic design icon. It has not

changed since its invention in the 1950s,

a tribute to its timeless design.

Specifications
Country: UK
Material: Stainless steel

132
 TOASTERS
2000

Breville Sandwich Toaster 1980-90

Kitchen gadgets, such as sandwich
toasters and waffle irons,

became popular in the 1970s.

The Breville toasts, cuts, and

seals the sandwich. The plain
white exterior reflects the idea that
modern kitchen appliances should
be both hygienic and functional.
Specifications
Country: UK
Material: Plastic

Kenwood Coolwall 1990

So-named because even during use the sides do not

get hot, the Coolwall toaster offers a range of novel

features, including electronic timing control. Housed
in a sleek, white shell, the Coolwall is the epitome
of rationalized styling for domestic appliances, an
approach pioneered by Braun in the 1950s.

Specifications
Country: UK
Material: Plastic

2000
133
KITCHEN & DINING ROOM
1900

FOOD PROCESSORS
EARLY FOOD MIXERS tended to be scaled-down
versions of industrial appliances from the
commercial kitchen. They were reliable, but
difficult to operate as they were not designed
for domestic use. This industrial form
continued until the 1950s, when the mixers
began to show stylistic references to motor
cars, regarded then as symbols of modernity.
At the end of the century, small, versatile,
robust, easy-to-use machines with a vast
array of functions are the norm and are
better suited to the modern kitchen.

The unadorned,
industrial styling of
this early mixer gives it

the look of a machine tool

Domestic mixer 1918

Typical of early domestic mixers, this model has a
simple, functional design, free from ornamentation.
The frame is hinged to allow the mixer to be turnei

horizontally. It is a smaller, less complex version of

an industrial machine, designed purely to mix.

Specifications
Country: France
Material: Metal

Kenwood Chef 1 948

The first Kenwood Chef model retains the industric

features associated with early food mixers. Its metal

casing has a rounded form, giving the appliance a
solid, heavy appearance, which was criticized for

identifying housework with work.

Specifications
Country: UK
Materials: Metal, Bakelite,
and porcelain

1900
134
 FOOD PROCESSORS

135
KITCHEN & DINING ROOM

Kenwood Chef 1 960

Kenneth Grange's redesign of the Kenwood Chef represents a
trend in the late 1950s away from industrial styling and toward
a more user-friendly domestic aesthetic. As kitchen appliances

became more commonplace, designers began to create a new

look for the domestic machine. Grange believed that the design
of a product should be incorporated in its manufacture, with
the designer as innovator as well as stylist. The lines are

crisper than the 1948 model, with a single plastic molding

to house the machinery.
Specifications
Country: UK
Material: Plastic

The whisk
incorporates the
company's "k" logo

The bowl is

detachable from the

main body of the
machine

136
 FOOD PROCESSORS
2000

Magimix c.1978
The compart Magimix marked a radical

departure in food processor design. Devised

to carry out a wide range of functions
The redesigned without having to change attachments, it

Kenwood replaces previous mixers with just one

Chef has harder
bowl and four blades. It takes up little
edges and
sharper lines space in the kitchen as the bowl is

than the original housed above the stand. The bowl is

made of hard-wearing lexan, the same

material used for the windows of
aircraft, making it dishwasher-safe
and impossible to shatter.

Specifications
Country: France
Materials: Plastic and
shatterproof lexan

Soft colors and

elegant lines typify
Braun s skillful styling

of domestic appliances

Braun Multipractic 1983

In the 1950s, the bowl and stand
arrangement of Braun's electric

kitchen machine was similar to

that of the Kenwood Chef. In 1983,

Braun introduced a new look with

the Multipractic. Its design is

closer to that of the Magimix than

previous mixers. The sleek machine
has a covered bowl that slots into

grooves in the stand.

Specifications
Country: Germany
Material: Plastic

— 9QOO
137
KITCHEN & DINING ROOM
1900

CUTLERY
BESIDES ITS OBVIOUS UTILITARIAN purpose, cutlery -
or flatware as it is sometimes known — also plays an
aesthetic role in 20th-century living. The look of a
dining room or restaurant table can be greatly enhanced
by the cutlery settings. The production of metal utensils
has a long tradition, particularly in England, reflected
here in David Mellor's Pride service from the late 1950s.
Since World War II, there has been an increase in the
use of plastics in cutlery, particularly in the design
of disposable items. The postmodernist designers
of the 1980s and '90s have reintroduced ornament
into cutlery: Matteo Thun's decorative Hommage a
Madonna (see p. 140) elevates knives, forks, and spoons
from mere utensils to objects of contemplation.

r American Modern
This service was designed by
Russel Wright to complement
1 950

his enormously successful American

Modern dinnerware (see

p. 151). Characterized by
disproportionately long
handles (in contrast to
the abbreviated fork
i \

Silver cutlery c.1908

)
(J prongs), each piece has
been stamped from a single
Charles Rennie Mackintosh designed sheet of stainless steel.

this cutlery for Miss Cranston's Ingram Specifications

Street Tearooms in Glasgow. The set Country: US
is simply decorated with a flared Material: Stainless steel

motif Length of knife: 8%in (22cm)

floral at the end of each piece;
otherwise, a clean, gently elongated
line is maintained.

Specifications
Country: UK Long handles give greater
Material: Silver plate leverage, compensating for the
Length of knife: 8Xin (21cm) short fork prong', ana" spoon bowl

1900
 CUTLERY
=rr

Pride 1 957
David Mellor comes from Sheffield, the
center of the British steel industry and a
city renowned for its flatware. This was
his first endeavor at cutlery design for the
manufacturers Walker and Hall. Although
the style is restrained, the light, slender pieces

are without decoration. The set was also

produced with contrasting celluloid handles.

Pride's success was confirmed in 1957,

when it received one of the first British

Design Council awards.

Specifications
Country: UK
Material: Silver plate
Length of knife:
6%n (21 .5cm)

The slim handle

gives this otherwise
traditional service
a modern look

Specifications
Country: France
Materials: Metal
and plastic

Length of knife:
6Xin (16cm)

CEI airline cutlery c.l 978

In 1952, Baymond Loewy founded the
influential Compagnie d'Esthetique Industrielle
(CEI) in his native Paris. The company designed

this flatware for Air France in the late- 1970s.

The simple, matching geometry creates an

elegant, yet functional, set.

139
KITCHEN & DINING ROOM

DISPOSABLE PLASTIC CUTLERY

Made from polystyrene, this ingenious disposable
picnic set was created by the French designer Jean-
Pierre Vitrac in 1979. Plastic has been used as an
alternative to wood, metal, and glass since the 19th
century, but it has only been with the development
of new plastics, such as PVC (polyvinyl chloride),
polystyrene, and Plexiglass we have seen its
that
full potential. Manufactured by Diam, this bright
red, lightweight set is easy to stack and store.
The knife, fork, spoon, cup, and plate are joined
together — so nothing can be lost in transit — and
Plack picnic set, 1 979 are then separated by the user.

Hommage a Madonna c.1985

Since the 1980s, postmodern
designers have been responsible for
putting symbolism and metaphor
back into design. In his Hommage
a Madonna service, made by WMF,
Austrian ceramicist and designer
Matteo Thun applies luxurious
decoration to everyday objects,
making reference in the process

to the famous performer's

flamboyant style.

Specifications
Country: Germany
Materials: Gilded brass
and PVC plastic

Length of knife: 7in (18cm)

Brass rings refer to

Madonna 's ornate

personal style

140
 2000

; / r

bNL The triangular

neck exaggerates the
three-dimensional
design

l\f Mr
Although seemingly
impractical, the
open handles are
comfortable to hold

k
Sculpture 1989
b
This extravagant cutlery set was produced Open-handle cutlery 1991
for Rosenthal by the Italian designer Lino Instead of the solid form normally favored for
Sabattini. The strange, curved stems break flatware, Czech designer Borek Sipek has left the
the line of the conventional cutlery form and handles of this cutlery- set open, each piece gently
show the influence of deconstructivism. bowing in the middle and finishing in a point.

Specifications Specifications
Country Ge-^any Country: Czech Republic
Material: Stainless steel Materials: Stainless steel and gold plate
Length of knife: lOin (25cm) Length of knife: 8in (20.5cm)

-9000
141
KITCHEN & DINING ROOM
1900

handle of

& COFFEE
I 'he

TEA SETS the tea kettle

coated in rattan
is

THROUGHOUT THE WORLD, tea drinking is an opportunity for ceremony

and ritual. Perhaps it is for this reason that so much attention has been
paid to the production of tea and coffee sets, with contributions made

by some of the world's best-known designers. Diverse materials have

been used, from traditional earthenware to silver, iron, copper, and
glass. One of the most celebrated sets, Jan Eisenloeffel's fine Arts and
Crafts service, is made from brass. Some designers have applied their
artistic concepts to product design; although, as Malevich's half cup
demonstrates (see p. 145), these are not always practical. In terms of
popularity, it is often the traditional designs, such as Royal Doulton's
best-selling Old Country Roses (see p. 146), that prove the most enduring.

Brass tea set 1 900-03 Specifications

Dutch designer Jan Eisenloeffel trained Country: Holland
as a goldsmith and silversmith, and later Materials: Brass,
rattan, and ebony
went on to study under Faberge
Height of tea kettle:
(1846-1920) in St. Petersburg
His work expresses control
and harmony: this brass tea

set is beautifully made in

the Arts and Crafts tradition,

with decoration kept to a
minimum. A similar set was
exhibited to acclaim at the
first International Arts and
Crafts Exhibition, held

in Turin in 1902.

1900
Hi
142
143
KITCHEN & DINING ROOM

The bold
stripes are

both structural
and decorative

Silver tea service 1 928

Jean Puiforcat's tea services
from the 1920s and '30s are characterized

by their simple geometry. He was interested

in a mathematical principle known as

the Golden Section, which provided
a system of proportion for his work.

Specifications The geometric

Country: France design is repeated
Materials: Silver and walnut in slightly different

Height of teapot: 4!4in (1 1 .4cm) form on the

separate pieces

Japanese teapot
and sugar bowl c.1930s
Nowhere is the serving of tea more ritualized

than in Japan, where the tea ceremony has been

raised to an art form. This teapot and sugar
bowl were produced for export to the West. The
decoration and geometric styling show the
influence of Art Deco. By the 1930s, distinct

design styles had become truly international,

leading to the creation of products that
could be marketed on a global scale.

Specifications
Country: Japan
Material: Ceramic
Height of teapot:
6Xin (16.1cm)

144
 TEA & COFFEE SETS

RUSSIAN AVANT-GARDE WORK

Kazimir Malevich was
an important avant-garde
artist working in Russia
during the Revolution. His
\ key concept, Suprematism,
attempted to reduce images
to universal geometric forms

and pure color. This porcelain cup,

although serviceable, is more a statement
of those beliefs than a practical proposition.
The enameled decoration was done by one
Half cup, 1923 of Malevich's own students, Ilia Chashnik.
 —
KITCHEN & DINING ROOM
—
Royal Doulton Old Country
Roses tea set 1 962
With estimated sales of well over 100 million

pieces since its launch, Old Country Roses is

indisputably the world's best-selling tableware

design. It was created by Harold Holdcroft, who
found inspiration in the typical English country
garden with roses in full bloom. This traditional
tea set is made of the finest china and has a
delicate, ornate line taken to its full effect in the

elegant handles. Although tableware constitutes

the core of the Old Country Roses collection,
a vast range of associated items also bear the
distinctive floral imagery, including photograph
frames, trinket boxes, and stationery.
These pieces
Specifications have deceptively
Country: UK generous volumes
Material: Bone china
Height of teapot: 7Xin (18.5cm)

TAC 1 tea set 1 969

In 1945, Walter Gropius founded
The Architects Collaborative (TAC).
A former director of the Bauhaus,
Gropius is one of this century's most
influential architect/designers. Gropius,

Louis McMillen, and Katherine de

Souza designed this sophisticated
two-tone tea set for Rosenthal. Its

clear lines and lack of ornamentation

demonstrate the designers' concern
for harmony and clarity.

Specifications
Country: Germany
Material: Porcelain
Height of teapot: 5in (12.5cm)

146
 TEA & COFFEE SETS

Drop tea set 1971

This inventive, streamlined tea set by Luigi Colani is produced
here in white porcelain, but was also available in black or gold. It

was commissioned by Rosenthal for its Studio Line. The flowing

forms have an organic quality, particularly evident in the teapot

and milk jug, which together seem to relate like an adult and child.

Specifications
Country: Germany
Material: Porcelain
Height of teapot: 4Xin (10.7cm)

The choice of black

glaze — more often
associated with
coffee drinking
—
is an unusual one

147
KITCHEN & DINING ROOM

Alessi tea set 1 983

In the 1980s, Alessi commissioned a series of
tea services that elevated functional objects

to high art. Oscar Tusquets' silver set

cleverly combines the flowing
forms of the handles with
angular, cutaway spouts.

Specifications
Country: Italy

Material: Silver
Height of teapot: 7!^in (19cm)

VENTURI'S VILLAGE
American architect and designer
Robert Venturi is a leading
proponent of postmodernism.
His theories are played out in
this 1986 tea set for Swid Powell.

References to classical

vernacular architecture can be

seen, together with colors
shapes that might have been
and

and
1
derivedfrom theme parks
and carnivals.

Village tea set, 1986

148
 2000

Moon tea set 1 997

This beautifully simple design was created by
British designer Jasper Morrison for Rosenthal.

Morrison's work is a fine example of purism, a

minimalist concept of design that abandons

ornament and unnecessary shaping in favor

of purity of line and form. The 1990s saw a

move toward minimalism in
many areas of design.
Specifications
Country: Germany
Material: Porcelain
Height of teapot:
]

4 A\n (11.5cm)

Specifications
Country: Germany
Material: Ceramic
Height of teapot:
7<A\n (19cm)

Flash "Love Story" 1 987

This imaginatively shaped tea
set was originally designed by
American ceramicist Dorothy
Hafner for Rosenthal in 1987,
and painted with an abstract
design. The decoration shown
here is more recent. Entitled

"Love Story," it was created

in 1995 by Kitti Kahane.

===========^ 2000
149
KITCHEN & DINING ROOM
1900 i

Frank Lloyd Wright c.1920

DINNER SERVICES Between 1915 and 1922, Frank Lloyd Wright
was working in Tokyo on a commission to
THE 20TH CENTURY HAS SEEN the introduction of
design the Imperial Hotel and its interior
a profusion of interesting dinner service designs
furniture and decor. This seven-piece dinner
alongside traditional, high quality porcelain sets
service was designed in about 1920, but not
During the 1920s, many designers, including
produced for the mass market by Noritake
Clarice Cliff in the UK, chose earthenware
until about 1962. It is made from hand-
over porcelain. At the end of the 1930s, Russel
painted white porcelain and has a pattern
Wright's name became famous for his American
of red, green, and yellow circles.
Modern service, which was revolutionary for its
"mix and match" colored glazes and organic
shapes. Eva Zeisel was another leading
contemporary ceramic designer at work in the
US; and she too embraced new, more organic
shapes. Other designers have retained a formal
geometry, and, in the hands of Postmodern
designers like Aldo Rossi, dinnerware has
taken on humorous architectural motifs.

Specifications
Country: Japan
Material: Porcelai
Diameter of plate:

6'A\n (17cm)

1900
150
 DINNER SERVICES

Specifications
Country: US
Material: Glazed earthenware
Diameter of plate: lOin (25.2cm)

Shown here in

Seafoam Blue,
each piece came
in a choice of
American Modern 1937 sir colors

Although Russel Wright's unusually shaped dinner service was thought to be

daring when it was first introduced in 1939 by Steubenville Pottery, it sold a
phenomenal 80 million pieces over 20 years. The soft curves and the use of
muted colors that could be mixed and matched, created an informal quality.

Museum 1942-45
This dinner service was the first

modern porcelain set to be produced

in the US. It was designed by
Hungarian ceramicist Eva Zeisel,

following a recommendation from

the Museum of Modern Art, New
York, and was produced by the
Shenango Company for Castleton

China, Inc.

Specifications
Homemaker 1955 Specifications Country: US
Designed by Enid Seeney for
Country: UK Material: Porcelain
Material: Glazed ceramic Diameter of saucer: 6'A'\r\ (17cm)
Ridgeway Potteries, this
Diameter of plate:
informal and self-conscious
lOin (25.5cm)
dinner service was clearly >-- ^\ .
The lively illustrations
feature a variety of
aimed at young consumers. household items
The shape of the set remains
traditional compared, for

example, with Russel

Wright's American Modern,
but its quirky drawings of
modern furniture are
typical of the 1 950s.

151
KITCHEN & DINING ROOM

Idillio Bokara 1985

British designer Tricia Guild (1947—)

is well-known for her radiant color

compositions. She was commissioned
by Rosenthal to provide the
decoration on the elegant Idilho
service, designed by Paul
Wunderlich (1 927-). In
Bokara she has produced
a dazzling pattern of

colors in bold reds

and yellows.
Specifications
Country: Germany
Material: Porcelain
Diameter of plate:
lO^in (27cm;

Rich colors
dominate
this striking

modern service

152
 DINNER SERVICES
2000

Cupola Strada 1 990 Specifications

The white Cupola dinner service was Country: Germany

Material: Porcelain
designed by Mario Bellini and introduced
Diameter of plate:
in 1988 as part of the German company lOXin (26cm)
Rosenthal's Studio Line. This particular
version, featuring black and gray
decoration bv Yang, appeared in 1990.
Bv adopting a geometric approach,

Bellini has produced a well-balanced

and extremely attractive service.

The unusual banded

handles are a
recurring element
- ... .. in the design
5
Specifications
II Faro Finestra 1 994
•
Country: Germany
Architect and designer Aldo
I Material: Porcelain and glass
Diameter of plate: Rossi produced this dinner
: 12/^in (31cm)
service for Rosenthal. In it he
incorporates architectural shapes
to humorous effect, making
coffee pots as lighthouses, sugar

bowls as beach huts, and salt-

cellars as obelisks. The

decoration on this Finestra
variation was created by the
Indonesian artist Yang (1953—).

PYREX
Invented by working
scientists

for the American Corning Glass

Company, these heat-resistant, low-
expansion oven dishes were first
available for baking and roasting in
1915. Early Pyrex examples used
thick glass and were without
handles. However, they were
easy to clean and were suitable
Early poster as oven- to- table ware.

2000
153
KITCHEN & DINING ROOM
1900 -f=====!=!=^

GLASSWARE
THE VENETIAN ISLAND OF MURANO, Orrefors in Sweden, Iittala in Finland,
and Corning in the US are four outstanding centers of excellence in a long
history of glassware design and production. The variety of techniques and
finishes developed over the centuries has allowed designers to experiment
freely with style and decoration. Glass design in the 20th century began
with the memorable work of the Art Nouveau designers — most innovatively
in the form of Louis Comfort Tiffany's high-quality Favrile glassware
(see pp.72— 73). Since then, other glass designers have perfected the
arts of pressing, layering, engraving, and staining.

Specifications
Country: Belgium
or France
Height: 5%\n (14.6cm)

Wine glass c.1900

This elegant wine glass may have
been made by the Belgian firm Val
Saint Lambert. Around its surface, an
interwoven pattern of tendrils forms
an almost abstract pattern. The floral

decoration is typical of Art Nouveau style.

1900 ==——==^^
154
 GLASSWARE

Decanter c.1920
Designed by Harald Nielsen and
manufactured by Georg Jensen
Solvsmedie, this decanter has a silver
stopper and stand. The intricate detail
Specifications
of the silver vines, fruit, and pods Country: Denmark
contrasts well with the heavy glass. Height: 11 in (28cm)

The stark
Specifications forms reflect

Country: US the influence

Height of water of Art Deco

glass: 8Xin (22cm) architecture

Wine glass
and decanter c. 1910
Produced in Austria or
Bohemia, this wine glass and
decanter feature a beautifully
colored leaf motif in yellows,
browns, and pinks, with
gilded outlines. The classic

geometric proportions of
the long stem on the glass
are echoed in the neck Embassy glasses 1939
of the decanter.
These glasses — for water, champagne, and cordial — were
designed by Edwin Fuerst and Walter Dorwin Teague for the
Specifications
Country: Austria
1939 New York World's Fair, and made by Libbey Glass Co.
Height of decanter: The stem resembles a classical column, remaining the same
12ftn (32.5cm) height for each of the glasses.

155
 .

KITCHEN & DINING ROOM

Theme Formal
goblets 1950s
While Russel Wright's products
were typically informal and
inexpensive, they always
displayed an innovative use
of material and form. His
Theme Formal goblets are
decorated with bands of
blue and orange.

Specifications
Country: US
Height of large
goblet: 8^in (22cm)

Wright's simple,
streamlined styling
makes the goblets
comfortable to hold

156
 GLASSWARE
2000

Decanter and
glass 1953-59
This highly textured olive
green decanter and glass set

was produced by the Swedish

company Boda. The designer,

glassmaker, and metalworker

Erik Hoglund, adopted a
mold-blown technique

f to create a relief pattern

featuring human figures

on the surface of the glass.

Specifications
Country: Sweden
Height of decanter: 5Kin (14.4cm)

Maaru glasses 1980

Tapio Wirkkala's glassware
is renowned for its organic

form and fine surface

decoration. This

set was made at

the Iittala glass-

works in Finland

Specifications
Country: Finland
Height of large
glass: 6in (15cm)

Calici Natale goblet 1990

For centuries, the tiny Venetian island of
Murano has been famous for its glassmaking.

Specifications This elegant goblet was produced there by the

Country: Italy Carlo Moretti Studio. Its long, deep bowl has a
Height: 9A\n (24cm) finely textured surface and rests on a blue base.

2000
157
KITCHEN & DINING
1900 —
ROOM

DRINKS ACCESSORIES
IT IS NOT UNCOMMON predominant design movements
for
to influence the look of the most humble of items, and
drinks accessories are no exception. Craftsmen inspired by
Art Nouveau expressed themselves through elaborate floral
patterns and curvilinear forms, while Art Deco afforded a
sleek, luxurious quality to items that might previously have
been given only a perfunctory treatment. In the Soviet Union,
constructivism and, later, social realism, intended to reflect
the endeavors of the masses to build a new society. For
the modernists, it was new materials that generated
particular enthusiasm.

Soda siphon
c.1910
A wicker casing creates
Pitcher 1895-1909 a decorative geometric
Designed in the Cologne studio pattern on this hourglass-
of Engelberg Kayser, this pitcher is shaped clear glass siphon.
influenced by French Art Nouveau. The use of wicker is

The handle divides and extends to reminiscent of the styling

either side of the jug, where it
of Chianti wine bottles.
develops into a flower head.
Specifications
Specifications Country: France
Country: Germany Materials: Glass,
Material: Pewter wicker, and metal
Height: 8in (20.6cm) Height: 19Xin (50cm)

1900
158
 DRINKS ACCESSORIES
—

The gleaming
chromed surface
contrasts strikingly
with the solid black
of the plastic

Vacuum pitcher 1930

Designed by Nowland
and Schladermundt for the

manufacturing company
American Thermos, this

vacuum pitcher was sold in

the 1930s. Its black spherical

stopper echoes the rounded

form of the body.
Specifications
Country: US
Materials: Chromium
and plastic

Height: Not known

159
KITCHEN & DINING ROOM

BOTTLE OPENERS
Of all drinks accessories, the corkscrew and
bottle opener are among those most subject
to reinterpretation. This ensemble of bottle
openers shows the designer's inventiveness
in remodeling the most prosaic of objects.
The Chase Brass & Copper Co. 's elegant Egg-shaped opener, 1975
Squeezit model ismade from chromium-
plated brass, while Arne Jacobsens sleek
cylindrical opener is crcftedfrom stainless
steel. Arne Petersen's refined, egg-shaped
opener combines brass with stainless steel,

and Daniel Ebihara triangular Open Two is

's

simplyformedfrom a square of folded metal.

Squeezit, 1930s Open Two, 1 990

The painters of
these ceramics
experimented
withform
and colour

Pitcher 1 928-29
This pitcher, which is illustrated

with agricultural scenes, was

designed at the VKhUTEMAS
workshops in Moscow (see p.23).

After the 1917 revolution, designers

often adopted themes considered
to be important to the survival of
the newly formed Soviet Union.

Specifications
Country: Soviet Union
Material: Ceramic
Height: 6%in (17.2cm)

160
 DRINKS ACCESSORIES
2000

Cocktail shaker c.1930

Cocktail wares were at the peak of their
Specifications
popularity during the 1930s. Manufactured by
Country: US
Xapier, this amusing penguin cocktail shaker Material: Silver
exhibits all the hallmarks of Art Deco styling. Height: 12/in (31.1cm)

The polished,
streamlined body-
is adorned tilth

pengu in features

The chromium
body transforms
a functional
object into a
stylish article

Soda siphon c.1930s

The gently curved body Ice bucket 1 960
of this popular soda siphon Danish modernists, such as Jens
demonstrates the industrial Quistgaard, eschewed the quest for
designer Norman Bel Geddes' new materials and used traditional
application of streamlining ones, in this case teak, to produce
to household objects. beautifully sculpted forms.

Specifications Specifications
Country: US Country: Denmark
Materials: Chromium and enamel Material: Teak
Height: 10/in (26cm) Height: 15^in (39.4cm)

2000
161
DINING FURNITURE
TRADITIONAL WOODEN DINING TABLES and chairs
have maintained a popularity throughout the
century, even though wood is expensive and
easily damaged. Designers like Josef Hoffmann
and Charles Rennie Mackintosh produced boldly
modern furniture while retaining the distinctive
qualities of wood. Carlo Mollino is one of
a number of designers who used machine
manufacturing techniques and manipulated
plywood to produce original dining furniture
(see p. 164). Other designers used new materials,
particularly plastic, to find alternative solutions.

High-backed chair c.1900

The enduring popularity of dining furniture
by Charles Rennie Mackintosh is demonstrated
in this modern reproduction of a chair
designed for the Ingram Street Tearooms,
Glasgow. Mackintosh often incorporated the
curvilinear motifs of continental Art Nouveau
into his rectilinear designs; but here a strictly

geometric style is used.

Specifications
Country: UK
Material: Stained oak

Purkersdorf chair 1905

Spheres, rectangles, and squares are
characteristic motifs in Josef Hoffmann's
work. This limited edition chair was
manufactured by Thonet Brothers for the

dining room of the Purkersdorf Sanatorium in

Vienna. The chair has an austere rectilinear
form, with a high back for firm support.

Specifications
Country: Austria
Materials: Bent beechwood and leather

162
 —
DINING FURNITURE

Dining table with

stacking chairs 1 949
Designed by Hans Wegner
for Fritz Hansen, this dining

furniture was constructed using

traditional carpentry methods.

Although some items are

machine made, quality
The carved sphere craftsmanship is evident in
reinforces the joint the finish and joints. The
and repeats the arrangement of the chair
ornamental motif/
legs gives the diner greater

freedom of movement and

facilitates stacking.

Specifications
Country: Denmark
Materials: Beech and plywood

The chair is designed

to stack easily

163
KITCHEN & DINING ROOM

Bentwood chair 1 952

One of two versions, this molded plywood
chair was designed by Carlo Mollino for the
Casa Cataneo-Agra in Varese, Italy. It has a
strong sculptural quality expressed in the
flowing organic lines. Like much of Mollino's
work, this piece was made by Apelli & Varesio
Specifications Tulip Group 1956
Country: Italy
___
The Pedestal, or Tulip Group as
Materials: it became known, was designed by
Bentwood and Eero Saarinen for Knoll. Saarinen's
laminated ash
aim was to form the entire chair in

plastic. But the stem, lacking the

strength to bear the shell, had to
be cast in aluminum. The single

pedestal was Saarinen's solution

to the "slum of legs."

Specifications
Country: France

164
 DINING FURNITURE
2000

The molded
plastic chair
back provides
flexibility

The supporting
single stem offers

diners maximum
leg room Tesi, Quinta 1 986
In his high-tech Tesi table
and Quinta chair, Mario Botta
made use of perforated sheet
iron and steel to create a

defined silhouette.

Specifications
Country: Italy

Materials: Steel, sheet

metal, and glass

2000
165
 BATHROOM, Bathrooms

BEDROOM, & Toothbrushes

Razors

NURSERY Perfume bottles

Hair dryers

Beds

Baby carriages

Toys & models

Games & outdoor toys

Dolls
BATHROOM, BEDROOM, & NURSERY
1900

BATHROOMS
BATHROOMS were a luxury afforded only by the wealthy,
THE EARLIEST
but improved plumbing and an increased concern for hygiene led to
their inclusion in most homes by the 1920s. Wood gave way to shiny,
white nonporous materials, such as ceramic tile and enameled cast
iron. By the 1930s, suite ensembles appeared in various colors,
enthusiastically adopted
in plasticform in the 1950s.
Later, shower units were
installed and matching
accessories became available.

Flush toilet 1902 Chariot bath 1 900-05

This high-level flush toilet was manufactured by This double-ended French Empire bath
the Scottish company Shanks. The decorative, would have been filled from central, waL
hand-painted, floral transfer print is a British mounted faucets, leaving both ends free
county council pattern, used for public for bathers. It is considerably shorter and
conveniences only. The cast iron cistern rests deeper than the City bath. Originally,
on two sunflower brackets. it would have been produced in white.

Specifications Specifications
Country: UK Country: France
Height with cistern: 89Min (228cm) Height: 31 ^in (80cm)
Materials: Porcelain, cast iron, Material: Cast iron
nickel, and mahogany

City or Times
bath 1903-15
This freestanding,
roll-top bath represents
Specifications
departure from the heavily wood-paneled fittings of the typical
Country: UK
Victorian bathroom. It is Art Nouveau in style, with polished Height: 24in (61cm)
metal ball-and-claw feet and built-in, fan-shaped soap dishes. Material: Cast iron

168
 BATHROOMS

Art Nouveau basin 1903-15

Even households without adequate plumbing could have used
this wash basin. It was designed to be freestanding, and
therefore without faucets, drain pipe, or bathroom plumbing.
Its elaborate stand has been crafted from scrolled wrought
iron, with the circular bowl made from nickel or porcelain.
Specifications
Country: France
Height: 53in (135cm)
Materials: Wrought
iron and porcelain

Edwardian
basin 1905
The easy-to-clean
shrouded faucets of
this wash stand reflect

the growing concern

Specifications
for hygiene at the turn
Country: UK
of the century. The
Height: 36in (91cm)
basin may have been used with Materials: Mahogany,
a splashback against the wall. marble, and porcelain

S i

Art Deco basin 1920s

This typically Art Deco octagonal
basin, made by Jacob Delphon, is still

in production today. Unusually for the

time, its basin-mounted faucets are

color coded to indicate hot and cold.

Specifications
Country: France
Height: 32in (81cm)
Material: Porcelain

169
BATHROOM, BEDROOM, & NURSERY
-

Pampas suite 1 970s

The 1970s witnessed a proliferation of
colored bathroom suites. This pedestal
basin by Armitage Shanks is equipped
with gold-plated faucets and plastic
dome heads, while the matching
toilet has the flushing mechanism
completely enclosed.

Specifications
Height of both basin and toilet: 30%in (78cm)
Materials: Porcelain and plastic

PONTI SUITE
Matching plastic toilet

seats and lids were

iinea Ponti Z common in the 1970s

laSTAN^b"

t Advertising poster, 195 3

Gio Po nti was one of Italy's
Belvedere Suite 1 996
foremo st modern designers,
This stylish streamlined suite has
influen ced both by classicism
a sculptural, futuristic quality,
and the products of the fVien er
'

which fits discreetly into the

Werkst dtte. In 1953, he design ed this
bathroi ?m suite for Ideal-Stan dard,
bathroom. It is finished in a

each in zm carefully shaped arid hardwearing white glaze,

refined to express its function The which is easy to clean. The elegant

hand b asin is particularly sue cessful: toilet conceals the tank and pan in one body,
the stai id tapers toward the ci irve while the basin has a false pedestal, concealing th
of the sink to give it perfect s upport pipework, so that it can be mounted at any level.
and ba lance; and the sink itse Specifications
has af *at surround on which Height of basin: 24!4in (62cm), height of toilet:
toiletri es can be placed 3
30 /in (78cm), height of bath: 26Xin (68cm)
Materials: Vitreous china and reinforced acrylic

170
 BATHROOMS

Amea Twin Jacuzzi 1 995

STARCK SUITE The first fully integrated
whirlpool bath was invented
by Roy Jacuzzi in 1968.
Since then, Jacuzzis have
accommodated changing
lifestyles by incorporating
time- and space-saving shower
units into whirlpool baths.

Specifications
Country: Italy/US
Height: 85in (216cm
Philippe Starck bathroom, 1990s Materials: Acrylic, fiberglass,

This bathroom suite was inspired by tempered glass, and steel

the most basic Junctional objects —

buckets, tubs, and handpumps.
The basin has a pearuood surround,
and the bath a built-in towel rail

The waterfall- style

faucets are gold-plated .

The monocontrol
valve regulates the
water temperature

The gleaming whitefinish

enhances the sculptural
quality of the bathtub
 Early 20th-century faucets
Early 20th-century faucets were often made
from brass or nickel. Spouts varied in shape and
size: the Globe faucet has a short, downward-
pointing spout most suitable for baths, whereas
the Crapper faucet has a long-reach spout. Four
finial heads were most common, until the lever
type was introduced for easier use.
Specifications
Country: UK
Materials: Nickel and brass

Needle shower c.l 91

This luxurious early shower earns its
Water pressure
creates small jets
name from the six perforated, horizontal
Specifications
directed into the bars from which water is sprayed with
Country: UK
center of the frame i
force. Designed predominantly for male
Height: 87<A\n
use, this large, cage-like shower was (222cm)
referred to as the "morning bracer." Material: Brass

172
 BATHROOMS

•
angled
for the

er head
resemble* that
ephone .

Water/lows
up through this

section and out

through the
shower hose

Mixer faucet and shower 1915

Mixer faucets, such as the French
example shown here, facilitated the

control of the water temperature and the

use of the shower head. Although mixer
faucets have now become popular for

sinks, individual faucets for hot and cold

water were the norm for several decades.

Specifications
Country: France
Materials: Brass and enamel

These side tubes

conjunction as
normalfaucets,
providing hot
and cold water
 —
BATHROOM, BEDROOM, & NURSERY

Shower 1980s
In the 1980s, British manufacturer
Aqualisa produced a range of "power
showers" that were designed to massage
and invigorate the body. The shower
includes two body jets, with adjustable
water force.

Specifications
Country: UK
Height: 17Xin (44cm)
Materials: ABS plastic

and chrome-plated brass

Class shower 1 990s

This shower kit was
designed by Mario Bellini
for Ideal Standard. Its head
is attached to a vertical bar,
allowing it to be adjusted
to a suitable height. Its

solid bars are softened

with rounded edges.

Specifications
Country: Italy

Height: 24in (61cm)

Material: Chromium-
plated metal

The plug
mechanism
becomes an
integral part of
the faucet

174
 BATHROOMS
2000

2000
175
 ;

BATHROOM, BEDROOM, & NURSERY

1900 —
TOOTHBRUSHES
FOR THE MODERN CONSUMER, selecting a toothbrush is no easy
matter. There is a bewildering range to choose from: "designer"
brushes, such as Philippe Starck's Fluocaril; brushes with flexible
heads; brushes with multi-angled or multicolored bristles;
electric brushes; and brushes in any color combination. Before
1953 it was simpler; for that was the year in which plastic-
handled, nylon-bristled toothbrushes were first mass-produced.
In 1900, the choice was even easier: comparatively expensive,
ivory-handled brushes could be afforded only by the well-to-do.

The coarse bristles were

made to last, and now
seem rather unhygienic

Both brushes and

packaging became
increasingly colorful
Durable bone
handles were
the norm

Early toothbrushes c. 1900s

Although toothbrushes had
been used for several centuries,

by the beginning of the 20th

century they remained expensive
items made of bone and bristle,
expected to last for a long time.
The shape of the handle was much
the same as the standard one used
today, but the bristle heads were
about twice as long as
modern versions.

1900
176
 TOOTHBRUSHES

Plastic toothbrushes 1 930s-'40s

The first plastic tootlibrushes
CO were made in the 1930s, but

on a small scale. These brushes

retained the long heads of their
(/) forerunners. Nylon bristles began
to replace natural bristles in the
i.
late 1940s, but it was not until The wide expanse
-Q
the plastic handle and nylon of nylon bristles

brushes top
bristles were married in 1953
"c5 and bottom
L. that the toothbrush as we know
teeth at once
it was born. Natural bristles

continued to be used, marketed

(0*
as "pure," and therefore healthy,
C but nylon was cheaper, longer-

<D
lasting, and available in various

thicknesses — and so prevailed.

3
Q. The large central
This 1940s thumb plate repeats
brush is the shape of the
similar to brush head
current designs

The broad contours of

the handle allow the

fingers a strong grip .

Radius 1984
Designed in the US by Kevin Foley
and James O'Halloran, the plastic Radius
brush is a successful attempt to rethink

established toothbrush design. In three

sections, with its large head echoed in the

middle thumb plate and wide, rounded
handle, the Radius is ergonomically
designed to allow the user to apply firm
pressure to the teeth while brushing.
The size of the head allows pressure
to be distributed over a larger area
than is conventionally possible.

177
BATHROOM, BEDROOM, & NURSERY

Modern toothbrushes
1 980s -'90s
While plastic has enabled designers
to mold handles into any shape, there
is little difference between the basic
design of these brushes and that of
1950s' plastic models. Designers now
compete over the details: the most
eye-catching colors, the most
comfortable grip, the optimum
angle and reach, and the best
bristle combination.

. Although a popular
design feature, flexible
heads have little

functional value

Fluocaril 1989
Available in a range of subtle,
translucent colors, the plastic handle
of Philippe Starck's gorgeous Fluocaril
toothbrush is sculpted in his trademark
flame motif. Bearing Starck's signature
on its neck, the item has become knowi
as the ultimate "designer" toothbrush.

Starck's intention seems to have been

to create something beautiful
out of an existing functional
design; even so, the handle
is remarkably comfortable
and well-balanced.

178
 TOOTHBRUSHES
2000

TRAVEL TOOTHBRUSHES

Early travel brush

The handle of this early plastic
travel toothbrush formed a zigzag
shape when it was opened, making it
difficult to use for cleaning any hut
the inside front teeth. Today, travel
toothbrushes tend to be constructed
in separate sections, with the thick
hollow handle often doubling up as 2
the casingfor the head and neck.

The beautifully
proportioned brush
1
measures TAin
(193cm) in length

Electric toothbrush 1 990

The most radical innovation

in 20th-century toothbrush

design is the electric model,

first seen in the early 1940s
and widely used in the 1950s

and '60s. Pressure can be

applied in effective degrees
to all teeth, without the
necessity to "brush" manually.

2000
179
 —
BATHROOM, BEDROOM, & NURSERY
1900

RAZORS
ALTHOUGH, BY MODERN STANDARDS, the "safety razors'
available at the beginning of the century did not live
up to their name, they were, in fact, a considerable
improvement on the "cut-throat" razors that they
replaced. Since then, however, the development of
wet-shave blades has gone from strength to strength,
with manufacturers competing to produce a closer,
safer, more comfortable shave. New features have

been launched regularly over the last three decades:

the first twin-bladed razor in 1971; swivel heads and
disposables in 1975; lubricating strips in 1986; and
protective bars in 1992. Radical progress has also
been made with the electric razor. Experiments
with mechanized shaving began in the early
years of the century, but it was Colonel Jacob
Schick who, in 1928, patented the first electric
razor to be widely accepted. Today, there
is a plethora of sleekly styled and multi-

functional models for both men and women.

PHILIPS ELECTRIC RAZORS

Philips Philishave, c.1950 The multiple I

Philips razors differfrom the standard system of languages used

on the box show
most electric razors, which have a rotatingfoil head.
that this was a truly
The battery-operated Philishave has two or three
international product
bladed discs, which spin, catch, and cut the beard.

1900
180
 RAZORS

Non Plus Ultra 1910

The safety razor was a remarkable
invention: it had a disposable double-

edged blade that did not need stropping:

and. since only a small sliver of the black
was exposed, serious cuts were impossible
The first safety razor was patented in

1895 bv King Camp who set up

Gillette,

the Gillette Safety Razor Company in

1900. By 1910. Gillette had many rivals,

including the ornate Non Plus Ultra.

Braun products
Specifications ire re described
Country: Not known as examples of
Material: Metal "order,harmony,
Length: 4in (10cm) and simplicity"

77?^ lined grooves

on the Bakelite
casing give an
improved grip

Braun S50 c.1950

Max Braun first developed
the S50 electric razor in
1938, but World War II

delayed production until 1951.

The streamlined body, which
tapers elegantly to the electric
cord, suggests efficiency and
fits comfortably in the hand.
The cream coloring is highly
Specifications
unusual; men's razors are
Country: Germany
Materials: Bakelite and metal produced almost exclusively
Length: 4A\r\ (11.3cm) in black, gray, or silver.

181
BATHROOM, BEDROOM, & NURSERY
=

Creazioni Cavari c.1987

The sleek, modern Creazioni
Cavari range of "designer"
razors was created by Ernesto
Spicciolato and Dante Donegani.
All three razors — from left to

right, Sauro, Spazio, and Samurai

are produced in matt black. The
solid brass handles of the Sauro
and Samurai have a pleasing
weightiness, while the Spazio,
made from coated aluminum,
is as light in weight as
it is slender in form.

Specifications
Country: Italy

Material: Anodized metal

Length: Sauro 6%in (17cm); Spazio
7in (18cm); Samurai 6in (15.5cm)

The functions
are indicated
with discreet
pictograms

Philips Ladyshave Aqua 1 990s

The key difference between this electric
razor and a men's model is the styling.
Very few women's razors are made in
black, whereas the vast majority of

men's are black or a similarly somber,

"masculine" color. Women's razors are
invariably colored pastel or white —
Specifications
Country: Netherlands
here a marbled green has been used.
Material: Piastic The curvaceous shape is also
Length: 5Xin (14.7cm) intended to be feminine.

182
 RAZORS
2000

DISPOSABLE RAZORS
Plastic, whichfirst appeared in the US in the 1930s, made
possible the mass-production of a huge array of items, and
began a craze for cheap, disposable artifacts. In 1953, Baron
Bich introduced the first disposable ballpoint pen, the Bic (see
p.338). Its phenomenal success encouraged him to turn his
attention to razors. He cut the existing blade in half and used
the funds saved in manufacturing to produce a cheap plastic
handle. The result was the world's first disposable razor,
launched All the major manufacturers, including
in 1975.
Gillette, quickly introduced their own versions. Environmental
awayfrom disposable
concern in the 1990s resulted in a move
and the trendfor reusable razors for both men and
products,
women was favored once more.

Gillette disposable razor

The recharging
unit is color-
coordinated
Wilkinson Sword
forfurther
feminine appeal Protector Razor 1 992
British designer Kenneth Grange's
Protector Razor for Wilkinson Sword
combined all previous razor features —
swivel head, lubricating strip, and twin
blades. However, its chief advertised
features were the wire bars that stopped
the blades from nicking the skin. Just as
inventive was the biomorphic handle,
designed to fit snugly in the hand.

Specifications
Country: UK
Material: Plastic
Length: 5in (12.5cm)

2000
183
 PERFUME BOTTLES
NOWHERE IS PACKAGING more important than

in the perfume industry. When Baron Bieh,

The scrolled encouraged by the successes of his disposable
ends meet in the pens, razors, and lighters, developed a cheaply
center to create
packaged scent, it failed miserably. The public
an inverted
heart shape
wanted glamour, sophistication, and expense —
a combination never better evoked than when
Marilyn Monroe, asked what she wore in bed,
replied, "Chanel N° 5," and sent sales of the
perfume rocketing. Despite the ultimately
decisive power held by the advertisers, a
great deal of energy is expended both in
the concoction of the scent itself and in the
design of the bottle. This can range from
the nostalgic, floral excesses of Zenobia to
the clean, simple angularity of classic Chanel.

The unadorned design

reflects Chanel's simple
fashion style

Chanel N° 5 1921
The Chanel N° 5 bottle
has changed 15 times
since it was introduced
L'heure bleue 1912 by Coco Chanel in 1921,
In 1912, Pierre Guerlain created but remains the essence
L'heure bleue, a blend of roses, irises, of simplicity It is

vanilla, and musk that was typical of square, with a plain

the romantic perfumes produced by wedge stopper, and a
this famous parfumier. The Baccarat minimal white label.

glass bottle reflects this romanticism. There are nine stages

With its inverted heart-shaped involved in sealing the
stopper, Art Nouveau swirls at the fragrance in its bottle,
shoulders of the bottle, and including the placement
delicately drawn label, the design of the wax-drawn "CC"
suggests sensuality at the neck.

1900
184
 PERFUME BOTTLES

Zenobia pre-1925
The design of this bottle is resonant of
nostalgia for the 19th century. Every element

is intended to suggest a sweet, natural, floral

fragrance, from the rather syrupy name, Sweet

Pea Blossom, to the combination of pastel
colors used on the label and the pink bow
tied around the neck of the bottle.

SCHIAPARELLI'S SCENTS

The pink petal

motifs suggest
the name of
the scent

^ c .oJf
:
. {

Poster for Le Roy Soleil

Elsa Schiaparelli rivaled Coco

Chanel as the mostfamous couturier
in Paris in the 1930s. She launched
her own perfumes — Shocking, in

1938,and Le Roy Soleil in 1945.

The bottle for Le Roy Soleil was
designed by Salvador Dali, with
whom Schiaparelli collaborated on
several occasions. This poster, which
advertises the fragrance, was the
work of Marcel Vertes.
BATHROOM, BEDROOM, & NURSERY

Jabot 1939 The delicate folds

Created by Peter Fink, director of design for reflect a trend

couturier Lucien Lelong in Paris, this bottle

for the fragrance Jabot is a wonderful flight
in 1930s'fashion

for drapes
1
of fancy. The stopper is finished in the shape
of a knotted bow and the base of the bottle The bottle is stored

resembles the skirts of a petticoat fanned in a container styled

out across the like a soup can

floor.

Jean-Paul Gaultier 1 993

Jean-Paul Gaultier's perfume bottle is molded
in the shape of a woman's torso, pinched and
pushed into shape by a corset. Various versions

of the bottle are available, including one with

a metal corset. Gaultier was not the first to

model a perfume bottle on a woman's body;

more than 50 years earlier, Elsa Schiaparelli's
Shocking was made to the exact proportions of
the actress Mae West's figure.

186
 PERFUME BOTTLES
— 2000

Gaultier's bottle
design stresses
the link between
perfume and
fashion

The bottle tapers

at the center in
emulation of
the female waist

DNA 1993
Just as 1950s' design was
influenced by public interest in
space travel and science fiction,
so the name and bottle design

of this perfume reflect 1 990s

interest in genetics. The bottle

is shaped like the double helix

form of DNA.

9000
BATHROOM, BEDROOM, & NURSERY
1900

HAIR DRYERS
AEG THE EARLY PART OF THE CENTURY witnessed the
of three revolutionary elements in hairstyling: synthetic
hair coloring, developed in 1909 by chemist
introduction

Eugene
Schueller, who later founded the L'Oreal company;
"the perm," a method of giving hair a lasting curl; and
the electric hair dryer. The
latter was first designed
and manufactured in Wisconsin in 1920, and became
one of the most desirable electrical gadgets of the
following decades. Early models, including the first
hand-held dryers of 1925, were made of aluminum,
stainless steel, or chromium. Modern versions, with
their proliferation of attachments and sophisticated
Heissluftdusche controls, are invariably produced in plastic.

AEG 1927 Edir 1936-38

The chromium-plated dryer pictured
This compact, bright red hair dryer
on this AEG stamp exemplifies Peter
was redesigned in 1936 by Herbert
Behrens' view that good products
The dryer is Marloth for Siemens-Schuckertwerke
should be practical and elegant. This
constructed of AG. The casing is made from the
characterizes all of his work at AEG, two identical
tough, glossy plastic melamine. It
including the pioneering corporate pieces screwed
has a simple cylindrical shape, with
together
identity program (see p.369).
an expanded area to house the electric

motor. The case is held together

by six screws, which can be
removed for maintenance.

Specifications
Country: Germany
Height: Not known
Material: Melamine

1900
188
 HAIR DRYERS

Supreme 1 938
Bakelite offered the manufacturers of
electrical goods some excellent advantages.
It was relatively cheap to produce, could

easilv be molded into shape, and acted as

an efficient heat insulator. The Supreme

hair dryer, produced by L.G. Hawkins & Co.

Ltd.. is a fine example of Bakelite design.

The pistol-shaped casing is held together by
screws, allowing access for maintenance, and
the handle can be unscrewed for storage.

HMV HD1 1946

The bulbous curves of the
head and base, and the lack
Bakelite was
of a projecting nozzle, show
often produced in
the influence of streamlining this wood effect
in this design, popular since

the 1930s. Unlike the more

versatile hand-held models,
this dryer has its own stand,

which enables the user to

devote both hands to styling.

Specifications
Specifications
Country: UK
Country: UK
Height: 9^in (24cm)
Height: 8Xin (22cm)
Material: Plastic
Material: Bakelite

The dryer is
secured on an
adjustable stand

im&&
w ^EWHSSR

189
BATHROOM, BEDROOM, & NURSERY
I
-

MEN'S STYLING
For many years, hairstyling
for men relied either on the
skilled scissor control of
the barber or on the use of
manually operated clippers.
When electric clippers were
introduced, they ensured
a close, precise haircut
This "Air Clip, " a simple,
functional design by Henry
Dreyfuss, includes a hose
to draw the cut hair away.

Braun AG HLD231 1964

As the travel industry started to grow in the 1960s, manufacturers
responded with a range of portable appliances. Reinhold Weiss' portable
hair dryer has the minimalist styling associated with Braun's personal care

products. The case is made from light gray plastic with a white switch.

The only color is a single dot of orange to indicate the "on" position.

®
190
 HAIR DRYERS
2000

\ Sassoon's name features

'
prominently on the
The diffuser
dryer in his trademark
has a high-tech.
gold lettering
>mal
appearance
Vidal Sassoon
VS-500UK 1995
Vidal Sassoon is one of the
world's best-known hairdressers.
He made his name during the
1950s and '60s with his radically

\ The basic
geometric hairstyles, and has
since expanded into product
nozzle can be
swiftly detached development. This powerful
and replaced turbo hair dryer has a 6in- (15cm)
long spiked attachment called a
diffuser, or "volumizer," which
Specifications diffuses air in the hair to give the

Country: Germany style maximum body. The black

Height: 3Xin (9cm) and gold styling successfully
Materials: Plastic
The handle suggests luxury.
and metal widens at its base
Specifications
to offer the user a
Country: UK
comfortable grip
Height: 7^in (19.2cm)
Material: Plastic

-2000
191
BATHROOM, BEDROOM, & NURSERY
1900

BEDS
DESIGNERS HAVE RARELY GIVEN the same degree of
attention to the design of beds as they have to other
items of furniture, yet the bed usually sets the style
and tone for the whole room. This is especially true
of the elaborate Art Nouveau and Art Deco pieces,
represented here by beds designed by Frenchmen
Louis Majorelle and Louis Sognot. These imposing
forms must have dominated the rooms in which they
were placed. The latter's pale green Art Deco bed
recalls the first-class cabins of the great ocean liners.
A more modest and functional approach bedroom
to
furniture is evident in the designs of Kho Liang Ie and
Carlo Mollino. More recently, Toni Cordero's striking
Sospir recalls the long tradition of four-poster beds.

The extravagantfloral

MACKINTOSH BEDROOM motifs are typical of

Art Nouveau styling

Majorelle 's design

uses the grain of the
wood to emphasize
the curves

Bedroom at Mackintosh Nenuphar bed 1 905-09

house, c.1 906 Louis Majorelle was a key exponent

Charles B.ennie Mackintosh of the Ecole de Nancy Art Nouveau

designed entire interiors for style. Unlike their Parisian counterparts
a small number of homes. who tended toward abstraction, these

This bedroom in one of his designers favored a literal interpretation of

own Glasgow housesfeatures nature. Majorelle's double bed, produced in his
his characteristic painted white factory, displays the flowing lines and elegant
furniture with Celtic-inspired carving that earned him such critical acclaim.
motifs. Mackintosh used his
Specifications
decoration as part of the
Country: France
structure of the design.
Dimensions: Not known

1900
Materials: Mahogany and

192
gilt bronze

I
 BEDS

Specifications Double bed 1930

Country: France Louis Sognot designed
Height: 43^in (110cm)
the bedroom furniture for the
Width: 128in (325cm)
Maharajah of Indore's palace,
Length: 86in (218cm)
Materials: Chromium and glass which was built and decorated
by German architect Eckart
Muthesius. The materials,

symmetry, proportion, and

restricted ornamentation of the
bed are typical of Art Deco styling.

193
 Bunk bed c.1954
Carlo Mollino's simple wooden
bunk bed has no decoration aside
from the brass fittings. However,
two wooden coat hangers have been
attached, and there is a small
laminated table on the lower bunk.

Specifications
Country: Italy

Height: 84in (213cm)

Width: 34in (85.5cm)
Length: 77in (195cm)
Materials:
and laminated
Oa , brass,

plastic
I
Dense slats

provide
screening/or
the head
of the bed

The spearlike
rods topped
The side table
with mythical
is the one hint
symbols guard
of luxury in
the bed
an otherwise
practical design

Single bed unit 1 970

In this unit, created by Kho
Liang Ie, the bed is enclosed
by an "L" -shaped surround
^ of painted cupboards
and shelves. A light is

included in the design.

Specifications
Country: Holland
Width: 65in (165cm)

r—
Length: 78in (198cm)
Materials: Marble, wood,
stainless steel, and acrylic

194
 BEDS
2000

UTILITY FURNITURE
In Britain, World War II brought about harsh restrictions
in the use of raw materials. In response, the Board of
Trade established a Design Panel under the chairmanship
of Gordon Russell. Its solution to the problem was Utility
furniture. Although it aspired to be inexpensive, yet well
designed and of a high quality, in reality the furniture was
often drab — largely because of the lack of materials. The
design of the furniture owed much to the Arts and Crafts
movement. The Utility style was to have an influence on
Utility cot, 1942 British design that would last until the 1960s.
BATHROOM, BEDROOM, & NURSERY
1900 ^ i^iriv^^^ ^
Art Nouveau
molding
BABY CARRIAGES
THE STORY OF BABY
carriage design in the 20th
century one of remarkably little change
is

during the first 60 years, followed by a radical

redesign later to adapt to women's changing
lifestyles. During the first period, babies and
toddlers were usually transported by heavy,
bulky perambulators, while
smaller- wheeled strollers were
used for older children. Every-
thing changed with the introduction
of the Maclaren buggy (see p. 199),
patented in 1965. This lightweight, collapsible
stroller allowed parents to transport
Dunkley 1919 children much more easily and could even
The design of the molding on this fit into a car trunk or the hold of an aircraft.
khaki carriage is clearly inspired by
Art Nouveau. The coloring of the large
hood complements that of the body,
while the two different wheel sizes
resemble those of contemporary
bicycles. The suspension is a spring
type and there is no braking system.
Specifications
Country: UK
Wheel diameters: 19in (48cm);
25^in (65cm)

Sol Dainty 1928

The styling of this carriage is very simple, with
the nuts, bolts, and screws undisguised. The
subtle two-tone color might go unnoticed, were
it not for the bright red lines that echo the dark
panels. When the hood is down, the carriage's
shape changes dramatically.

Specifications
Uniform
Country: UK
wheels
Wheel diameter: 12in (30cm)

1900
196
 Royale Newport c.1950
Supplied bv Harrods of London and
advertised as "the world's most
beautiful babv coach," the Newport's two-tone

body gives the carriage an apt regal look. This is

particularly evident when the hood is raised.

The carriage is decorated with a motif evocative

of lapping waves. A handbrake has been attached.

Specifications
Country: UK
Wheel diameters: 19in (48cm); "Lapping
23in (58cm) waves" motif

Hisa Gloria
De Luxe 1 962
Because of its small wheels
and lack of an elaborate
suspension system, the body
of this unique carriage is set

low to the ground and the

wheels are equipped with
thick rubber tires. A longer

handle gives a feel of

something more akin to

a lawnmower than a

carriage. It is, how-

ever, supposedly
fashioned after the
classic Mini car

design (see p. 3 17)

and is equipped
with a front
per, trunk, and sun
Specifications visor. The hood gives the
Country: S/. -ze-
carriage the look of a
•'• •- z ;~e-e-
convertible" car.
9in (23cm)

197
 Bassinet on chassis
1980s
This detachable bassinet can
be lifted from the metal frame
and put on another surface,
while the chassis itself, which
is made from a combination of
aluminum and plastics, folds
flat. The bassinet follows the

form of earlier prams and

The long handle
shares many features. The
enables the
product is clearly an attempt to parent to run
provide a traditional-looking while pushing

carrier at a lower price.

the buggy

Specifications
Country: UK
Dimensions: Unknown
In later models
this frame would
simply push
down to form
The lower tray the buggy
provides space
jor shopping or
for childcare
accessories

Convertible stroller c.1990

Although heavier and less compact
when folded than an E-type buggy, the
convertible stroller offers a convenient
means of responding to the changing
needs of a growing child. Newborn
babies can travel in safety in the bassinet
attachment, and this can be replaced
with the bucket seat for a baby able
to support its own head.

Specifications
Country: UK
Dimensions: Unknown

198
 BABY CARRIAGES
2000

BUGGY INNOVATIONS
Owen Finlav Maclarcn. a retired aeronautical
engineer, sold his first lightweight, small-
uheeled. aluminum buggy in 1967. His
revolutionary design incorporated two "X"-
shaped lunges, which, when folded, made the
buggy flatter and narrower. The stroller had many-
improvements and could be folded with just one hand
and one foot. It was a huge commercial success.

The canvas
seat provides
a more flexible
rule than more
rigid materials Jogging Buggy 1996
The Jogging Buggy is an all-terrain
vehicle— the idea being that the parent
can take the child with them over rough
terrain, while hiking, or even running.
It represents a return to more simple
but strengthened forms after the comple
construction of the Maclaren buggy.

Specifications
Country: US
Height: 38/in (98cm)
Length: 45in (1 14cm)

2000
199
BATHROOM, BEDROOM, & NURSERY
1900 , ,

Magic lantern c.1900

Projection devices have been TOYS & MODELS
available since the 1 7th century.
ALTHOUGH BY THEIR VERY NATURE toys and
This lantern was made by Ernst
models belong in the nursery, many have
Plank at the turn of
also become collector's items for adults,
the century. Although
particularly teddy bears, train sets, and
intended for children,
model vehicles.The last are ingenious
its oil-powered lamp
designs and by no means mere copies of
gave little concession
the original full-scale items. Constructional
to safety.
toys were popularized early in the century
Specifications
by Frank Hornby, whose Meccano kits were
Country: Germany
later rivaled by Lego (from the Danish leg
Height: 6^in (17cm)
Material: Tin
godt, meaning "play well").

Noah's Ark c.1900

Noah's Ark, complete with wooden
animals, was considered a respectable
toy for children to play with on Sundays,
because of its biblical connections.

The ark continues to inspire toy

designers today.

Specifications
Country: Germany
Height: 21 !4in (54cm)
Material: Wood

Clockwork ship 1 904

Produced by Bing, this delightful clock-

work ship is propelled by winding it up

through one of the smokestacks. It has
an adjustable rudder, and a support
bracket that allows it to be displayed.

Specifications
Country: Germany
Height: 8^in (21.5cm)
Material: Tin

1900
200
 TOYS & MODELS

Steiff teddy bear c.1905

The tedd\ boar gained its name following
President Theodore (Teddy) Roosevelt's
refusal to shoot a bear on a 1902 hunting
expedition, prompting a New York toy
shop to display a stuffed bear labeled
"Teddy's Bear." The cinnamon-colored
bear shown here was
made bv the Felt
V
Meccano 1910
Toy Company.
Frank Hornby's Meccano is one
which in 1906
of the century's great success
became the
stories. An infinite variety of
famous Steiff.
vehicles and objects could be built
Specifications
using fully interchangeable com-
Country:

Materials:
Germany
Height: 28in (70cm)
Mohair plush
* ponents. In 1926, colored parts
became available, and electric

and wood-wool stuffing motors were introduced later.

Specifications
Country: UK
Height: Not applicable
Material: Nickel-plated
metal

*
201
BATHROOM, BEDROOM, & NURSERY

Hornby train set 1920s

By the 1920s, clockwork trains had been in

existence for over 30 years. But popularity

increased when Meccano models were
widely promoted in toy shops and in
Meccano Magazine. This model is

made from pressed tin, and runs

on purpose-built tracks.

Specifications
Country: UK
Height: 3><in (9cm)
Material: Tin

Dinky cars 1930s

Meccano began to produce small, die-cast
n 1933. They were christened
"Dinky" after the Scottish

slang word meaning "small

and neat." An enormous
number of vehicles were

produced until the

company closed in 1980.

Specifications
Country: UK
Length: 3/in (9cm)
Material: Die-cast
Scalextric 1950s metal
Designed by Fred Francis, the first

Scalextric cars were clockwork.

Later, electric motors and hand-
held controls allowed the cars to
be raced at furious speeds.

This track was produced

in 1968 by Tri-ang.
Specifications
Country: UK
Length of car: 4%in (12cm)
Material: Plastic

202
 TOYS & MODELS

Robby the Robot 1956

Based on a character from the film
Forbidden Planet, Robby has a clockwork
motor that allows him to walk, and his

eyes to flash. A typical 1950s' robot,

with his humanoid appearance,

Robby was produced by the Japanese
company, Ko-Yoshiya.
Specifications
Country: Japan
Height: 8Kin (22.5cm)
Material: Tin plate

The studs that

enable the bricks to

be coupled together
were the innovation of
Godtfred Christiansen

Lego 1958
Developed since the 1930s and born in 1958

the form we recognize today, the Lego brick

was designed by Ole and Godtfred Kirk
Christiansen. Increasingly specialized pieces
have made construction possibilities endless.

Specifications
Country: Denmark
Height: Not applicable
Material: Plastic

203
BATHROOM, BEDROOM, & NURSERY

Transformer robot 1 980s

These multi-jointed, armored
warriors by Hasbro transform
from robots into destructive
vehicles. With its seven
missiles, the Turbomaster,

shown here, reflects the

popularity of aggressive,
sci-fi inspired toys.

Specifications
Country: UK
Height: 7in (18cm)
Material: Plastic

Tamagotchi 1996
The "lovable egg," brainchild

of Japanese housewife Aki

Maita, derives its name from a

rough translation of the Japanese

tamago tchi. The handheld "pet"
consists of an ovoid electronic
device with LCD display depicting
After hatching
a bird. Owners must care for it by
from its virtual
giving food, discipline, and love. egg, with care,
Specifications a cyberchick
Country: Japan can live for up
Height: 2in (5.3cm) to a month
Material: Plastic

Playmobil 1 2 3 1990s
Playmobil 12 3 provides a wide variety of
brightly colored, safety-conscious toys for
infants, which feature figures, animals, and
vehicles. More challenging versions are
designed for older children.

Specifications
Country: Germany
Height: Not applicable
Material: Plastic

204
 TOYS & MODELS
. 2000

Thunderbirds,
1992 Power Rangers, 1 994

First introduced to enhance the

profits of a popular television
series, products based on well-known
characters have become an inevitable
part of television merchandising.
All age groups are targeted, from the

f preschool Teletubbies audience

to viewers of the adult cartoon
South Park. In 1992, the relaunch
of 1960s Thunderbirds toys
caused so much interest among
thirtysomethings that the range
sold out with unprecedented speed

South Park, 1997

Teletubbies, 1997

2000
205
BATHROOM, BEDROOM, & NURSERY
1900

Specifications
Country: UK
Length of board: 29in (74cm)
Materials: Cardboard
and metal

Ping Pong 1 905

This game was launched in 1905 by
Jacques and Hamley Bros., the name
deriving from the sound of the paddle
hitting the ball. The paddles are crafted
using two sheets of vellum, with the long
handles shaped more like lawn tennis
Peter Rabbit's Race Game 1910
rackets than the abbreviated modern
An early example of merchandising a popular children's
table tennis paddles we now use. The
character, this game is based on Beatrix Potter's well-loved
illustrated box promises "immense
animal creations. Produced by F. Warne and Co., the board
excitement and healthy exercise."
is printed with exquisite illustrations.
Specifications
Country: UK
Length of paddle head: 19in (48cm) The body of
Materials: Net, vellum, and wood the ear is made
of scm i j steel

GAMES & OUTDOOR TOYS

THERE IS OFTEN LITTLE to distinguish between adults' and children's
games. Board games in particular have long been established as
favorites with all age groups; most recently, Trivial Pursuit was
designed to test and expand knowledge in an enjoyable format.
Other games have been conceived with the purpose of promoting
physical exercise and good sportsmanship, the most notable being
Ping Pong, now a recognized competitive sport. Perhaps the most
significant change in toy design, and the cause of the greatest
upheaval in children's play, has been the arrival of computer games.
First seen in the 1970s, and now showcases for highly complex
computer graphics, these stimulate sharp hand-eye coordination,
but have been criticized for encouraging a sedentary lifestyle.

1900
206
 GAMES & OUTDOOR TOYS

The cardboard
play trig pieces

Monopoly 1 934
Invented by Charles B. Darrow.
Monopoly was based on the street names
of Atlantic City, N.J. It was successfully

marketed by switching the location to

any major world city, and is now the

world's best-selling copyrighted board

game. This British example, produced

by Waddmgtons, dates from the 1940s.
Specifications
Country: US
Length of board: 19in (49cm)
Materials: Cardboard, metal,
and plastic

Pathfinder pedal car 1 949

Austin produced this child's racing car at its Welsh

factory which was a nonprofit outlet set up to

employ former miners. Constructed using scrap

steel, the car is propelled by the use of pedals.

Although expensive playthings, toy vehicles have

remained popular in many shapes and forms.

207
BATHROOM, BEDROOM, & NURSERY
,

Modern versions of Specifications

Subbuteo are issued Country: UK
with a markedfield Width of field: 25in (64cm)
Materials: Fabric, plastic, and net

Subbuteo 1947
Invented by Peter Adolph, the first game of table
Space Hopper 1950
football was introduced in Britain in 1 947 during
The much-loved Space Hopper
severe postwar rationing, and included a piece of chalk
was introduced at a time when
and instructions to mark a field on an old blanket.
space exploration was becoming
Cardboard players were available in 24 team colors,
a realistic possibility, and
allowing every child to own his favorite team. Since
science fiction films were
then, millions of fans have formed special leagues,
drawing large audiences.
and even organized a Subbuteo World Cup. This
The cylindrical ears
British example by Waddingtons dates from 1995.
serve as handles for the
child, who sits astride

the inflated body

and bounces.
Specifications
Country: France
Cluedo 1949 Height: Variable

Devised by Anthony Pratt and designed Material: Rubber

by his wife in 1944, Cluedo was launched

in 1949. The design of this world-famous
board game differs between countries,
although the current British version
remains the same as the original. This
German set dates from 1993.
Specifications
Country: UK
Length of board: 19Xin (49cm)
Materials: Metal,
cardboard, and plastic

208
 GAMES & OUTDOOR TOYS
2000

Trivial Pursuit 1982

Designed by Canadian Michael Wurstlin, Trivial Specifications
Country: Canada
Pursuit is played worldwide. Each player answers six
Length of board:
categories of trivia questions, filling his or her circular
20in (51cm)
playpieee with a colored plastic segment at each Materials: Plastic
success. This circular design is echoed on the board. and cardboard

Nintendo Sony
Gameboy Playstation

By the 1980s, advances in computer technology

meant that game programs could be played
on hand-held computers, such as Gameboy
by the Japanese company Nintendo. The Sony
Playstation, formulated in the 1990s, is
operated through a television screen.

2000
209
 —
BATHROOM, BEDROOM, & NURSERY
1900

DOLLS
UNTIL THE 20TH CENTURY, dolls were typically
Lead weight
modeled on adults, often with elaborate wigs,
in the eyelidi
glass eyes, and eyelashes made from human allow the dol
"
hair. "Baby" dolls were simply smaller to "sleep

versions, and even after the turn of the

century very few dolls were made to resemble
real babies — the best-known being George
Borgfeldt's Kewpie doll. It was in the 1930s
that doll design really took off, with more and
more models being mass produced. Baby dolls
were fashioned to look increasingly realistic,
and to sound and even function like real
babies; by the 1960s, dolls could cry and wet
their diapers. Adult dolls did not fall out of
favor. Barbie and G.I. Joe, first popular in the
1960s, have since been redesigned to appeal to
new generations of children.

Schilling doll c.1900

Relatively large at 25'Ain (60cm), Stephan
Schilling's adult doll is dressed as an
English nanny. Parts of the body are made
from composition (pulped wood or a paper-

based mixture), with upper arms, legs, and

mid-torso made from cloth stuffed with

straw to allow greater movement. More

expensive dolls of the time had a softer
stuffing, such as animal hair.

Specifications
Country: Germany
Materials: Composition
with straw-stuffed fabric

1900
210
 DOLLS
=
My Dream Baby mid- 1920s
Manufactured in bisque and composition,
Armand Marseille's design is clearly

ntended to look like a real baby, with

chubby legs and a button nose. The
arms and legs are moved by means
/ of elasticated string joints, and
the large head is painted to give
the impression of soft
baby hair. Because the

juflf facial features were

^E^T hand-painted, each

Kewpiec.1913
doll was a unique item.
Designed bv Joseph
Specifications
Kallus and made in
Country: Germany
the US bv George Borgfeldt, this doll
Materials: Bisque head
was based on the illustrations of Rose with composition
O'Neill featured in the Ladies Home body and limbs

Journal. The bodv and head were cast

from liquid clay in a single piece, with

arms added afterward. The definition
of this rudimentary design was achieved
by the painted finish.

Specifications
Country: US
Material: Bisque

Tyrolean dolls early-1950s

Designed by Kathe Kruse. this pair of dolls

was manufactured by the famous German

Rheinische Gummi- und Celluloid-Fabrik
and both bear the trademark turtle label.

The factory also made celluloid heads for

export to the UK and US. which would be

used on composition or stuffed bodies.
Celluloid was cheap, easy to use. and
lightweight. Its drawbacks were its
Specifications
flarnmabilitv, its crushability, and its Country: Germany
tendency to fade in light. Material: Celluloid

21 1
BATHROOM, BEDROOM, & NURSERY
J.

G.I. Joe 1 964

First produced in 1964 in response to the realization
that boys also enjoy playing with dolls, G.I. Joe was
multijointed to allow him to be manipulated in
all kinds of action positions. The doll

was later restyled as a

"global adventurer,"
and was most recently
updated and relaunched
by Hasbro in 1993.

Specifications
Country: US
Material: Plastic

The diving suit

is made from
unbleached calico

Cabbage Patch Kid 1 983

Between 1983, when they first caught the public
imagination, and 1996, when Mattel updated and
relaunched them for a new generation, more than
77 million Cabbage Patch Kids were "adopted" by
children across the world. Created by Xavier Roberts
of the Original Appalachian Artworks, Inc. in
Cleveland, Georgia, each doll has individual
physical details that make it unique and comes
with its own birth certificate and adoption papers.
Specifications
Country: US
Materials: Vinyl and
polyester

212
 Baby Born 1991
Designed by Victor ML Pracas and
manufactured bv Zapf Creation, Baby Born
has proved to be one of the most successful
dolls of the 1990s, with over three million
sold before 1996. Its lifelike appeal rests in

the multitude of "bodily functions," which

include eating, crying, and soiling its diaper.

Joints at the hips, shoulders, and neck allow

realistic flexibilty and movement.
Specifications
The soft-

sculpturedform
Country: Germany
Material: Plastic
makes the doll
very comfortable
to cuddle

THE CHANGING STYLE OF BARBIE

Probably the mostfamous of all dolls, Barbie started life in the 1950s as
Lillu after a risque German newspaper cartoon character. She first appeared
as Barbie in 1959. US manufacturer Mattel s designers have been kept busy-
ever since as Barbie has metamorphosed through fashion changes of the past
40 years. IVhile the early Barbies were highly coiffed, heavily made-up ladies,
the modern doll is a younger, wholesome,
J|B% all-American girl, with open face,
q> |B wide eyes,and smiling lips. Nearly
isy
™ 12 inches OOcmJ tall and made from
molded plastic with nylon hair rooted
into the head, Barbie has hard bent
arms and rigid legs. However,
flexibility is offered in the jointed
hips and swivel waist Barbie s
passionfor clothes has ensured
a variety of outfits and
accessories to fill her pink
wardrobe, each reflecting
her ever-changing lifestyle.

"Airline "Happy
i Stewardess" Holidays"
*^ Barbie, 1 963 Barbie, 1990s

2000
213
AROUND THE Wallpaper

HOME Telephones

Clocks

Vacuum cleaners
AROUND THE HOME
1900

WALLPAPER
SINCE WORLD WAR II, wallpaper
producers have found increasing
competition from the paint industry,
which has offered consumers a
wide and inexpensive selection of
colors in a variety of finishes. In
response, new types of wallpapers
have been developed, including
self-adhesive paper and, in the
1950s, vinyl paper. To breathe
more life into the craft of
wallpaper design, manufacturers
have frequently commissioned
highly respected artists to create
compositions for them: these
include exuberant floral patterning,
science-inspired imagery, and
abstract designs.

This sumptuous paper

is typical of the
elaborate brocades
of late Victorian and
Edwardian furn ish ings

Block-printed and flocked

wallpaper c.1900
Flock wallpaper, with its richly
textured finish and appearance
of velvet, has been produced
since the 1 7th century. In this
early 20th-century example from
Ziiber et Cie, the designer has
used a symmetrical floral pattern
of red flock over a gold ground.

1900 ..

216
 WALLPAPER

The Cedar Tree cl 91 Blossom Garden c.1930

This flamboyant design by Louis Stahl was created Particularly admired for her textile and ceramic
for British wallpaper manufacturer Sanderson's. designs, Felice Rix was a member of the Wiener
The combination of rich colors, fine detail, and Werkstatte and studied under Josef Hoffmann.
solid black ground is a striking one. Hand-printed Her Blossom Garden wallpaper design features

from carved woodblocks, the paper was still in a fine pattern of grasses and flowers, machine-
production in 1957. printed on a beige ground.

217
AROUND THE HOME

The design mixes both

figurative and abstract
elements, reflecting public
interest in patterns and motifs
*':s>
drawn from chemistry, physics
and medicine

©*>

5fe
•

MqzJ.

r
»#
'A ®

A.
Television 1 951 Vive la Liberte 1 972
By the 1950s, television ownership was rapidly This composition by the Swiss artist Jean Tinguely
growing, with over 19 million sets bought in the (1925—) for the German company Marburger
US by 1952. This screen-printed wallpaper from shows freedom from typical imagery in the use

1951 represents an enthusiastic response to the new of an unexpected sampling of objects found in
medium. The designer, Mildred Coughlin McNutt, modern life. Ranging from flowers and butterflies

created an image evocative of the many faces to spanners and bottle openers, the images have
of television — sport, theater, music, and urban life. been overlaid onto a metallic surface.

218
 WALLPAPER
2000

Discs of metallic leaf are

individually brushed, rubbea\
and burnished and then applied
to hand-painted rice paper

Laura Ashley wallpaper 1980 Trip the Light Fantastic (TLF4) 1998
This restrained pattern for the Laura Ashley This richly-textured design, which changes with
company consists of a small floral motif printed the light, was created by Anya Larkin for Donghia.
in several shades of blue on a crisp white back- Larkin is influenced by ancient European and
ground. The internationally successful company Asian cultures and uses strict architectural

was founded by Laura Ashley in the 1950s, and proportions to order her designs. Her work has
has become famous for its range of products been acquired by the Arts Decoratifs archives
that evoke English country life. at the Louvre in Paris.

2000
219
AROUND THE HOME
1900-—-—=:

STORAGE
PROVIDING SPACE and
protecting items in storage are
the key priorities for designers
of sideboards, shelving units,
and wardrobes. However,
many of these functional
pieces have become objects
of desire in their own right
Changes in design ethos
can be traced through
the century, from
Gustave Serrurier-Bovy's
wooden cabinet, which
communicates the
craftsmanship of Art
Nouveau, through
the tongue-in-
cheek exercises of
Memphis, to Jane
Atfield's Made of
Waste shelving,
which expresses
the environmental
concerns of the 1990s.

Fruitwood dining
cupboard c. 1900-10
A classic example of Art
Nouveau designer Serrurier-

Bovy's work, this cupboard

stores its contents behind
geometrically styled wooden
doors with brass fittings.

Specifications
Country: Belgium
Materials: Fruitwood and brass
Height: 80in (203cm)

1900
220
 STORAGE

"MOBILE INFINITO"
Studio Alchimia was founded
in Milan in 1976 by Alessandro
Mendini and Ettore Sottsass,
among others. This wardrobe is

part of a major project known

as "Mobile Infinito, "for which
over 30 artists created individual
pieces of furniture. Mendini s
wardrobe has feet designed
by Denis Santachiara (1950—),
handles by Ugo la Pietra (1938-),
andflags by Kazuko Sato. The
decoration, which can be placed
anywhere on the magnetic
body, was designed by several
artists, including Sandro Chia

and Francesco
Clemente.

Mobile Infinito
wardrobe, 1980s

PROGRESSIVE STYLE
Edelstahl container 1927 The Czech designer Bofek Sipek
created this unique "wardrobe "for
Designed by Marcel Breuer in 1927,

simplicity is the essence of these

Vitra. A playful combination of
colors and materials, it is capped
"precious steel*' drawers. With the
with halogen lighting. Sipek has said
ideals of the Bauhaus behind its
law of
of design: "Tradition is the
design, it achieves a compatibility
progressiveness; progressive design
between art and mass production. does not destroy that which was, but
Specifications rather places it in another dimension.
Country: Germany
Wardrobe, 1989-91
Material: Steel
Height: 39/^in (100cm)

221
AROUND THE HOME

Twelve-drawer sideboard 1 950s

This sideboard is an example of American
designer Florence Knoll's work from her
most influential period, after World War II.

Utilizing new techniques and structures,

pieces of furniture such as this classically-

austere twelve-drawer sideboard were

widely imitated. It was manufactured by
Knoll Associates, a design group founded
by Florence and husband Hans in 1958.
Specifications
Country: US
i

Materials: Steel,
The angles of
wood, and marble the supporting
Height: 2A A\n (62cm)
]

structures create
storage spaces of
varying volume

Carlton sideboard 1981

Ettore Sottsass showed his "programmatic"
shelving unit-cum-room divider in the first

exhibition by his furniture design group

Memphis in Milan in 1981. The show
created a stir, and this piece has come to
be regarded as an icon of postmodernist
design. This substantial unit is covered
with brightly colored plastic laminate.
Specifications
Country: Italy

Material: Plastic laminate

Height: 77%in (196cm)

222
 follow the
seane direction as
. meshing
h drawer

*?j'A
The colors of
the shelving
are determined
by the selection

of waste
bottlesused

J
^

V' / -

Settimanale 1985
This steel cabinet is the work of Matteo
Thun. a founding member of Memphis.
Its industrial appearance is typical of

"micro architecture."' a style Made of Waste shelving 1 994

characterized by its references to British designer Jane Atfield set up the
architectural concepts. The diamond- Made of Waste partnership in 1942. She-
shaped holes are punched out in a uses recycled plastic bottles to produce
geometric pattern. furniture in a wild mixture of colors.

Specifications Specifications
Country: Italy Country: UK
Material: Pressed steel Material: Plastic
Height: 63in (160cm) Height: 72^in (184cm)

2000
223
AROUND THE HOME
1900

TELEPHONES
THE TELEPHONE, INVENTED by Alexander Graham Bell
in 1876, is now a common feature in households
around the world. Early models were often designed
to be wall-mounted, and tended to be cumbersome
and oversensitive. The candlestick was the first
successful compact desk telephone; but it was not
until the Ericofon of the 1940s that all the components
were unified in a single-element instrument. Since
then, the use of plastics has given us cheap, light-
weight telephones — including the pocket-sized cordless
models of the 1990s — in a range of vivid colors.

Skeleton c.1900
The hugely successful Skeleton model was
first produced in the late 1 9th century by
L.M. Ericsson. This elegant telephone was
often finished in high-quality black lacquer
and decorated with gold transfers. The
ingenious design utilizes the four curved legs
to form the magnets of the generator. The
working parts are exposed, as are the bells.

Candlestick c.1910
The familiar, classic shape of the
Candlestick telephone derives from
the practical necessity of keeping Desk telephone 1937
the transmitter upright. However, Inspired by the modern plastic telephone

the apparent simplicity of the design designed by painter Jean Heiberg in

is misleading, for the telephone 1930, Henry Dreyfuss created this self-
requires a separate bellset — containing contained metal model for American
induction coil, capacitor, and ringer Telephone and Telegraph. It was later

in order to operate. produced in Bakelite or similar plastic.

Specifications Specifications
Country: US Country: US
Material: Enameled brass Material: Die-cast metal

1900
224
 TELEPHONES

Single-element telephone 1950s

The first single-element (one-piece)
Specifications
telephone was the Ericofon, designed by
Country: UK
Material: Bakelite
Ralf Lysell and Hugo Blomberg in the

1940s. The design of this single element

model combines sensuality of
form with the function of
technology: the earpiece
and transmitter are
contained in a unified
plastic body, and the
dial is on the base.

Specifications
Country: Sweden
Materials: Plastic,
rubber, and nylon

The dial and

circuitry are in the
base of the phone

225
AROUND THE HOME

Grillo 1965
The smart, modern-looking Grillo
telephone was designed by Richard
Sapper and Marco Zanuso
in the 1960s; this

model dates from

the 1980s. It is

made from brightly

colored plastic, with
either push-button

keys or a traditional
dial. The mouthpiece
and main body are
hinged so that
the unit can be folded
away when not in use.

Specifications
Country: Italy

Material: Plastic

The Grillo was half

Mickey Mouse
the size of previous
typifies
telephones
modern pop
imagery

Mickey Mouse telephone 1980

The 1970s and '80s witnessed a departure
from the restrictive conventions of the

past, and a variety of inexpensive plastic

telephones were produced. This Mickey

Mouse telephone by the British company
Plessey is lighthearted and fun; and as an
item of modern technology, it functions

perfectly well.

Specifications
Country: UK
Material: Plastic

226
 TELEPHONES

The internal wiring

becomes afeature
in the design

Swatch Twinphone 1994 Nokia 6110 1998

This telephone, which can be used by The 1990s have seen a giant
two people at the same time, has a leap in the quality of mobile
sunple shape, but decoration is provided phones, and their use has accelerated
in the form of the internal wiring and dramatically. This compact piece
electronics. This is in contrast with of modern design can send text

the original manufacturers of plastic messages and faxes, as well as

telephones and suggests how we are offering games, functioning as a

increasingly at ease with technology. calculator, and of course as a phone. <&?^y3$&
Specifications Specifications
Country: Switzerland Country: Finland
Material: Plastic Material: Plastic housing

VIDEOPHONE TECHNOLOGY
The 1980s and '90s saw the adoption of further
technological advances in the production of telephones,
first with cordless models, and then with videophones.
Color video pictures are transmitted with sound,
enabling callers to see each other during
conversations. Although early users experienced
a delay of up to half a second between the
reception of video and voice signals, newer
models make the two simultaneous when
used on a high-speed digital network.
Standard calls can also be made to
•

telephones without the video facility. BT videophone, 1990s

2000
227
AROUND THE HOME
1900 =

The two earlike

bells are linked by a
slim, curved handle

r
|f|
Grandfather
clock 1900
Gustave Serrurier-Bovy
was one of Belgium's
leading Art Nouveau
designers. Inspired in his

youth by William Morris, Double bell alarm clock 1920s

his later work showed a This modern version of the traditional
German influence. Key double bell alarm clock, with earlike
hallmarks evident in this bells, luminous hands, and slender legs,

partially restored piece has a common mechanism. It offers the

include architectural user the option of waking up to a single
form, geometric ring or a repeat ring every few seconds.
i i
decoration, and subtle Many models also feature a small

use of brass fittings. seconds dial.

Specifications Specifications
Country: Belgium Country: US
Height: 91 Kin (233cm) Height: 6in (15cm)

CLOCKS
ALTHOUGH A FORM of electric clock had been invented
by 1900, the majority of clocks were still mechanical,
generally encased in wood or metal. Electric models
of increased accuracy became popular in the 1920s;
but it was not until 1928, with the design of the first
quartz clock, that near total accuracy was possible -
the maximum error being one second every ten
years. Smaller movements, together with the
development of plastic housings, have since
given designers greater freedom for innovation.

1900
228
 CLOCKS

Cartier clock c.1920

French jewelers Cartier also produced a vast array of
clocks. One of the most famous is the Art Deco mantel
clock, renowned for its invisible movement. This tiny,
Specifications
exquisite clock, is decorated with stripes of gold and Country: France
white enamel, and has diamond-studded hands. Height: 3>iin (8cm)

Zephyr c.1930
Kem Weber was a proponent of the streamline
aesthetic, which characterized much American
design during the 1930s. He applied that
principle in the design of this elegant digital

Strongly vertical designs

clock for Lawson Time Inc. "Zephyr" is both Specifications
red in the 1920s the Greek god of the west wind and the name Country: US
of the streamlined trains that appeared in 1934. Length: 8in (20.6cm)

I2IQE1B

229
AROUND THE HOME

Atom Wall Clock 1949

One of the Chronopak series of clocks produced by industrial The wooden knobs
Howard Miller Clock Company, were often painted
designer George Nelson for the
the Atom Clock uses shapes borrowed from atomic science.

Designed in 1949, the clock prefigures the impact that

scientific imagery was to have on art and design in the
Specifications
1950s — culminating in the construction of the Atomium, a Country: US
large-scale exhibition sculpture for the Brussels Expo of 1958. Diameter: 13/in (34cm)

230
 CLOCKS
2000

Optic 1968
Reissued by Alessi in 1988, the Optic alarm clock was
originally manufactured by Ritz Italora to a design by

Joe Colombo. Colombo's functional design approach

is evident m the extended case, which shields the dial

from reflection, and in the luminous digits that make
I read in the dark.

Specifications
Country: Italy
The numerabform
Height: 3 -in (8.3cm) a muumal part
of the design

Helix 1979
In designing the Helix clock. Steve Diskin reviewed

the traditional hands or digital approach to displaying

time. The hours, minutes, and seconds are displayed
in a straight line.

Specifications
:US
Length: 23/in (59.3cm)
Vercingetorige 1 994
British designer Julian Brown created
the Vercingetorige alarm clock for the
Italian company Rexite. Brown drew
inspiration for the conical body of the
The playful
primary colors clock from a warrior's helmet. His use
are typical of of materials is innovative, combining
postmodernist Rynite — composed of recycled
design
photographic plates — transparent,
milky polycarbonate, and brightly
colored acrylic.

Specifications
Country: Italy

Diameter: 3Xin (9cm)

2000
231
AROUND THE HOME
1900

VACUUM CLEANERS
THE BEGINNING OF THE CENTURY saw the demise of the
domestic servant, and many middle-class families were
responsible for their own cleaning for the first time. This
coincided with growing paranoia about the dangers of
inhaling the germs in household dust — in 1907, one
French doctor wrote: "Dry sweeping and dusting are
homicidal practices." Soon, the hand- or foot-operated
bellows vacuum cleaners that had been available since
the 1890s became essential household items. These were
rapidly replaced by electric-powered suction cleaners,
developed in 1908 by the American Murray Spangler and
financed by William Hoover. For many years, Hoover has
dominated the market. Only recently have traditional
cleaners been challenged by new technology.

Baby Daisy c.1908

One of many introduced in the 1900s, the
Baby Daisy was a hand-operated bellows

vacuum cleaner. Although it was cumbersome

and difficult to use — one hand pumped the
bellows while the other guided the hose —
it was an improvement on sweeping. Within
a decade, hand-operated machines were
replaced by power-driven vacuum pumps.
Specifications
Country: UK
Height: 39in (100cm)

Baby Daisy
was easier
to operate if an
assistant pumped
the bellows

1900
 VACUUM CLEANERS

Hoover 700 1 920

In 1916, the American Hoover
Suction Sweeper Company
introduced an upright vacuum
cleaner that became the standard
for the next two decades. The
cleaner has a canvas bag housing
a disposable paper sack in which
the dust was collected. Rotating
brushes loosened the dust as the
cleaner sucked. The angle of
the handle to the head could
be adjusted; it was connected
on swing hinges.
Specifications
Advertising the Star Country: US
The relatively expensive Height: 47in (120cm)

Star cleaner was designed

to be lightweight and easy
The bellows
to use: "The Light of produced sufficient
Every Home." proclaimed suction to draw up
the advertising. the dust

Star 1911
Although easier to use
than the unwieldy Baby Brushes, fan,
and motor are
Daisy the Star had to be
housed in a
hand-pumped and was single casing
without rotating
brushes. Its utilitarian
design — no attempt has
been made to hide the

wing nuts or rivets — suggests Specifications

that it was to be kept out of Country: UK
sight when not in use. Height: 51 in (130cm)

233
AROUND THE HOME

Electrolux 1920
Despite the prevalence of the upright vacuum cleaner,

the cylinder type continues to challenge its popularity.

Manufactured by Electrolux, the original design of 1915

had a horizontal cylinder with cleaning brushes attached
Specifications
to a flexible hose. This enabled the user to clean curtains, Country: Sweden
upholstery, and fabrics at any height. Height: Not known

The cleaner
could be carried
with a strap

234
 VACUUM CLEANERS
2000

HAND-HELD CLEANERS

jlgm
Hoover Dustette
The Hoover- Dustette is one of many hand- held
cleaners designed specifically to dispose of
crumbs or pet hairs. Light, portable, and cordless,
The sleek,
these appliances are far more convenient than cylindrical body
fill-sizevacuum cleaners for small-scale, precise gives the cleaner
work. Hand-held vacuum cleaners first gained a high-tech,
popularity in the 1960s and 70s as a convenient futuristic
appearance
way to clean car interiors, and were powered by
the car's battery via the cigarette lighter socket.
Such models are now marketedfor general use.

The yellow
and gray-
Dyson Dual Cyclone 1986 styling recalls

Not since the introduction of the original 1950s space-

age designs
Hoover has there been so revolutionary

a development in upright cleaner design

as the Cyclone. The dust bag has been
eliminated: instead, dirt is collected in the

cylindrical body, using G-force technology.

Dyson claims 100 percent suction, even

when the cleaner is almost full, because

centrifugal spin keeps the airstream clear.

Specifications
Country: UK
Height: 42in (107cm)

2000
235
CLOTHING & Childrenswear

ACCESSORIES Womenswear

Menswear

Shoes

Watches

Fountain pens

Makeup

Jewelry
CLOTHING & ACCESSORIES
1900

Children s hats were

often positioned
on the head to

resemble a halo

'

As an infant,
Prince Edward
was painted
wearing a sailor
suit, spawning
many imitations

CHILDRENSWEAR
ALTHOUGH THE CLOTHING REFORMS of the less restrictive garments. When, in the
late 19th century prompted a relaxation 1950s, an array of new man-made fibers,
in public attitudes toward children's dress, easy-care fabrics, and simpler fasteners
it was World War I that witnessed the first emerged, the industry was galvanized
significant upheavals. Children were taken anew. The revolution was finally complete
out of their heavy, formal outfits — with the advent of mass production, when
invariably scaled-down versions of their traditional hand-tailored clothes were
parents' — and dressed in lighter, plainer, universally replaced by ready-to-wear outfits.

1900 r=====ss=±2-^—
238
 CHILDRENSWEAR

Boys' and girls' daywear 1900

Although children's sailor suits had been available for

decades, they came into their own at the turn of the

century, when changes in education meant that clothing

had to be suitable for the recently introduced gymnastics

and outdoor games that formed part of the revised school
curriculum. Looser clothing for girls, like this linen coat-
dress, began to gain popularity. Even so, it was still

customary to wear heavy, lace-up boots and black

cashmere stockings.

Straw Panama

Lace-up boots
and stockings
were worn
until after
World War 1

Boys' and girls' daywear 1920s

It was after World War I that children's clothes

changed most dramaticallv and universallv. This

transformation echoed the radical changes taking

place in adult fashion. Lighter, less elaborate
garments, including soft collars, jerseys, and socks
instead of stockings, were adopted, in contrast to
the formal styles of the first decades of the century.
Girls wore simple dresses with dropped waists, and
bovs wore updated versions of the skeleton suit —
brief shorts buttoned onto a shirt top.

239
CLOTHING & ACCESSORIES
=
Outdoor clothing 1930s
Matching coat and leggings
were popular outdoor wear for
outfits

young
%
children throughout the 1930s and '40s.

They were immensely practical because

the leggings were loose enough for

dresses to be tucked into them, and they
could be zipped or buttoned tightly over
^ **
the shoes for extra warmth.

Boys' and girls'

daywear 940s 1

With the outbreak of World

War II children's clothing took
on a more practical aspect than
previously. Clothes were designed
to be comfortable and hard-
wearing. Outfits like this double-
breasted suit, worn with a, knitted
sweater, were common. American
styles - including snow suits, knee
breeches, and checked shirts -
which were to flourish in the

postwar years, began to filter

into Europe with the packages

of clothes sent from the US
to aid war-stricken countries.

Easy-care fabrics like

this Tobralco dress

were idealfor
children's clothes

Ankle-strap
shoes were
worn with
ankle socks

240
 CHILDRENSWEAR

Floral prints
CHILD STAR
and brightly
coloredfabric
were popular
in the 1950s 1

^ T[W'~* -~*m ,

W ^\^^Jfe-

Shirley Temple (1 928-)

In the 1930s, film played
a major role in influencing
fashion. Nobody had more
impact on children's clothes
than Shirley Temple, one
of the most successful child
stars in the history of film.
After her debut at the age
of three, she was for a
decade one of the biggest
stars in the US. She acted
in films such as Dimples,
Curly Top, Poor Little
f Rich Girl, and Baby Take
a Bow. During the Great
Depression, Temple was
celebrated by an adoring
Boys' and girls' daywear 1950s public, and the dresses she
The postwar babv boom emphasized the potential market wore — with puffed sleeves
for children's clothing. Outfits for very young children were and Peter Pan collars —
influenced by adult styles; but subtle changes did start to appear, became very popular. She
and slowly their dress began to follow teenage rather than adult retiredfrom Hollywood in
fashions. Teenagers were an important market force in the the late 1940s and went on

1950s. They used their newfound income to show off their toenjoy a successful career
with the United Nations.
independence, purchasing the clothes, records, and accessories
associated with the new pop culture.

241
CLOTHING & ACCESSORIES

BABYGRO
In the 1950s, Viennese business-
man Walter Artzt designed and
patented a one-piece outfitfor
babies, made from a stretch fabric
that he invented. The suit was
designedfor the dual purposes of
comfort and practicality, and has
been steadily improved over the
decades. It is now internationally
known and sold as the Babygro.

The clear PVC

coat is decorated
with a geometric
pattern inspired
by Op Art

Boys' and girls' daywear 1960s

It was not until 1965 that hemlines rose

above the knee and the daring, provocative

styles of the 1960s flourished. From
1965 to 1968 brief, simple clothes were
mass produced in bright, inexpensive

styles, which were ideally suited to the

children's market. In the late 1960s, the

hippie movement emerged. Develop

the experimental nature of the decade,
hippies encouraged the adoption of
ethnic clothing, flowing robes in natural
materials, exotic beads, and long hair.

242
 The headscarf
completes
the rural
appearance
Sueaters and shirts
were skin-tight

Boys' and girls'

daywear 1 970s
The style of dress that had evolved
in the late 1960s was developed to

its extreme in the 1970s. The cut

of trousers altered, flaring from
the knee to the hem, known in

its most exaggerated form as bell-

bottoms (a revival of the style of

sailors' outfits). Boys now wore

long trousers or jeans, rather than
shorts, from an early age. There
was a revival of interest in crafts,

such as patchwork, which led

to the production of patchwork-
printed textiles. Following adult
1

fashions, girls skirts became

longer, and were often worn with
frilly blouses inspired by historical
or ethnic costume.

/nutation
patchwork dress

Platform
shoes were
popular in

the 1970s

243
CLOTHING & ACCESSORIES
-ill

Boys day wear

1
1 980s
The influence of television
and video on childrenswear
intensified throughout the

1980s. One effect of this was

the spread of American
styles to Europe; baseball
caps and sneakers becoming
enormously popular. Denim
jeans, standard casual wear
for the young since the

1960s, returned to a

straight-legged shape
after the demise
of flares.

Hooded jacket

The popularity
of branded
sports shoes

the 1980s

Quick-release Velcro
fastenings are ideal
for children's shoes .

244
 CHILDRENSWEAR

LADYBIRD
The history of the Pasold family and its

transformation from domestic weavers in

the remote village of Fleissen, Bohemia,
to mass-producers and brand leaders of
children's clothing spans 300 years. Two
important landmarks in this history were the
acquisition of its British plant in 1932, when the
company began to shift production from ladies'
to children's garments; and the purchase of the
Ladybird trademark in 1938. Today, Ladybird
clothes are sold throughout the
used everywhere except in the
"bug" motif is universal and
world — its name is
US and Spain, but the
instantly recognizable.
V9ft
Boys' and girls' daywear 1990s
There is no one style that definitively

characterizes the 1990s. The number

of manufacturers designing especially
for children has multiplied and the
number of looks available is vast,

Many styles or materials have

endured or been rediscovered
with regular 1950s, '60s, and
even '70s revivals. One children's
fashion item that has made a dramatic
impact is the sneaker, which has
become a billion-dollar industry as
companies such as Nike and Adidas
(see p.279) vie to persuade the young
that their product is coolest.

Primary The sturdy,

colors are practical shoe
perennially design is

popularfor enlivened by the

childrenswear decorative trim

245
CLOTHING & ACCESSORIES
1900

WOMENSWEAR
THE CHANGING VALUES AND ATTITUDES of the century Daywear 1920s
are clearly reflected in the way women dress: the role In the decade of the
of women, the permissive and the growth of
society, tubular silhouette,
the youth market have had an impact. In daywear,
all dresses were shorter,

restrictive full-length dresses, with a multitude of light, and elegant,

petticoats, were replaced by clothing better suited to in silk or crepe-

modern lifestyles. New looks were created through de-chine, often

a combination of aesthetic judgment, new materials, revealing the

and the challenging of past conventions. arms and back.
Beige stockings
were worn to

suggest bare
legs, and
rayon provided
an affordable
alternative

to silk.

Daywear c.1900 Daywear 1910s

Although less restrictive than In 191 4, Mary Phelps Jacobs
the multilayered, late 19th- designed the brassiere - two
century style, women's dress at handkerchiefs with ribbon
the turn of the century was still straps, intended to flatten the
uncomfortable. The "S"-shaped bust. World War I brought
silhouette was molded by more women into the workplace,
a corset, pushing the bust increasing the demand for
forward and the hips back. less restrictive clothing.

1900
246
 WOMENSWI

NYLON
First produced by the Du
Daywear 1930s Pont laboratories in 1938,
The Depression nylon was named after the
influenced fashion cities where it was hoped it

in the 1930s. Women's would sell, New York and

clothes became London. This fine, strong,
more sober and the elastic, synthetic fiber was

hemline dropped an ideal substitute for rayon

or silk. Research was led
once again. The
by Wallace H. Carothers;
overall silhouette
after his death the patent
\\ as more curvaceous
was awarded to Du Pont.
Elegant suits in
soft fabrics were
popular, often
worn with fox fur.

Underwear
New. easy to-care for underwear perfectly suited

the carefree lifestyles of women during the 1960

Matching sets of nylon bra, briefs, and half slips

appeared in bold, bright prints.

247
CLOTHING & ACCESSORIES

Day wear 1 940s Daywear 1950s Daywear 1 960s

Cloth became scarce during Christian Dior's "New Look," Although the decade witnessed
World War II, and clothes were introduced in 1947, had a huge a multitude of styles, the 1960s

plainer and used less fabric than impact on everyday fashion. will be forever associated with

previously. A utility scheme was The tight-fitting bodice, narrow the miniskirt. It was no longer
set up in Britain to ration clothes. waist, and full skirt gave possible to wear traditional

Nylons were introduced in a curving silhouette. The stockings, so designers experi-

America in 1940, but were very brassiere was padded and mented with fine-quality

difficult to obtain in Europe. wired to enhance the bust. colored and patterned tights.

248
 WOMENSWEAR
2000

Day wear 1970s Day wear 1980s Daywear 1990s

In the 1970s, fashion designers Clothes in the 1980s were a mix Unlike previous decades, the
drew inspiration from a variety of glamour, body consciousness, 1 990s are not epitomized by any
of sources: feminism, the hippie and the casual, multilayered look. single "look;" individualism is

movement, and civil rights. Lycra, invented in 1 958 in the the key. There has been a shift
Continuing trends set in the US and previously used only for in emphasis away from the high
1 960s. easy-care synthetic fibers underwear, gave rise to the body- achievement that influenced the
and psychedelic and patchwork hugging designs that went with look of the 1980s and toward a
patterns were popular. the 1980s' fitness craze. more casual, comfortable style.

2000
249
CLOTHING & ACCESSORIES
1900

MENSWEAR
COMPARED TO THE RADICAL changes in women's and advances in technology. Heavy
dress during the 20th century, menswear has Edwardian suits and starched collars have
appeared more constant in character. The given way to separates in lightweight and
suit, worn at the turn of the century, has synthetic fabrics; waistcoats and hats, once
undergone changes in material and cut, essential components of daywear, are now
but remains similar in form to its modern optional extras. The biggest change in men's
derivative. However, the fashionable male dress occurred in the 1960s, when young
silhouette like its female counterpart, has men adopted colorful, casual clothes that
been molded to suit changing social values challenged strict gender definitions.

The formal
top hai was
worn with the
morning suit

patterns //ere
favoredfor

Daywear c.1900 Daywear 1 91 0s Daywear 1920s

Men's dress did not change By 1910, the three-piece suit Equally acceptable on the golf
instantly with the new century. (waistcoat, trousers, and jacket), course or as informal daywear,
In the first decade the emphasis intended as casual dress, was knickers became extremely
was on formality; a frock coat popular daywear for city dwellers. popular in the 1920s. In the Ik
or morning suit was correct The jacket had small lapels and the wide trousers were called 'plus
daywear, worn with a starched buttoned high on the chest. fours" because they fell 4 in
shirt collar that averaged It was worn with narrow (10cm) below the knee. They
4in (10cm) in height. trousers and a bowler hat. were usually made from tweed.

1900 <-==—=—
250
 MENSWEAR

Padded
shoulders and
a full cut

reate a broad
silhouette

Daywear 1930s Daywear 1 940s Daywear 1 950s

The ideal male silhouette in It is difficult to identify The 1950s saw a steady paring
the 1950s had broad shoulders any definitive style during the down of the male silhouette.
and narrow hips. These features postwar period because the lack A narrower cut was adopted for
were accentuated in the cut of of raw materials and. in some suits, with slimmer trousers and
the double-breasted suit, which countries, rationing meant that a long single-breasted jacket.

had padded shoulders and wide many clothes were recycled, a Known as the drape suit, it

lapels. Trouser legs were cut concept that would have been was worn in an extreme form
w*ide with cuffs at the hem. unheard of before the war. by the "Teddy boys" in Britain

251
CLOTHING & ACCESSORIES

POP CULTURE INFLUENCE

Owing to the immense popularity thatfollowed theirfirst hit
records in the early 1960s, the Beatleshad an enormous impact
on mens wear. The collarless jacket shown here, designed by
Pierre Cardin, was particularly associated with the group.
As Beatlemania swept across the world, fans began to mimic
the group's style. Although itseems unremarkable now, the
"mop- top" haircut, with its thick bangs was considered
shockingly long at the time.
The Beatles, early- 1 960s

For the first time,

Formerly exotic
menswear became
fabrics such as
available in
leather became
a variety of
commonplace
bright colors

Daywear 1 960s Daywear 1970s

The male wardrobe By the early 1970s,
underwent a radical the traditional suit
transformation in was an occasional
the 1960s. Cheap, item of dress for
colorful clothes were most men. The
produced for young decade in men's
men and sold in fashion was typified
the new boutiques. by casual wear and
"Swinging" London, separates. Hipster

particularly jeans were popular,

Carnaby Street, cut tight over the
was the center hips and thighs
of an emerging and flaring from
pop culture. the knee.

252
 MENSWEAR
-
2000

The Nehru
THE T-SHIRT collar on this

1942. the US Xavy introduced a

Armani outfit
In
is inspired
knitted cotton undershirt with short
by Chinese
and a round collar. It was known
sleeves costume
as the T-Type because itformed a "T"

f-
James Dean,
shape when laidflat Worn initially
hv soldiers and marines, it was later
popularized by James Dean, who wore
one in Rebel Without a Cause, 1955.
1955

Padded
shoulders
mimic 1930s
styling

Day wear
1990s
The mood swung
Day wear 1980s again in the 1990s,
Menswear took a new- with a rejection of
direction in the 1980s the professional
when specialized look that charac-
men's clothing store terized the 1980s.
chains developed Soft, natural

a significant presence. fabrics, such

An economic boom as linen and
led to the creation silk, were wf
of a new type favored. /
of young city Shirts J
gent with were ^*
a distinctly often worn
corporate untucked in a
image. loose, layered style.

2000
253
CLOTHING & ACCESSORIES
1900

SHOES
REFLECTING AND COMPLEMENTING new styles of clothing,

shoe design has always been an important branch of the

fashion industry. Italian designer Salvatore Ferragamo
was one of the first to put new synthetic materials to use,
combining cork platform soles with plastic uppers in the
1930s. Another notable Italian innovation, the stiletto,
appeared in the 1950s and has played a controversial role
in women's fashion ever since. Elsewhere in footwear, the
distinction between men's and women's styles lessened
noticeably toward the end of the century.

Bead shoes c.1900

These ornate shoes from early in

the century combine a high upper

with the slightly waisted heel of
a court shoe. The pattern cut into
the leather is enhanced by an
arrangement of tiny steel beads.

T-bar shoes 1 920s

These elegant, high
heeled shoes are made
from embroidered purple fabric.

The bar shoe is the definitive

women's style of the 1920s,

the T-bar shown here being a

variant of the style below.

Skin shoes 1920s

Reptile skin has been exceptionally
popular in women's shoe design
for much of the century. Recently,
synthetic copies have developed in
response to concerns for wildlife.

1900
254
 SALVATORE FERRAGAMO
The irork of the greatest Italian shoe designer of ^y^C
"
the century, this "invisible shoe with nylon toe straps
teas launched in 1947. Itfollowed the legendary cork
wedge heel, patented in 1936 and imitated
throughout the world.
Invisible shoe, 1947

Correspondent shoes 1920s

The two-tone correspondent, or
spectator, shoe was popular during
the Jazz era. Primarily a fashion
for men, these black or brown and white
shoes enjoyed a revival in the 1940s.

Crepe sole shoe 1950s

Emerging with the cult of the

teenager, crepe soles became popular

in the 1950s. These shoes were
colloquially known as "brothel

creepers," because of their thick,

rubbery soles and soft suede uppers.

The stiletto 1 950s

Since it was introduced in Italv in 1953, the stiletto

has varied significantly in shape. Although

originally 2in (5cm) thick and gently tapered,
the heel has changed over time to
become increasingly tall and pointed.

Knee boots 1960s

Although boots were originally made to protect

the ankles and calves, by the 1960s they had

become more of a fashion statement. Produced

in leather or synthetic material, they varied in

length from ankle to thigh.

CLOTHING & ACCESSORIES

Winklepickers 1960s
Introduced in the late 1950s, the winkle-
pickers' pointed toes show design influences
from as long ago as the 1 4th century. The
name refers to the sharp pin used to pick

periwinkles (mollusks) out of their shells.

Ladies' platform shoes 1 970s

The celebrated platform soles of the 1970s are
The design
a radical version of the 1940s' wedge. Revived
has retro Art
as a fashionable, slightly offbeat shoe, they Deco styling

were made from an affordable combination

of leather and plastic.

Men's platform shoes 1 970

In the 1970s, platform shoes were worn by both men anc

women. Some soles, as with these men's lace-ups, reached

such heights that they posed the danger of broken ankles.

256
 SHOES
2000

RED OR DEAD j?
Red or Dead was founded in
1982 by Wayne and Gerardine
Hemingway. It began as a market

stall in London, growing into

a chain of international shops.
The label's innovative
fashions often demonstrate a
futuristic, space-age influence. Women's shoes, 1996

Dr. Martens 1 960-90

Dr. Maertens and Dr. Funck pioneered
air-cushioned soles in 1945, as a com-
fortable solution to shodding Maertens'
injured foot. They were an instant

success. The 1960s' "1460," shown

here, was the first Dr. Martens
boot and has remained a
firm favorite.

The molded
toe and heel is

stitched to a soft
leather upper

Silver boots 1990s

These calf-length boots have a central seam
running to a pointed toe. The inside zipper is

a practical fastening that creates a slimline

silhouette, emphasized by the stiletto heels.

2000
257
CLOTHING & ACCESSORIES
1900

Crown
Oris Big
1910s WATCHES
Named for its oversized
THE FIRST WRISTWATCHES were manufactured
winder, the Big Crown
in the 1890s and closely resembled the trad-
was designed to allow
itional pocket watch. The idea of strapping
World War I aviators
a watch to the wrist was not initially favored
to wind it without
and considered more suitable for women
removing their gloves.
than men. When World War I
It is still produced today.
officers found them more
Specifications efficient than fumbling in their
Country: Switzerland
pockets, this feminine image was
Materials: Stainless
steel and leather
dispelled. In the 1960s, electronic
advances resulted in the digital
watch, with its easy-to-read display £>|^*5i
and highly accurate timekeeping. ^S^iS

H The Big
Crown also
has a hand
showing the
Cocktail watch 1 930s
Ornate cocktail watches were
month of
the year prestigious accessories for M
evening wear during the 1930s.
This Art Deco example houses
a Swiss movement in a

diamond-encrusted case.

Specifications
Waltham 1920s Country: Switzerland
The bulbous case design Materials: Platinum

of this early lady's and diamonds

wristwatch is little Fixed lugs hold

removed from the pocket the strap in place
Tfie square edges
fob. The miniaturization are typical of
t

of movements for small Art Deco styling I

women's watches added

to their expense.
Bracelets were made
Specifications
of white gold or
Country: US platinum
Materials: White gold
and leather

1900
258
 Bulova Accutron 1960s
Max Hetzel, the
Engineered by Accutron
Spaceview was the first electronic watch. Its

timebase is controlled by a tuning fork, which

was the precursor of the quartz watch.
Specifications
Country: Switzerland
Materials: Stainless
steel and leather

Oyster Perpetual
1965
A twin-lock system
seals the winding
crown of the
Rolex Oyster
against water
and dust. The
Perpetual model
winds automatically,
working on the
movement of the wrist

Specifications
Country: Switzerland
Material: Stainless steel

\ Transparent
face shows
internal
Speedmaster 1969
components Devised by Claude Baillodin, the Speedmaster is

of the watch the only watch to have been worn on the Moon.
Rigorously tested by NASA, it can withstand
temperatures up to 199°F (93°C).
Specifications
Country: Switzerland
Material: Stainless steel

259
CLOTHING & ACCESSORIES

Lasser digital 1 970s DIVER'S WATCH

Forerunner to the electronic digital,

this mechanical version was more

Omega
common for some time. Its space-age Sea master,
references epitomize the 1970s' vogue 1995
for futuristic styling.

Specifications The Swiss-

Country: Switzerland made Sea-
Material: Stainless steel master is

one of a

The shimmering
new breed of
bracelet strap is
professional
substantially divers watches.
wider than the This stainless
watch face steel model has
a self-winding chronometer
movement showing hours,
minutes, seconds, and the
date. It has a power reserve

of 42 hours, an anti-
reflective, scratch- resistant
sapphire crystalface, and
is waterproof to a depth

of up to 1,000ft 000m).

\ At just %in (1.2cm)

wide, the watch face
is a discreet element
of the design Gold watch 1 970s
From the most affordable to
the most exclusive examples,
women's watches in the 1970s

commonly resembled jewelry.

This wide bracelet and small

watch face are typical.

Specifications
Country: Not known
Material: Gold

260
 WATCHES
2000

SWATCH
Developed by Ernst Thonke, Jacques Miiller,
and Elmer Mock in 1983, the Swatch was the
first integrated watch, in which the action was
not a separate componentfrom the case. The
introductory Swatch model, marketed in 1983,
was the Delirium, a modest example compared to

the 1990s' Alumo, with its brightly patterned strap

andface. Swatch has frequently employed artists
to create exclusive watches, such as photographer
Annie Leibovitz (who made a contribution to
mark the 1996 Atlanta Olympic Games) and
Vivienne Westwood.

The digitalface
includes alarm,
calendar, and
stopwatch

Seiko Kinetic 1 990s

Casio digital 1990s
An improvement of the
The combination of
Automatic Generating
quartz powering and
System, introduced in
liquid crystal displav
1988, the Kinetic is one
faces revolutionized
of the most reliable self-
digital watch manu-
winding watches. The
facturing. Low
need for batteries is
production costs
eliminated.
mean they can be
Specifications
sold inexpensively.
Country: Japan
Specifications Materials: Stainless
Country: Japan steel and gold
Material: Stainless steel

2000
9A1
CLOTHING & ACCESSORIES
1900

FOUNTAIN PENS
THROUGHOUT THE 9TH CENTURY, designers
1

experimented with ways to improve dip-pens,

until then the standard writing instruments. By
1900, the main principles for a successful
^^A^ fountain pen had been established: a The successful

U A reservoir for ink, a filling system, and

Lucky Curve
tip was also
a method of supplying ink to the tip.
used on other
Finding the most successful combination Parker models
V has provided a constant challenge, with
three American companies — Parker,
Waterman, and Sheaffer — dominating
^M ^L the market. The design of the fountain
pen has not relied solely on the demands The Lucky Curve
was produced in a
of engineering; aesthetics have also played
range of sizes,
an important role. The look of a pen, its
including baby,
size, weight, color, and the materials used short, and standard
in its construction all contribute to its

success. Despite the ascendency of the

cartridge pen and ballpoint pen, the
nostalgic tastes of the late 20th century
ensure the continued desirability of
Parker Lucky
the fountain pen both as collectable
Curved 91 6-23
item and functional tool.
To prevent fountain
pens from blobbing

An eyedropper was ink onto the paper if

commonly used to left lying horizontally,

fill the reservoir Parker developed a
feed that channeled
Waterman Eyedropper
the ink back into the
c.1903
reservoir. This was
Fountain pen pioneer Lewis E.
used for pens such as
Waterman began his successful
the Lucky Curve.
company by patenting an
Specifications Specifications
improved feed design involving
Country: US Country: US
fine grooves under the tip. This
Length: 5in (13cm) Length: 4>£n (1 1.5cm)
was incorporated in this early
Materials: Hard Materials: Hard rubber
Eyedropper pen. rubber with gold trim with gold trim

1900
262
 FOUNTAIN PENS

Conklin Crescent
Filler c.l 923 The hooded tip
Conklin's crescent filler
was the most

system, patented in 1901, distinctive feature

was copied by all the of the Parker 51

major pen manufacturers

in the world. Air is

expelled when the

crescent is pressed, and
ink drawn into the sack
when it is released.

Specifications The semi-

Country: US transparent
Length: 5A\r\ (14cm) effect was
Material: Hard rubber achieved by
compressing
alternate layers

of clear and
. This ring locks the crescent colored

and prevents the pressure sheeting

bar inside from pushing

against the ink sack

The engraved
Parker name is
Parker 51 c.l 948
clearly visible Marking the 51st
on the pen cap anniversary of the
Parker Pearly company's foundation,
Vacumatic c.l 935 the Parker 51 inspired
As famous for its a fashion for slim,
Fine appearance as its elegant pens with
technological innovation, hooded tips. None
Parker's Vacumatic design Thefirst emulated the
introduced a rubber Parker to commercial success
feature the which
diaphragm to replace of this original,
arrow clip, the
the traditional sack, as was still in production
Vacumatic was
well as new mechanisms identifiable in the 1960s.

to suck up the ink. even when Specifications

in the pocket
Specifications Country: US
Country: US Length: 4%in (11cm)

Length: 4%in (12cm) Materials: Plastic

Material: Plastic with silver trim

263
CLOTHING & ACCESSORIES

The pen can be

The tip filled without
of
the Parker 61 the need to

was protected submerge the

tip in the ink
from damage -

This model was

available with
black, gray, red
or turquoise
PARKER PEN COMPANY plastic barrel

Parker 61 1956
Although similar in

appearance to the Parker 51,

the 61 model incorporates
an unusual filling system
using anew ink called Super
Quink. The ink cell, not the
tip, is immersed in ink,

which is drawn into the

cell by capillary action.

Specifications
Country: US
Length: 4Xin (1 1cm)
Born in the US in 1863, George S.
Materials: Plastic
Parker worked as a school teacher,
with gold trim
sellingfountain pens to his students
tosupplement his income. As the
Sheaffer Pen
school pen repairman, he mastered
for Men 960 1
the inner workings of the pens
Walter A. Sheaffer's 1907
and decided to put hh knowledge
lever filler - widely used
to commercial use. His first major
for the next 40 years —
when he
success arrived in 1892,
designed the Lucky Curve pen. established him as a leading

Subsequent coups have included figure in pen design.

the mass-produced Vacumatics. The Pen for Men uses the
As the centurydraws to a close, Snorkel system for filling
there is a growing nostalgia for pens, introduced in the 1940s.
old-fashioned writing tools, and pre- Specifications
1920s' Parkers are among the most Country: US
valuable of collectablefountain pens. Length: AVm (1 1cm)
Material: Plastic

264
 FOUNTAIN PENS
2000
The white star

6
•< : •< sents the

snow-capped
mountain The twin-
Mont Blanc headed tip

produces both
thick and
thin lines

Montblanc 149
Masterpiece c.1970
The Masterpiece pen dates
from 1924, with this 149 model The glossy red
color recalls
introduced in the 1970s. The
the lacquered
figure 4.8 1 engraved on the tip
color of the
refers to the mountain's height original

and symbolizes the company's Duo/old

high standards of craftsmanship.

Specifications
This Duo/old
Country: Germany
Length: 5/iin (13.25cm)
from 1929
features the
Materials: Plastic
early pocket clip .

with gold trim

At S'Ain (l).25cm) long

and with a wide barrel,
the Montblanc is a
solid, weighty pen Parker Duofold
1929; 1994
In keeping with 1990s'
Parker 180 c. 1980 tastes for retrospect ive

This pen is called the 180 styling, Parker has

because, bv turning it 180 relaunched its 1920s'

degrees, the user can achieve a Duofold. The original

fine line with one side of the could be converted

tip. and a thicker one with the from pocket pen to desk

other. The pen originally had a pen by replacing the

14k gold tip and often a lacquer- blind end cap with an
coated barrel with gold trim. extension to the barrel.

Specifications Specifications
Country: US Country: US
Length: 4Xin (1 1cm) Length: 5'A'\n (14cm)

Materials: Gold-plated Material: Rippled

stainless steel rubber/acrylic

2000
265
CLOTHING & ACCESSORIES
1900

MAKEUP NOHIBA
POUR LES CILS

"AT TIMES THE URGE to improve one's appearance, even if

only temporary, becomes too strong to resist" {Vogue).

Through the ages, both men and women have searched for
ways toenhance their appearance using artificial aids. The
first decade of the 20th century is regarded as the heyday Eye makeup c.1930
of the beauty palor. After World War I, women's looks Diaghilev's Ballets Russes, which
attained a more classless appearance, and before long they arrived in Paris in 1909, had a
studiously copied the hair and makeup styles of glamorous lasting effect on cosmetics. The
film stars. The 1950s heralded a new era for the cosmetics dancers' exotic eye makeup created
industry, which turned its attention to a younger clientele, a vogue for colored eyeshadows
seducing them with novel packaging and seasonal lines. and heavy use of mascara.

The Jazz Age 1 920s Wartime cosmetics

i^isMfV
1 940s Hollywood glamour 1950s
Lipstick made its debut in the During World War II, makeup There was a return to a more
1920s, in vivid shades that were was in short supply. Cosmetics feminine look after the war. The
designed to shock. The look to were good for feminine morale, eyes were emphasized by shorter
aim for was cropped, smooth, and many women used homemade hairstyles and by the exaggerated
bobbed hair; kohl around the eyes; substitutes. Deep red lipstick, use of black eyeliner on the upper
severely plucked and penciled available on the black market, was lids. A variety of new products aimed
eyebrows; and a white complexion. worn with matching nail polish. at a younger market was launched.

1900 =
266
 MAKEUP
2000

Red Lips 1 949

This provocative
poster, by Rene Gruau
reads "the red kiss."
Color is confined to
the lips, which when
contrasted with the
Mary Quant 1970
monochrome To complement her fashion collection,
illustration has a
Mary Quant launched a range of cosmetics
stunning impact.
in 1966. They were strikingly packaged
in black and silver, with the famous daisy
logo. These 1990s lipsticks indicate the

enduring popularity of Quant's products.

The cult of youth 1960s Career woman 980s 1 The natural look 1990s
During the 1 960s, cosmetics were A new type of young, urban Subtlety was the key to applying
aimed at the teenage consumer. career woman emerged during makeup in the 1990s. The
Girls used pale lipstick and heavy the 1980s. Cosmetics adopted a names of cosmetics hinted at the

eye makeup. Cosmetics that more assertive look with bold clinically tested ingredients and
were easy to use were favored, definition of facial features, and indicated a move away from the

such as powder compacts and the longevity of cosmetics was glamour of the early 20th century
mascara in tube form. stressed to appeal to busy women. toward a purer aesthetic.
'
3QOO
267
CLOTHING & ACCESSORIES
1900

JEWELRY
JEWELRY CAN BE DIVIDED into three basic groups:
classic pieces in high-value metals or stones; paste
and metal imitations, originally produced for security
reasons and later known as costume jewelry; and
art jewelry, a category in which innovation takes
precedence over value. The first two are as popular

today as they have ever been, with designers using

their skills to create subtly modern variations on
classic themes. As attitudes to women's fashions
have relaxed, so limitations on jewelry
design have been discarded, to the point
where a necklace of beaten nails may
be as celebrated as a string of pearls.

Buckle 1904
The Danish silversmith Georg Art Deco brooch c.1925
Jensen was well-known for the This enameled piece
quality of his craftsmanship, and demonstrates a key hallmark

his impeccable standards are evident of Art Deco jewelry:

in this fine buckle. It is centered geometric combinations of

on a large piece of agate, which circular and angular blocks

is surrounded by smaller, of solid color. The influences

symmetrically positioned of cubism and fauvism are

amber and peridot stones. evident in the bold use

Specifications
of color and geometry
Country: Denmark Specifications
Materials: Silver, green agate, Country: The Netherlands
amber, and peridot Materials: Brass and enamel

1900 =
268
 JEWELRY

Art Deco
necklace c.1930
The success of this
Dancer
stunning Art Deco
brooch 1947
necklace lies in the subtle
Ed Wiener modeled this
color combination of
brooch on a photograph
dulled silver and pale
of Martha Graham taken
blue moonstones. Marcasite
in 1941. She was a champion of
and semiprecious stones are
the modern dance movement and
used to create an inexpensive
iewed dance as an organic structure.
piece that would have been
A biomorphic shape cut from sheet
highly popular in the 1930s.
ver defines the body, dress, and
Specifications
right arm; one wire suggests the
Country 3e — any
dancer's head and left arm, and
Materials: Silver, moonstones,
z'z -areas e -
another the skirt frill.

—!
269
 .

CLOTHING & ACCESSORIES

Silverand quartz
neckring 1959
Designed by Vivianna
Torun Bulow-Hiibe in

1959 and made in 1967,

this neckring typifies

the simplicity of the
Scandinavian approach
to jewelry design.

Its attraction lies

in its simplicity: an
undecorated silver

band that supports a

large quartz droplet.

Specifications
Country: Denmark
Materials: Silver and quartz

The petals
LOVE ring c.1966 diminish in
size as they
The Pop artist Robert Indiana's ,
J\ spiral inward
ring is about as close as you can
get to summing up the 1960s'
"Love and Peace" movement
in one artifact. Indiana's LOVE
motif, first shown in his one-man
exhibition in 1962, was also used
in a best-selling poster, and has
Specifications
appeared on 320 million Country: US
US postage stamps. Material: Gilded metal

=
270
 JEWELRY
2000

Necklace of nails 1982

At first glance, this extraordinary

necklace by Oslo born Tone

Vigeland seems to be made
of feathers; it is actually made
of hammered steel nails. The

nails have been used in such

a way that their simplicity

is retained while completely

disguising their form.

Specifications
Country: Norway
Materials: Steel, silver,

gold, and mother-of-pearl

The hammered
nails resemble

feathers

Dahlia necklace 1984

Dutch sculptor and designer
SCULPTURAL FORMS
One of Britain's best- known
Bakker describes
*^ Gijs his
jewelry designers, Scott Wilson
experimental jewelry as
works with unusual materials
"wearable art." In this piece,
such as Plexiglass, stainless steel,
he has preserved dahlia petals and leather to create sculptural
in a flat ring of laminated forms with a contemporaryfeel.
plastic. His use of ephemeral Influenced more by architecture
materials represents a new than fashion, Wilsons bold
approach to jewelry design - designs follow the contours of
exploiting nature's intrinsic the body and keep decoration

aesthetic qualities. to a minimum. The framework

of this horned headpiece is
Specifications
Beaded silver embellished with silver chains
Country: The Netherlands
Materials: Plastic and headpiece, 1997 andfragments of jet crystal.

flower petals

2000
271
LEISURE Swimwear

Sports equipment

Cameras

Guitars

Jukeboxes
LEISURE
1900

SWIMWEAR Early
FABRICS
in the century, impractical
EARLY BATHING SUITS were highly proper garments, fabrics, such as serge, worsted, and
with women's ensembles much like regular daywear. flannel, were still usedfor bathing
However, the adoption of elasticated and synthetic costumes. This loose-fitting cotton
fabrics led to a succession of modifications, and example, would have
suit, for

swimsuits became progressively less restrictive — and become heavy and uncomfortable
more revealing. For men, the when wet. Progress arrived in the
original one-piece suit was soon form of a light, knitted jersey, which
abbreviated to shorts. For women, was superseded, in turn, by a new
generation of elasticated and
**% the key innovation was the two-
synthetic fabrics.
piece, launched in the 1940s as a
result of US fabric rationing
and christened the "bikini:

The swimsuit
aus fastened at

the shoulder

Men's one-piece 1 909

One-piece suits were the
only option for male Bathing suit, 1 902
swimmers early in the
century, before the Women's one-piece 1 920s ^k
introduction of elasticated This suit is made from clinging wool ^r
fabrics. This example is jersey, a material popularized by Coco
made of cotton stockinet; Chanel during the 1920s and a chief

not an ideal material, as it contribution to the relaxation of women's

grew heavy when saturated. clothing styles. But for its skirt, the suit is

As pale-colored suits were almost identical in design to the men's suit.

transparent when wet, dark Extra fabric has been sewn into the skirt to

colors were preferred. exaggerate the curve of the hips.

1900
274
 SWIMWEAR

Bathing hats
wen both SUNGLASSES
functional and Although they appeared as early as 1885,
decorative
sunglasses were widely worn for the first time
in the 1930s. Popularized byfilm and pop
stars, their status as fashion accessories has
become as great a consideration as the degree
of protection they offerfrom the sun. The
1950s in particular witnessed an explosion
in thenumber of frame designs available.
The frames shown here are from the 1990s,
a health-conscious decade that has seen the
refinement of lens quality, with improved
filters for ultraviolet light

Swatch Snowbuck

Giorgio Armani

275
 Modesty skirts
were worn by-
men as well
as women

Women's and men's one-pieces 1930s Women's one-piece 1 950s

By the 1930s, women's suits had become less With its boned bodice, this suit

substantial, with halterneck, bare-back designs a enhances the wearer's form,

popular choice. The waist and bust were slightly emphasizing the bust and reducing the
more defined, although the inclusion of modesty waist. A departure from the tubular

skirts helped create a tubular look. Men continued style, the influence of Dior's "New
to wear one-piece swimsuits until the mid-1950s. Look" is unmistakable (see p.248).

276
 SWIMWEAR
2000

Bikini 1960s Women's one-piece 1 990s

Pioneered by French couturiers Lycra has made a valuable con-
Jacques Heim and Louis Reard in 1946, tribution to the revival of the one-

the bikini was named after the Bikini piece swimsuit in the 1990s. Closely

Atoll, where the Americans were sculpted to the shape of the body,

conducting atomic tests. It reached modern suits are able to retain their

its peak in popularity in the 1960s. shape perfectly even when wet.

—— 2000
277
LEISURE
1900 =
Fishtail tennis racket c.1900
SPORTS EQUIPMENT In the early years of the century, with
lawn tennis established as a popular
THE MAJORITY OF THE SPORTS that we enjoy today have
sport, tennis racket frames less resembled
existed for centuries. "Real" tennis and soccer date from
the loosely-strung, pear-shaped real
the Middle Ages, and football was first played in the
tennis racket and now had a symmetrical
19th century. In the 20th century professionalism
head. To improve the grip, handles
has brought a demand for lighter,
were grooved. Fishtail ends such
stronger, and more flexible sports
as this were very trendy.
equipment. Today's professional
sportsmen and women are now
afforded greater precision,
control, and protection from
injury than ever before, with
the combination of sophisticated
materials and advanced engineering
resulting in masterpieces of Early metal racket 1920
sports technology. Although most racket frames were
made from a solid piece of ash,

experiments began in the 1 920s

with aluminum racket heads that
were strung with piano wire. This

long-handled grip is made of bare

wood, but others at this time were

bound in leather to improve the grip.
Classic wooden racket 1 950
By the 1950s, the wooden racket had
reached a design peak, remaining
largely unchanged for the next 20
years. The lightweight frame had
reinforced shoulders and was laminated
in various woods for extra durability.

It was not until the 1970s that wood

was seriously challenged by metal.
Graphite racket 1 980
The lightweight metal rackets

widely favored by professionals in

the 1970s were soon rendered extinct

by molded frames made from a
combination of materials that
included carbon graphite and fiberglass.

1900
278
 SPORTS EQUIPMENT

Soccer shoes c.1900

Early in the century, the "toe poke"
technique of kicking the ball with
the toe of the boot was favored by
players. As a result, their leather

ankle boots had

steel toes

to protect

the feet.

mmM'NERVa Toe reinforced

with steel plate

Soccer balls 1 930s & 1990 Soccer boots 1 950

Early leather balls (top) were By the 1950s, soccer shoes were lighter at lib

heavier and less waterproof (500g) each and were more streamlined
than their modern counterparts in style, with decorative
(above) and had to be laced. stitching on the leather
Stiff, strong, and durable, uppers. Shin pads were
modern balls are made from now worn inside rather

18 panels of waterproof leather. than outside the socks.

Soccer shoes 1 970

These vivid blue and yellow shoes, designed

by Adidas for the 1970 World Cup in

Mexico, are streamlined, supple, and

light. They were the first soccer

shoes with injected nylon

soles, and feature
removable screw
r
in studs.
LEISURE

Goofy Foot skateboard 1 950

Although skateboarding became hugely popular in

the 1970s, the activity was invented in California in the

1950s as a kind of "street surfing." Then, it was a much gentler
pastime, with clay-wheeled, flat wooden boards, like this one by
Nash Manufacturing Inc., ridden like scooters.

m
Mad Circle skateboard 1 995
Modern skateboards curve upward at each end and feature coarse
plastic grips on the upper surface to aid the spectacular leaps and
stunts performed by many devotees. Made from Canadian maple
with polyurethane wheels, this Mad Circle board is painted on the
underside with a colorful cartoon strip.

Snowboard late- 1990s

The late- 1990s saw increased popularity in dangerous sports,
where risk to life and limb is an essential part of the
experience. Snowboarding is surfing on snow, a more daredevi
version of skiing. A wider surface means that snowboards
can be used on more uneven snow surfaces than skis.

1
*^6 '

280
 SPORTS EQUIPMENT
2000

Rollerblades 1996
Those who have rolled around the park on heavy, FOOTBALL
leather-strapped, metal roller skates would barely
relate the high-tech modern in-line skates to

those traditional "quads." In-line skates, like

these by the US manufacturer Rollerblade,
are closer in design to ice skates than
roller skates. Rollerblades have excellent
mm
ankle support, shock-absorbing heel brakes,
and "micro-closure" straps to ensure a

iug fit. The outer boot and frame are

molded from high-quality, light-

weight polyurethane.

Shoulders pads and helmet

The enormous amount of protective
padding worn head- to- toe by-
football players is essential in this
most physical of sports. In 1905,
before the introduction of stringent
clothing rules, 18 college players
were killed playing with inadequate
protection.Those early boiled leather
helmets have now been replaced by
helmets of the toughest plastic, with
built-in shock absorber's.

2000
281
LEISURE
1900

The Brownie 1 900

ps^mi^^m In an attempt to

Brownell
sell more
Eastman Kodak commissioned Frank
film,

to design a truly low-cost

camera. The result was the hugely

successful Brownie, a box camera
f
made from the cheapest materials —
cardboard and wood.

Specifications
Country: US
Width: 3%in (8.2cm)

Leica 1A 1929
The Leica, designed by Oskar Barnack
in 1915, was the first commercially
successful 35mm camera. The Leica
1A, based on the earlier model, was
put into production in the mid- 1920s.
The camera format has become
the industry standard.

Specifications
Country: Germany
Width: 5Xin (13.4cm)

CAMERAS
THE EASTMAN KODAK box camera of 1888, with its ready-
loaded roll film and widely advertised developing and
printing service, opened up photography to the amateur.
"You press the button, we do the rest" stated the advertisement.
Film is
Various designs for small, hand cameras existed from the early
advanced using
days of photography, but the Leica, introduced by Leitz optical this lever

works in Germany in 1924, had an enormous and lasting

impact on camera design and 35mm photographic technique.
The 35mm single lens reflex (SLR) camera was developed
throughout the 1940s and '50s, attaining true popularity
with the Nikon F in 1959. Modern cameras have integral
light meters, auto-focus, and use highly sensitive film —
making the Kodak adage seem truer than ever.
1900
282
 CAMERAS

No. 2 Beau Brownie 1930

In 1926, Walter Dorwin Teague sel

up an industrial design consultancy. For

Eastman Kodak, his first major client, lie

redesigned the Brownie, transforming it

from a simple box into a sophisticated

camera. He restyled the camera exterior
with themes associated with Art Deco.

Specifications
Country: US
Width: 4in (10.5cm)

The casing has

a geometric Art
Deco design

Purma Special 1937

Designed by Raymond Loewy and
produced by R.F. Hunter Ltd., the Purrna
Special was made from black Bakelite and
had a unique Plexiglass lens. This was

cheaper than the usual glass lens so the

camera could be retailed at a \o\

Specifications
UK

——
Country:
Width: 6in (15.5cm)

==?
'

—5—!—
283
LEISURE

Aluminum fixtures
make for a light,
portable machine

Leica M3 954 1

First of a new generation

of rangefinder cameras, the
Leica M3 had a bayonet lens

mount, which facilitated a

faster lens change. Although

production of this model
ceased in 1966, a phenomenal
250,000 cameras had been
made since 1954.

Specifications
The lens is detachable
Country: Germany
]

Width: 5 A\n (14cm) An arrangement of internal

mirrors allows the viewer to

look through the actual lens

Nikon F 1 960s
SLR 35mm cameras, like

the Nikon F, were developed

as early as 1935. The SLR
design is popular because it

allows the user to view the

image through the lens. The
Nikon F, introduced in 1959
by the Japanese firm Nippon
Kogaku, is a classic design

which spearheaded Japanese

dominance in the industry.

Specifications
Country: Japan
Width: 6in (15cm)

284
 Rolleiflex 2.8F 1965
The twin-lens Rolleiflex is a bulky device.

with a mirror housing and viewing panel

mounted above a roll -film box camera. It

was favored by professionals because

it could take medium-format film,
giving high-quality results.

Specifications
Country: Germany
Width: A'Atn (11.5cm)

The coner
shields the
photographer's
eyejrom the
glare of lighting

Hasselblad 500 1972

SLR camera was
This roll-film produced by a firm
set up by Victor Hasselblad in 1941 to make aerial

cameras. Rased on an earlier model, designed by

Sixten Sason, it is a celebrated professional camera.

Specifications
Country: Sweden
Width: 4in (10.5cm)

*•
285
LEISURE

The camera body

folds down into a

compact shape

Polaroid SX-70 1 972

Edwin Land invented the Polaroid
camera in 1947. The processing
took place in the camera body,
producing a print within
a minute of exposure. In
1972, Polaroid launched
the SX-70, the first SLR
Polaroid camera.

Specifications
Country: US
Width: 4in (10cm)

Olympus Trip 35 1968

OLYMPUS TRIP 35 Grandfather of the compact
instamatic, the Olympus Trip 35 is a
small, user-friendly camera. It was the
nr first notable departure from the bulky
:-'^ \'--:
forms of earlier 35mm SLR cameras.

Specifications
Country: Japan
Width: 4Min (12cm) The automatic flash
pops up from the
main camera body

Olympus LJ[mju:] Zoom 993 1

Designed to slip into a jacket pocket,

the stylish u.[mju:] has won many

Specifications awards. When the sliding lens is

Country: Japan closed, the camera is fully protected

Width: 43/in (12cm) by its ultra-compact body.

286
 —CAMERAS
2000

VIDEO CAMERAS
Before the development of the camcorder — a video
camera and recorder combined in a portable unit
the recording of moving images involved a 16mm
camera or, later, the smaller, more versatile 8mm
camera. Although early camcorders were large
and unwieldy, they did enable the user to play
back recordings immediately through
the viewfinder and to edit recordings
simply and The palmcorders
instantly.
are the smallest and lightest of
the camcorders and use 8mm or
VHS cassettes. The simplest upoint-
and- shoot" versions rely on automated
functions. More expensive machines
incorporate sophisticated additional
facilities and allowfor greater manual
control of keyfunctions.

Sony MVC-FD7 digital camera 1 999

The digital camera does not use conventional film,

but instead records the image — which can be viewed

on a small screen — onto a computer floppy disk. The
Previous
disks can be used over and again, thus cutting out
Images are recorded images can be
the cost and hassle of developing film. onto a floppy disk, and viewed on this

Specifications can then be manipulated small screen

on a computer

2000
287
LEISURE
1900

Gibson Style O 1908

The Gibson Mandolin-Guitar
Manufacturing Co. was formed
in Michigan in 1902 by Orville
Gibson. It quickly became one of
the leading names in guitar design
and manufacture. Early Gibson acoustic
models had arched tops, including

the handsome Style O. It features an

unusual scroll decoration — which recall

the design of Gibson's mandolins - an

oval-shaped soundhole and a trapeze
tailpiece. This version dates from 1916

The oval shaped

soundhole is typical

of early Gibsons

GUITARS
ALTHOUGH THE CLASSIC ACOUSTIC version is

stillwidely strummed, it is the electric guitar

that has stolen the limelight and determined
the evolution of the instrument's shape and
sound this century. Introduced in the 1930s, the
first electric guitars merely electrically amplified

the acoustic guitar sound. But by the 1940s,

solid-bodied guitars with a bright new sound
were being designed. In 1950, the pioneering
Leo Fender released the first mass-produced
solid-body — the Broadcaster, following up its
success with the legendary Stratocaster. Today,
guitars are produced in innovative shapes and
constructed of new materials, although these
rarely improve the sound.

1900
288
 GUITARS

National Style O 1926 Gibson Les Paul

The resonator guitar, developed Gold Top 1952
by the Dopyera brothers in the Gibson's first solid

mid l92l>s. was a response to body, the immensely

thedemand from musicians successful Les

volume. A resonating
for greater Paul was made in

aluminum cone inside the collaboration with

metal body picks up the strings' the renowned
vibrations and works like a guitarist. High
loudspeaker. The sound produced standards are evident
is both loud and distinct. This n both construction
version of the Style O. Nationals and decoration.
best -known resonator guitar,

is from the earlv 1930s.

The body is made

of mahogany,
with a maple top
finished in gold
F-holes are cut out
of the hollow
wooden body

Rickenbacker Electro
Spanish c.1932
Resonator guitars presented one
solution to the need for improved

volume. Another was to

amplify the sound electrically.

Many people were involved

in the development of
electric guitars. This early
effort — possibly the first
The decora
electric acoustic guitar — was
octagonal knobi control
designed by Swiss-born
Adolph Rickenbacker, and
made for him by the
probably
Harmony Company of Chicago

289
 The headstock
displays the original
Fender logo

Fender Stratocaster 1 954

The eternally popular and much copied
"Strat," designed by the California-based
Leo Fender, has been played by some of the
greatest rock and pop stars. Among the
features that set it apart from other guitars
of its period are three pickups, a "tremolo"
arm to alter pitch, and a distinct, contoured

body shape. This model dates from 1957.

Gibson Double- 12
late- 1950s
This early Gibson twin-neck
combined 6- and 12-string necks,
and was produced until 1962.

However, due to the fact

that they were only

built to order, there are

very few examples still

surviving. This twin-

neck has a maple body,

carved spruce top, and
mahogany necks.

There are
separate controls
for each neck

290
 The guitar has
no headstock

Steinberger Bass 1982

made
This headless bass guitar, of
molded fiber-reinforced epoxv resin,

resulted from industrial engineer Ned

Steinberger 's attempt at producing a bass
guitar with a clean tone. The choice of
materials and abbreviated body and neck
shapes make it, at 81b (3.6kg), lighter

than traditional bass guitars. This

version dates from 1983.

The 24-fret fingerboard

is made of phenolic fiber

Ibanez 1990
Japanese production began
in the 1960s with relatively

low-quality copies of US
models. From the mid-
1970s, however, the quality

of Japanese guitar design

improved dramatically with
original designs. This Japanese

Ibanez model comes in a

metallic finish particularly
popular in the early- 1990s.

The bright .

metallic finish
« typical of
Ibanez s six-

string guitars

2000
291
LEISURE
1900

JUKEBOXES
COIN-IN-THE-SLOT music machines
were already well established by
the time the golden age of the
jukebox dawned in the 1940s.
While designers of this era,
m
such as Paul Fuller, are
particularly revered, design
aficionados are beginning to
pay closer attention to the
two decades that followed.
The machines of the rock
'n' roll era — with which

the jukebox has become

synonymous — scream
teenage rebellion with
their blatant use of flashy
automobile looks. The
bold, bright colors of
these classics are probably
the thing to cross most
first

people'sminds on hearing
the word "jukebox."

Polyphon c.1900 Wurlitzer 1100 1948

This wooden, turn-of-the-century Paul Fuller is generally considered to
coin-in-the-slot machine does not play be the "genius" of jukebox design,
records — because they did not exist at and the incredible Wurlitzer 1100
the time it was made — but plays large was his last jukebox model. It plays

metal discs with "pins". The pins from a selection of 78rpm records —
pluck the tuned teeth of a comb-like seven-inch 45s were still two years
metal plate, as in a music box. This away — although the revolving
clockwork machine must be fully selection display shows only
wound before it will play. eight at any one time.

Specifications Specifications
Country: Germany Country: US
Height: 51 in (130cm) Height: 57in (145cm)
Number of selections: 1 Number of selections: 24

1900
292
 JUKEBOXES

Wurlitzer 1800 1955

At first glance, the design of

this jukebox may seem rather

muted. However, the colors,

the lights, and the generous use

of chromium combine to make
this machine aesthetically

pleasing. In addition, the user

has a far greater choice of

music than before.
Specifications
Country: US
Height: 53in (135cm)
Number of selections: 104

Clean andfunctional
controls lie flush with
the machine front
's

Seeburg KD200 1 957

One quirk of Seeburg
jukeboxes is that they

play records vertically;

this requires only one
motor instead of three.

The distinctive fins on.

the front are based on

the tail fins and lights

of 1950s' American cars.

The KD200 plays seven -

inch vinyl records.

Specifications
Country:US
58m (147cm)
Height:
Number cf selections: 200

293
LEISURE

Rock-Ola Tempo 1475 1959 Rock-Ola Regis 1495 1961

Many jukeboxes of this era were based Stereo jukeboxes first appeared in
on the rear ends of US cars, and the very 1959, and one of the most instantly
rare Rock-Ola Tempo is no exception. striking design features about the

Tailfinsmake another appearance, Rock-Ola Regis is the rather bold

though far more subtly than in emblazoning of the word "stereo"
the case of the Seeburg KD200. across its front, ensuring that
Even the V-shaped logo on the front everyone is well aware of this fact.

of the machine is similar in essence Another point of interest is the use

to many automobile emblems. Note of pastel colors in its pink-and-
the revolving-drum selection blue color scheme. All 200 selections
display at the top of the machine. are visible at the same time.

Specifications Specifications
Country: US Country: US
Height: 59in (150cm) Height: 59in (150cm)
Number of selections: 200 Number of selections: 200

294
 JUKEBOXES
-
2000

AMi Continental 2 1961 Specifications

Tins 200 selection stereo machine by AMi (Automatic Country: US
Height: 64in (162cm)
Musical Instruments) is of particular interest because
Number of
of its domed glass top. AMi was one of only two
selections: 200
jukebox manufacturers ever to do this - the other was
UK-based Chantal — because it was very expensive to

produce. The design also makes extensive use of the

word "stereo." Sharp-eyed viewers of the 1990 Patrick
Swayze movie Ghost may recognize this machine.

Just 50 of this
jukebox's 2,500
selections can be
viewed at a time

NSM Nostalgia
Gold 1995
This machine's design
is based on Paul Fuller's
1946 Wurlitzer 1015, the
most popular jukebox ever:

during 1946 and 1947

Wurlitzer built 56,000 of
them. The original would
have held twelve 78rpm
records, but this replica can

accommodate up to 100

compact discs. It would

actually be possible to

listen to this jukebox for

more than five days and

nights without hearing
the same track twi(

Specifications
Country: Germany
Height: 6) in (155cm)
Number of selections:
Up to 2,500 (approx.)

Tnnn
295
TRANSPORTATION Bicycles

Scooters

Motorcycles

Cars
TRANSPORTATION
1900 i

BICYCLES
SINCE THE APPEARANCE of the first safety bicycles in the 1870s, a remarkable - and
enormously popular — form of transportation has emerged. The modern machine is
not only lightweight, strong, and fast, but also easy to ride and comfortable. Various
models have been designed to meet specific market demands: for instance, in the
1900s, versions without high top tubes were introduced to suit women riders; and
aerodynamic models have been developed for the highly competitive sport of cycle
racing. At the end of the century, lighter, more durable materials, such as titanium
and carbon fiber, are frequently favored over traditional materials like steel.

Ladies' Humber 1905

By the time the Ladies' Humber was
introduced, the key features of the modern
bicycle were well established. Instead of the

diamond-shaped frame of men's bicycles, the ladies'

had an open frame. This catered for the long dresses

worn at the time, as illustrated in this poster.

Battaglin 1980s
The development of racing bikes, such as

this Italian model, saw the introduction

of drop handlebars, which reduced body-
created wind resistance. The "aero-tuck"
body position was further exaggerated by
the saddle, which is favored by racers.

Specifications
Country: Italy

Wheel diameter: Not known

Material: High-tensile steel

1900
298
 BICYCLES

Teamline 1 100s 1980s

Racing bike manufacturers like

Peugeot vie to produce increasingly

lightweight bicycle frames. In the
1970s, versatile, lightweight alloy

steels were developed, followed by

aluminum tubing in the 1980s.

Specifications
Country: France
Wheel diameter: 26in (66cm)
Material: Carbon fiber

Stowaway, 1965
For their portability and ease of
storage, foldaway bicycles are often
favored. Alex Moulton, who
worked on the suspension of the
Mini in the 1950s (see pJ17), went
on to design this compact, collapsible
bicycle. The innovative rubber-
suspension on both front and back
wheels made the bike easy to
handle and comfortable to ride.

299
Extending to the saddle, The handlebars
the frame has a sleek, are angled to allow
aerodynamic structure fast handling

The front wheel is

unusually small,
which aids speed

Windcheetah Monocoque c.1986

The essence of this racing bike's prodigious speed is in its streamlined monocoque
frame. A single-fork front wheel blade, together with the small front wheel and
gull-wing handlebars, make it unusually aerodynamic. The one-piece
frame meant that the Windcheetah was originally disqualified
from official races by the sport's governing body, a ban
that was enforced for five years. Built by Mike
Burrows, the bike is constructed of carbon fiber,
a material as stiff as steel.

Specifications
Country: UK
Front wheel diameter: 24in (61cm)
Material: Carbon fiber

Fat Chance "Yo Eddy"

off-road racer 1 989
Developed in California by Charlie Kelly
and Gary Fisher during the 1970s, mountain
bikes have opened up a new experience for
cyclists. This model has been refined from the
early prototypes, which weighed 261b (12kg).
Specifications
Country: US
Wheel diameter: 26in (66cm)
Material: High-tensile steel

300
 BICYCLES
200C

Sociable Tandem 1992

This motor-assisted, three-wheeled
recumbent bicycle can accommodate two
riders. Using pedals alone, it can reach up
to 19mph (30km/h). But with assistance

from the electric motor, it can travel

over twice as fast.

Specifications
Country: Switzerland
Front wheel diameter: 20in (51cm)
Materials: Fiberglass and aluminum

I
The triple

chamnne allow up %

to JO gears, which At 2'Ain (6. 3cm) wide, these

are essentialfor tires provide good grip even
steep inclines in difficult conditions

2000
301
TRANSPORTATION
1900

A u toped 1915
Built in the US from 1915 SCOOTERS
to 1921, the Autoped's
YOUNG ITALIANS dodging traffic through
key assets were its size
the backstreets of Rome or 1960s' "Mods"
and portability. Starkly
driving in gangs to British coastal resorts:
utilitarian, it was designed
scooters are synonymous with street
to be ridden standing up,
style and youth culture. The machines
with a pressed -steel foot-
traditionally favored by both groups are
plate. The long column
the Italian classics Vespa and Lambretta.
for the handlebars can
These elegant, streamlined machines are
be folded down flat
notable for their rounded body panels, as
opposed to the largely angular bodywork
of non-European scooters, such as those
built by the American company Cushman.
Scooters have been popular since the
1 920s, when they
bore little difference
to a child'spush-along toy vehicle. Since
then, there have been
a bewildering array ^^^ (

of these cheap,
^*£^
lightweight, easy-
to-ride motorcycles.

Specifications
Country: US
Top speed: 30mph
(48km/h) (estimated)

ABC Skootamota 1919

Much in demand after World War I, the
British-designed ABC Skootamota had one
great advantage over the Autoped: a seat.
Designed by Granville Bradshaw, the machine
featured the step-through frame that has defined
the look of the scooter ever since.

1900
302
 SCOOTERS

SCOOTERS AND STREET STYLE

A/though originally popularized as a cheap and
convenient form of transport in the postwar era, by the
1960s, the scooterhad been adopted by young people as a
fashion accessory. Members of the British "Mod" cult
dressed in tailored, often Italian, clothes and large
"
"parka coats rode customized Vespas or Lambrettas en
masse to coastal resorts. Here they invariably clashed
with rival "Rocker" gangs, who themselves favored
heavier, more powerful motorcycles.

"Mods" at Hastings, England, mid-1960s

Cushman Auto-Glide 1937

Cushman produced a remarkable range of
outlandish scooters in the middle decades of Specifications
the century, ^"hile its European counterparts Country: US

were characterized by then curves. Cushman Top speed: Not known

favored angularity. The Auto-Glide is the

epitome of simplicity in vehicle design.

Cushman 32 Auto-Glide 1945

This model 32 first appeared in 1945.

Unlike its predecessor, the Auto-Glide

(see left), it had lights as standard,

"Floating Drive" suspension, and an

automatic clutch and transmission
system. The engine capacity on this

model was increased to 14.88 cu. inches

(244cc). Designed with convenience in

mind, it had a large storage compartment

behind the seat for baggage.

303
TRANSPORTATION

Specifications Specifications
Country: US Country: Italy

Top speed: 35mph Top speed: 50mph

(56km/h) (estimated) (80.5km/h)

Indian Papoose 1948 Lambretta LD150 1957

The famous American motorcycle manufacturer Lambretta was the main challenger to Vespa in the
Indian gave its name to a small British scooter 1950s and '60s, and the Lambretta LD150 sold in

originally designed as a folding bike for enormous quantities. It had easily removable engine
paratroopers in World War II. The Papoose and gearbox covers, two separate seats, and carried a
included a retracting saddle column, which spare wheel. Like the Vespa, it was rounded in styling,

enabled the handlebars to be folded down flat. compared with its angular American cousins. The first

Lambrettas were built in 1947, and production stopped

in Italy in the 1970s.
Simplex Scooter 1 958
Although it never challenged market
leader Cushman, Simplex took advantage
of the 1950s' scooter boom by Specifications
introducing this version of its Country: US
Top speed: 45mph Fuel tank
Servi-Cycle. The characteristic
(72km/h)
clean, straight lines of the

American scooter are typified

by the simple,
tubular steel
frame.

304
Vespa Grand Sport 160 1963
The GSfeatured
The Vespa (Italian for "wasp" and so-named for its buzzing Specifications a distinctive
exhaust noise) is the most famous of all scooters. It was Country: Italy waisted rear
designed in 1946 by Corradino d'Ascanio, whose Top speed: 62mph
(lOOkm/h)
previous involvement in aircraft design is clearlv

evident. It has a waisted rear and a rounded Individual

pressed-steel monocoque chassis. One of the most elements are

attractive scooters built was the Vespa Grand incorporated into

the overall shape
Sport (GS) 160 Mark 1. considered bv manv
of the machine
aficionados to be the best Vespa ever designed.

Vespa ET2 1 996

The new Vespas combine references to
earlier models with a modern, ergonomic
shape. Marketed as "a real Time
Machine on two wheels." thev have
been a real success, coinciding
with a revival in mid-1960s"
styling. The latest machines
feature fuel-saving capacities
of up to 50 percent, reflecting
the environmentally conscious
consumer of the late 1990s.

305
TRANSPORTATION
1900

MOTORCYCLES
THE FIRST MOTORCYCLES WERE INTRODUCED toward the
end of the 19th century. With chassis based on the new]
developed safety bicycles (see pp.298— 99), they lacked
power, were difficult to ride, and had inadequate
lights and brakes. It was not until the Werner
brothers produced their motorcycle of 1901, with
Werner 1901 its advanced braking system and electric ignition,
In 1897, the French Werner brothers that practical motorcycling became possible.
made the first motorcycle to be sold
Thirty-five years later, Harley-Davidson produced
in significant numbers. The 1901 Werner
the 6 IE, a motorcycle that demonstrated just how
was one of the first bikes to move from a
rapidly technology, performance, and style had evolved.
"bicycle-plus-engine" design to a more Throughout the century, there were a remarkable
integrated look: in some ways, the first
array of weird and wonderful designs. Designers
"real" motorcycle.
continue to exploit the latest materials and technolog
Specifications to enhance performance and provide a safe ride.
Country: France
Top speed: 20mph (32km/h)
Weight: Not known

Excelsior 20R 1912 BMW R32 1923

Until it collapsed in 1931, Excelsior Created by aircraft designer
was one of the big three American Max Friz, the first BMW
manufacturers with Harley-Davidson was an astonishing leap
and Indian. The first bike to break the forward in motorbike design:
lOOmph (161km/h) barrier, the 20R its 500cc engine was fitted
had a 61 cubic inch engine (l,000cc). It into the frame so that the
featured the long, upright handlebars that cylinders were cooled
were prevalent in the US until the 1 920s. by the air.

Specifications Specifications
Country: US Country: Germany The main stand is
Top speed: lOOmph (161 km/h) Top speed: 53mph (85km/h) mounted on the
Weight: 5001b (227kg) Weight: 2691b (122kg) rear of the frame

1900
306
 MOTORCYCLES

Megola Racing Model 1923

The Megola was one of the most
unconventional motorcycles ever built.

Designer Fritz CockerelTs five cylinder

side valve radial engine was mounted

within the front wheel; as the wheel
turned forward once, the engine turned
six times in the opposite direction.

Specifications
Country: Germany
Top speed: Not known
Weight: Not known

"
The distinctive "knuckle
appearance is formed by
Harley-Davidson Knucklehead 61 EL 1936 the rocker covers

In 1956. Harlev-Davidson broke its own design

tradition and introduced a machine with an
overhead -valve construction. It was the most
important Harley ever built and established the
Specifications
look for all those that followed. Its performance Country: US
completely outstripped that of Top speed: lOOmph (161km/h)
rival Indian motorbikes. Weight: 5151b (234kg)

i,. \

Hk}
TRANSPORTATION

Vincent Black Shadow

Series C 1 94<
In 1949, when the firs

Vincent C-series Black Shadov

was introduced, it was the fastes

ind the classiest bike in the world

The black bodywork continued ii

Triumph Speed Twin 1 939 Specifications the baked-on black 998cc engine

Designed by Edward Turner with speed Country: UK and the mudguards were made o
Top speed: 93mph stainless steel, with stainless stee
in mind, the Speed Twin's lines are
(150km/h)
and chrome engine details am
elegant from any angle. The model Weight: 3781b (171kg)
formed the basis of Triumph's big bike exhaust pipes. The Shadov
range for the next 40 years. Turner was had an oversized speedometei

also responsible for adapting Triumphs emphasizing its impressive to]

for the American market in the 1950s. Specifications speed of 125mph (201km/h;
Country: UK
Top speed: 125mph
(201km/h)
Weight: 4581b (208kg)

Indian Chief 1947

Built for comfort not speed, the Chiefs

were stylish machines that reached their

peak with this 1947 design. Valanced
mudguards and elegant girder forks

combined with the sprung leather saddle

and chrome-plated details to give an air

of streamlined luxury.

Specifications
Country: US
Top speed: 85mph (137km/h)
Weight: 5501b (249kg)

308
 MOTORCYCL
!
Honda 50 Super Cub 1958
Originally designed as a basic, cheap
form of transportation, the ubiquitous
Cub is the most successful bike ever mad
with sales in excess of 21 million. It

was among the first machines to make

extensive use of plastic, in the form
of the front mudguard, the side panels,

and the leg shields.

Specifications
Country: Japan
Top speed: 43mph (69km/h)

Philip Vincent bought Weight: 1431b (65kg)

the rights to the HRD
name to give credibility
to his new company

r
Tools are stored in Where possible,

a drawer positioned Vincent preferred

under the seat to use steel rather
than chrome
TRANSPORTATION

Specifications
Country: Japan
Top speed: 124mph
(200km/h)
Weight: 4851b (220kg)

Harley-Davidson Evolution FLTC

Tour Glide Classic 1 989
Specifications
In direct competition with Honda's massive Goldwing, the
Country: US
Tour Glide rejected the retro styling of previous Glides.
Top speed: 1 lOmph
Comfort was the prime design objective, with footboards (177km/h) (estimated)
for the rider and armrests and backrests for the passenger. Weight: 7321b (332kg)

310
 MOTORCYCl
20

MOTOCROSS
Light, strong bikes with good
suspension are required for the
grueling; sport of rnotoeross. which
began as "serarnbling" in 1920s'

Britain, It gained in popularity after

florid liar II. and the first florid

Championship was held in 1957.

Excellent suspension makes the
Husqvarna a popular off-road choice.

Kawasaki ZZ-R1100 1990 Specifications

Everything about the ZZ-R is big, from its top speed of Country: Japan
Top speed: 175mf:
1 75mph (,282km h) to its enormous twin front-brake discs.
(282km/h)
Aerodynamic styling (the tank is sculpted to fit the rider's
Weight: 5131b
legs snugly) and superb power delivery made the ZZ-R (233kg)
the fastest bike of its day.

This model is from 1994.

->--

'
TRANSPORTATION
1900

CARS
FEW THINGS MAP the development of design in this century
better than the car. In 1900, cars were just beginning to
shed their "horseless cart" look, yet by 1915, all of the
basic design features of the modern car were already
in place. All that remained was for cars to get
bigger, smaller, safer, more beautiful, more
At the end of
bizarre, and, of course, faster.
the century, there are nearly one billion cars
on the road, including some lovingly restored
early models. But overtaking these vintage
vehicles are a vast array of cars: sports cars
such as Jaguar's E-type (see p.319); city cars
such as the Fiat 500 (see p.316); outlandish
cars such as the 199 Cadillac (see pp.316— 17);
and supercars like the Lamborghini The Ghost has
Miura (see p.319). a low-slung
"slipper" body
The driver was
largely exposed
to the elements

De Dion-Bouton Model Q 1903 Model T Ford 1 908

The key to the Model Q's success was its This was the first car to be mass produced, with
powerful 846cc gas engine. De Dion's over 15 million made. The car's minimal design,
revolutionary engine design was used in the use of standardized parts, and new production
over 100 makes of car from 1898 to 1908, techniques kept costs down. By the 1920s, every
and helped launch companies such as Renault. second car on the world's roads was a Model T Ford.

Specifications Specifications
Country: France Country: US
Top speed: Not known Top speed: 42mph (68km/h)

1900
312
Rolls Royce 40/50 1 907
n 1907. when Rolls Rovce launched the 40/50, or "Silver Ghost"
as it became known, it described the model as "the best car in the
world." Emphasis was placed on mechanical precision and
Specifications
craftsmanship rather than innovation. The winged figurehead,
Country: UK
known as the "spirit of ecstasy," was modeled by Charles Sykes Top speed: 55mph
and first graced the top of a Rolls-Royce radiator in 1911. (88km/h)

. *•
SgtjtfP*"

Citroen Traction Avant 1934 Auburn 851 Speedster 1935

A revolutionary cocktail of innovations, Andre The body of this luxury car is boat-shaped, with

Citroen's Traction Avant featured front-wheel drive, the tail ending in a point. The curvaceous wings
monocoque construction, overhead-valve engine, are drawn back, echoing the body shape. Details

hydraulic brakes, and long wheel base, allowing such as the "V"-shaped radiator and the headlights
more passenger space. help give the car a feeling of forward movement.

Specifications Specifications
Country: France Country: US
Top speed: 70mph (1 13km h) Top speed: 103mph (166km/h)

313
TRANSPORTATION

Volkswagen Beetle 1 939

In 1973, the Beetle became the best-selling car ever produced. The work
of Ferdinand Porsche, it originated in Germany and attracted the attention
Specifications
of Adolf Hitler. Since the Beetle went into full production in 1945, there
Country: Germany
have been over 78,000 minor design modifications. The Karmann Top speed: 82mph
Cabriolet, shown here, is one of the most sought-after models. (132km/h)

Citroen 2CV 948 1

Flaminio Bertone is responsible for the

appearance of some of Citroen's most
successful cars: the Traction Avant (see

p.313), the DS (see p.318), and the 2CV

or Deux Chevaux ("Two Horses"). Built
in part as a response to the Volkswagen

Specifications
S 7 Beetle, the

fulfill
2CV uses a simple construction

and simple manufacturing techniques

a practical need — a cheap and
to

reliable
Country: France
Top speed: 70mph (113km/h) means of transporting people and goods.

Specifications Bentley R-type Continental 1 952

Country: UK Launched in 1952, Bentley's R-type
Top speed: 1 15mph
Continental was the fastest production
(185km/h)
car in the world. Only 208 were made,
and many revered it as the greatest car

of all time. Described as "a modern magic

carpet," the wind-tunnel inspired light-

weight aluminum housing enabled the

car to reach 60mph (97km/h) in 14 seconds.

314
 CA

/'//<• silver bodywork

gives the Gullwing
a futuristic look

Mercedes-Benz 300SL 954 1

When its top-hinged doors were both fully open, the Mercedes 300SL
was said to resemble a seagull in flight, hence it became known as the

"Gullwing.'' With a top speed of 155-l65mph (2l7-265km/h), depending

on gearing, and acceleration of 0-60mph (0— 97km/h) in eight and a half
seconds, it practically could fly. Far and away the world's fastest production
Specifications
car at the time, the Gullwing was the forebear of the modern supercar. One Country: Germany
of its key claims to fame was that it utilized the first ever application of Top speed: 165mph
fuel- injection in a production car. (265km/h)

315
 Fiat 500 1 957
You could practically fit the Fiat 500 into the trunk
of the Cadillac, so opposite are the two cars in

philosophy. This charming car's gently rounded

body is molded into shape by unitary construction,
and has come to symbolize Italy's postwar
Specifications
Country: Italy
ricostruzione. It appeared two years before the
Top speed: 59mph (95km/h) British Mini and was 3!4in (8cm) shorter.

Specifications
Country: US
Top speed: 112mph
(180km/h)
Buick Roadmaster 1 957
The massive Buick Roadmaster was all about power. At 18ft (5.5m) long and 6ft (1.8m) wide, it
needed its V8 engine to propel its mighty bulk to 60mph (96km/h) from standing in just 10.5 seconds.
The giant chrome bumpers were just one statement of the car's might. In the 1950s, aircraft design
was a major influence on car design, evident here in the wraparound windshields and the tail fins.

The tail fins rise over At 20ft (6.1m) in length

J feet (1 meter) above and two tons in weight, the
the ground Cadillac was unchallenged
in size and power

V.
 CA

AUSTIN MINI COOPER

77/t' classic British rally car of the 1960s, the Austin
Mini Cooper was a high performance version of
Alec Issigonis' 1959 Morris Mini Minor. These
box-shaped vehicles set the standardfor small
cars and, along with the miniskirt, became British
icons of modernity in the 1960s. The suspension
was designed by Alex M^oulton, who also created
the collapsible bicycle. Cooper S, 1 963

Cadillac Eldorado Convertible 1959

Nothing sums up the optimism of the 1950s
better than the 1959 Cadillac Convertible. The
most flamboyant and extravagant of mass-producec
cars, this beautiful, brash machine was the creatioi
of coach builder and stylist Harley Earl. He was
influenced by Clarence Johnson, the designer of
the Lockheed P38 airplane, which was certainly
a source of inspiration. Earl used clay to model
the shape of his cars, giving him the freedom to
experiment with form. The outcome was a series

of cars that owe as much to science fiction and a

fascination with space flight as they do to empirica
Specifications
Country: US research. For America in the 1950s, the style of

Top speed: 1 12mph these cars represented more than just an enthusiasn
(180km/h) for modernity, they embodied a dream.

317
TRANSPORTATION

Chevrolet Impala 1 960

In 1959, Bill Mitchell succeeded Harley Earl as Director
of Styling at General Motors, but Earl's obsession with all
things space age clearly rubbed off on his protege: there
was even an emblem of a speeding rocket on the rear
door of his Chevrolet Impala. Everything about the
Impala expresses speed, from the contoured tail fins

to the stylish paintwork stripes on the chassis.

Specifications
Country: US
Top speed: 112mph (180km/h)

Citroen DS 1 960
The technically and stylistically daring Citroen DS was an immediate success Specifications
on its launch in 1960: 80,000 were sold in the first week. The impressive and Country: France
aerodynamic body shape, the wide area of glass, the spacious interior, and Top speed: 1 16mph
(187km/h)
the space-age instrument

body shape of
Citroen DS earned it the
nickname, "The Shark"

The aerodynamic
design of the
chassis enabled
the car to reach
high speeds

318
 THE LEGEND OF LAMBORGHINI
IJ hen tractor magnate Ferrucio Lamborghini had problems with his Ferrari, he went straight
to the top Enzo Ferrari refused him an audience and Lamborghini vowed to
with his complaints.
own name — and so the Lamborghini legend was born. The Miura
build a better car carrying his
was capable of 17Smph (282km /h), a top speed that was matched by its racy looks — allfuturistic,
low lines, and swooping curves. When it was launched at
Lamborghini Miura, 1 966 __«==-«. l^e ^^
Geneva Motor Show, it created the
motoring sensation of the decade.

Specifications E-Type Jaguar 1961

Country: UK At its launch in 1961, the E-type
Top speed: 150mph
^VSV\V\\\s\ SN caused a sensation. This beautiful
(241km/h)
sports car's looks, with its distinctive

elongated hood, were only part of

the attraction, for it was capable of
150mph (241km/h) and cost half the
price of its main competitors. Designei
Malcolm Sayer (19 16-) claimed that

the E-type was the first car to be

"mathematically" designed.

===== *
TRANSPORTATION

Volvo PI 800 1961

From a manufacturer renowned for safe,

strong, reliable cars, the stunningly styled

PI 800 seems a fluke. But closer

inspection reveals a car as robust
as any other Volvo, mechanically
based on the Amazon Saloon
and therefore not especially

Specifications
fast. It will forever be known as the

Country: Sweden car driven by Roger Moore in the hit

Top speed: 105mph (169km/h) television series The Saint.

Porsche 911 1963

Launched at the Paris Motor Show in 1963, the 91 1 is the most enduring Specifications
of the Porsche sports cars and is an outstanding piece of design; to many, it Country: Germany
is the classic road car of all time. The work of Ferdinand "Butzi" Porsche, Top speed: 150mph
(241 km/h)
it is a direct descendant of Ferdinand Porsche's Type 356. Echoes of the
VW Beetle from the 1930s (see p. 3 14) are also evident in the lines of the

911. Countless incarnations have appeared over the decades, including

the 911 Turbo, which in 1984 was recorded as the fastest accelerating
production sports car in the world. The rear-mounted, air-cooled

engine, with its vast reserves of power, has contributed to over

20,000 senior race wins.

I The bodywork is

constructed of thin-
gauge steel panels

320
 CA

Specifications
Country: US
Top speed: 1 17mph
(188km/h)

Ford Mustang 1 964

To most Europeans, the Ford Mustang is

a big American car. In fact, when the Mustang was introduced it was
The 911 was
the first car to a mold-breaking "compact," conceived as a sports car for the masses.
have matt black After the excesses of the 1950s, its low-key styling was something of
window borders a relief. However, a vast range of options was offered. In 1965, the

average buyer spent $1,000 on options, almost half the car's price.

Echoes of Ferdinand All 911s have rear-

Porsches Type 356 are mounted, air-cooled
clear in the body shape six-cylinder engines

321
TRANSPORTATION

A GLIMPSE OF THE FUTURE

Despite £65 million of British government
backing and a starring role in the Hollywoodfilm
Back to the Future, the DeLorean DMC12 was a
spectacularfailure. With its stainless steel body and
gull-wing doors, the Giorgio Giugiaro design was
intended to be a glimpse of the future. In reality, it

was dated before it even reached production. A total

8
of 8,5 '3 DeLoreans were manufactured between
1981 and 1983; those still in existence are considered
to be collectors items.

DeLorean DMC12, 1979

Pontiac GTO 964 1

Taking a step back in time toward the big American cars of the 1950s, the
innovative division of General Motors, Pontiac, put the biggest possible engine
into a medium-sized body and came up with the GTO. Designed by John
DeLorean (1925—), it was a powerful car, with an agility that earned it the
nickname "The Goat." The first full-sized car to offer sports car performance

and handling, it found an eager audience in the US, particularly among

younger drivers. After various modifications, the car was relaunched
in 1970 with a new design.

Ferrari Dino 246GT 1969

The beautiful, sweeping lines of the Ferrari Dino are
unmistakable: it is the archetypal Italian sports car. Invariably
red in color (this metallic brown model was rare), it was aimed
Specifications
at the Porsche 9 1 1 market and made an immediate impact.
Country: Italy
The Dino was named after Enzo Ferrari's son, Alfredino, who Top speed: 148mph

—
died at 24 of kidney disease.

322
(238km/h)
 CA

Mazda RX7 1978

Almost half a million RX7s were sold in
seven years of production — 75 percent
in the US — making it the most successful
rotary-engined car of all time. Pop-up
headlights added glamour and reduced
wind resistance. Indeed, the car was styled
to slice through the air; its shape was so Specifications
well conceived that onlv minor changes Country: Japan
were ever made to its design. Top speed: 125mph (201km/h)

Specifications
Country: US
Top speed: 135mph
(217km/h)
 .

TRANSPORTATION

The angular design

was tempered in

later models

Volkswagen Golf GTi 1 976

The car that launched a thousand imitations, the Golf was Specifications Compact, with

Country: Germany sleek lines, the

single-handedly responsible for the craze for hatchbacks that
Top speed: Imph Ka is only-
swept the world in the 1970s and '80s. It boasts an appealing 1 1

available in a
(179km/h)
combination of good performance and handling, practical 3-door model
design, and great reliability: the engine was easily capable

of 150,000 miles (241,400km).

Audi Quattro Sport 1 983

The first four-wheel drive road car with
impressive all-around performance, Audi's most
expensive car, the Quattro Sport, can travel fast
in mixed conditions. In looks, it is boxy with an
unremarkable interior. However, the excellent
handling and safety-conscious design ensure
that it appeals to a wide range of users, from
families to long distance drivers.

Specifications
Country: Germany
Top speed: 155mph (250km/h)

324
 CA
r-r-— 20

Specifications Renault Espace 1984

Country: France UTien it first appeared, the Renault
Top speed: 118mph
Espace sparked a brand new philosophy
(190km h)
in car design. Its so-called "one-box"

construction offers maximum interior

versatility, with space for seating and

storage utilized according to the number
of travelers and the type of trip. It is

possible, for instance, to swivel seats or

convert seating into a table top.

Ford Ka 1 999
The futuristic
design makes The new, small cars of the late 1990s offer functionality,

for a very safety, security, style, and innovation - essential features

distinctive
for driving in the new millennium. The Ka epitomizes
profile
Ford's aim of making cars more compact and recyclable,
quieter, safer, cleaner, more efficient, and less intensive in

their use of materials. Designed to be fun and exciting

to drive, the Ka also offers the styling, sophistication,

and features associated with a larger car.

Specifications
Country: UK
Top speed: 96mph
(163km/h)
THE OFFICE Desks & chairs

Office equipment

Desk accessories

Typewriters

Computers

Photocopiers & fax machines

Adding machines
 DESKS & CHAIRS
AT THE BEGINNING OF THE CENTURY, desks and chairs
were considerable pieces of furniture: they were
made of wood, made by hand, and made to last.
However, the development of new materials and th
introduction of computers made them chief targets
for innovation. The traditional solid desk, with its
high back and numerous drawers, has gradually
been transformed into a simple work surface. Chair:
the items of office furniture most vital to workers'
comfort and efficiency, now include unexpectedly
comfortable high-tech structures and ergonomic
masterpieces. An office planner's choice of both des
and chair is fundamental to the establishment of th
company's image, and is often an indication within
the office of company hierarchy.

The spindles wet

individuall
Mahogany bureau 1920s turne

This solid mahogany bureau by

Charles Rennie Mackintosh is

one of the designer's numerous

furniture designs for the study.
Swivel chair 1 930s
The formality of the elongated
This carved and bentwood

lines is ennvene-d by swivel chair is an attractive

decorative panel.
combination of sturdiness and
elegance, with its solid oak base
Specifications
and slender turned spindles.
Country: UK
Material: Mahogany Originally developed to suit the
movements of the user, the
chair's height is adjustable. The
leather seat covers a web of criss-
crossed canvas that provides

surprising comfort.

Specifications
Country: UK
Materials: Oak and
leather upholstery

1900
328
 DESKS & CHAI

Partners' desk 1 930

Made of sycamore, in the style of Andre
Goult, this x\rt Deco desk was designed
with two low, round-backed armchairs
so that two "partners" could work
opposite each other.

Specifications
Country: France
Materials: Sycamore, goatskin,
gilt bronze, and glass
The grain of the
rosewood creates
decorative interest

329
 Synthesis 45 office chair 1972
Ettore Sottsass's chunky secretary
chair for Olivetti shows the influence
of Pop Art. Its back and supports are
made of bright plastic, and even the
spring cover has been styled with
great exaggeration.

Specifications
Country: Italy

Materials: Lacquered
cast-aluminum,
plastic, and fabric upholstery

<^\

Pippa folding desk

and chair 1985
Rena Dumas and Peter Coles,

designers of the impeccably finished

Pippa furniture collection for Hermes,
claimed that the complexity of the
designs demanded "perfect materials."

Specifications
Country: France
Materials: Pearwood, leather, and brass

Nomos desk 1987

Norman Foster's range of "Nomos"
furniture was designed for Tecno.
This glass-topped steel desk has
a strikingly high-tech appearance.

Specifications
Country: Italy

Materials: Chromium-plated steel and glass

330
 DESKS & CHAI
20

Balans chair 1990s

A product of the Norwegian firm Stokke, the Balans
chair represents a complete rethink of the structure
of the office chair. The aim is to reduce stress on
the sitter's spine caused by working all day at a desk.

This was achieved by redistributing the upper body

weight: the typist perches on the sloping seat, with
his or her knees bearing much of the weight as
they rest on a cushioned "knee seat."

Specifications
Country: Norway
Materials: Pine and fabric upholstery

Styling is subtle and

Aluminum
low-key, with pale
pinewood and cream-
colored upholstery

Weight is distributed
between plastic and
aluminum legs

Louis 20 chair 1995

The back, seat, and front legs of Philippe
Starck's Louis 20 chair are made from a

single piece of molded plastic, with the

rear legs formed by a bridge of tubular
aluminum. These are screwed rather
than glued to the body for ease of

separating and recycling the different

pieces. The chair is available with or

without armrests, also constructed of

tubular aluminum. Several chairs
can be stacked together, as seen here.

Specifications
Country: France
Materials: Polypropylene and aluminum

20(
33 1
THE OFFICE
1900 —= ^_j_Jiii^ i-

OFFICE EQUIPMENT
BEFORE WORLD WAR II, the office was
a distinctly impersonal place, with the
stark, industrial appearance of a factory
environment. Office equipment was
purely functional; machines such as
typewriters and photocopiers had
their inner workings exposed, and
the use of dictation machines,
commonplace by the 1930s,
depersonalized office life further
Decades passed before any link
was acknowledged between
productivity and environment.
It was only as recently as the

1950s that designers began to

place the aesthetics of office
equipment on a par with
performance. It was still later
that this became the norm.

AEG fan 1911

Cofounder of the Deutscher Werkbund
in 1907, a group of manufacturers,
retailers, architects, and designers, Peter
Behrens was as concerned as any designer
of his time with the function of the
machinery he designed. However,
Behrens' refined sensibilities meant that
his designs stole a march on those of his The solid base
rivals. This pioneering electric desk fan resembles the

for AEG is a fine example of 3ehrens form of an

early telephone
tailoring the design of the item

to emphasize its function.

Specifications
Country: Germany
Material: Cast iron
and brass

1900
332
 Edison Protechnic
Ediphone
early 20th century
With only three months of formal
education. Thomas Alva Edison
was responsible for over 1 ,200

patents and was one of America's

greatest inventors. His

inventions included the light

bulb, the origins of moving
pictures, and the phonograph.
Before Edison saw the
potential of the phonograph
for home entertainment, it

was used in business to

record dictation, the sound

recorded on a wax cylinder.

The cabinets of this large,

early machine were unwieldy,
but represented one of the
few areas of office furniture

design where consideration was

actually given to aesthetics.

Specifications
Country: UK
Material: Metal

The bars of the guard

resemble ribbons
fluttering in a breeze

The cabinet doors

have the smooth
finish of a piece
of dome sticfurniture

333
THE OFFICE

Bandolero desk fan 1930s

The streamlined Bakelite Bandolero fan
was produced by Diehl, the electrical

division of Singer, for the American

mail order company Sears. The design
dispenses with metal blades, using
in their place crosshatched fabric blades,

which were safer. This removed the need

for a protective cage and contributed to

the fan's sharp, modern image. The

fabric blades were later replaced with
rubber versions.

This sleek design

looks back to
modernist styling

Edison Voicewriter 1 953

Manufactured by the Ediphone
Division of Thomas A. Edison, Inc.,
this compact magnetic tape recorder
was produced 22 years after Edison's
death, but his influential name appears
four times on the machine. Designed
by Carl Otto, the Voicewriter was
revolutionary for its portability.

Specifications
Country: US
Material: Metal

334
 OFFICE EQUIPMEI
20<

Pocket Memo 1 993

The development of cassette tapes,

and now microcassettes, has meant that

dictaphones have become smaller and
more sleekly styled over the years. The
diminutive Pocket Memo Executive
596 dictaphone manufactured by Philips
Dictation Systems, was designed by
Austrian Konrad Ellermeier.

Specifications
Country: Austria
Material: Plastic

Swing-out

1
drawers provide
a number
of storage
compartments

HILIPS

POCKET MEMO

396

Boby trolley 1 970

The ingenious Boby trolley was designed by Joe
Colombo for the Italian company Kartell in 1970, and

is now produced by Bieffeplast. Made of ABS plastic,

its structure is an excellent example of how designers

mastered the storage potential of
plastics in the 1960s and '70s. It is
Specifications
light enough to be moved around Country: Italy

an office on its large castors. Material: Plastic

20C
335
THE OFFICE
1900 «
.

DESK ACCESSORIES
MOST OFFICE DESKS are littered with items that are, in their
way, design classics. The humble paperclip, invented in 1899

by Norwegian Johann Vaaler, has hardly changed. The pencil

sharpener, developed in Germany in 1908 by the TPX Bias
company, still remains an essential office item. The Rolodex,
which first appeared in 1950, has survived the age of
electronically stored information as a simple and
efficient means of storing addresses. Even the ^
disposable ball-point has a fascinating history.

Juwel Elastic Stapler c.1930

The French Juwel Elastic stapler operates,
as its name suggests, by means of an elastic

band rather than the spring used in modern

Specifications
staplers. The beautiful, Deco-inspired
Country: France
geometric enameling in black and white
Materials: Metal
ensures that the Juwel lives up to its name. and enamel

Rolodex 1952
Arnold Neudstadter's 1952 design of the Rolodex card file was so
successful that the company claimed that "there's a Rolodex file
on almost every desk in America." The Rolodex is deceptively
simple; made of heavy steel, it rotates "Tuff Fiber" index
cards and will stop in any position, thanks to an ingenious
ball-bearing clutch mechanism known as the "Rolomatic."

Specifications
Country: US
Materials: Metal, plastic, and paper

1900
336
 DESK ACCESSORI
? !

Stapler 1960s
The design of the stapler has changed
very little this century. When they first

appeared, patented by C.H. Gould in

1896, they were used to fasten together

the soles and uppers of shoes. The first

paper staplers appeared in the late 1890s.

Specifications
Country: UK
Materials: Metal and plastic

Folle stapler 1980s

Resigned to the fact that little can be

done to improve the stapler's function,

designers toy with its looks. This round-

headed model is available in a range

of bright colors. It was designed by

Henning Andreasen for Folle APS
of Denmark.
Specifications
Country: Denmark
Material: Steel

337
THE OFFICE

Bic pens 1938

Laszlo Biro first developed a pen that utilized quick-drying ink,
capillary action, and a ball point in his 1938 "Biro." Marcel Bich
took over the patent in 1958 and created a disposable version, the Specifications
Bic. It is now so ubiquitous that it has become synonymous with the Country: France
ballpoint pen. In the 1990s, three billion Bics are sold each year. Material: Plastic

Blotting paper c.l 955

In the 1950s, collecting printed
blotting paper was popular in

many European countries and

in the US. The widespread

introduction of the Bic biro killed

off the fad in the 1960s. This

advertisement was designed

by French illustrator Savignac.

Specifications
Country: France
Material: Paper

Magnifying
lens
Stapler

Fiber-tip pens 1 963

One of the few advances on the ballpoint, the first fiber-tipped
pens, developed in Japan in 1963 by Pentel, used a bamboo inner Specifications
barrel. This was superseded by a fiber tube that fed ink to the Country: Japan
nib by capillary action. This system is still used. Material: Plastic

338
 OFFICE EQUIPME
= 2C

Lamy pens 1 98>

Walter Fabian's pen
Everlasting calendar 1 967 designs for the

Enzo Mari designed his stylish calendar German company

for Danese in 1967. The innovative Lamy were an
design uses PVC cards in three lengths enormous success,

indicating the day, date, and month. elevating them to

The cards were printed in English, "classic" status

Italian, German, and French. immediately. The

pens were popular
Specifications for their styling rathe
Country: Italy
than for any new
Material: ABS
technical advances.
plastic and PVC
Specifications
Country: Germany
Staple remover Material: Plastic

Factory F2 desk
tool 1986
Developed by brothers
Yoshihisa and Kohji Imaizumi
for Plus Coporation, this compact computer on
desk accessor)' is in the style of every desk, the mouse mat
a Swiss army knife. It has a has become commonplace
stapler, magnifying glass, tape in the office. Mats are often
Specifications
measure, hole punch, staple decorated with bright advertising Specifications
Country: Japan
remover, pin case, scissors, Materials: Plastic logos, while this example has Country: UK
and tape dispenser. and metal an unusual, irregular shape. Material: Plastic

2d
339
THE OFFICE
1900

TYPEWRITERS
THE FIRST TYPEWRITERS, made in 1873, had a industrial appearance; but by the 1930s,
QWERTY layout, from the word spelled by the portables had been introduced and electric
first six letters on the top row of keys. This machines developed. By 1961, when IBM
system was developed to slow the fingers down launched the "Golfball," electric models
on complicated manual typewriters. However, had largely replaced manuals. The use of
because it became an industry standard, it personal computers in the 1990s delivered the
is still used today. Early typewriters had an final death blow to the traditional typewriter.

Royal Bar-Lock
c.1910
This typewriter has
a double keyboard.

Without a shift key,

which had been developed

by Remington in 1878, it

was necessary to have two

keyboards, one for the upper
case and one for the lower.
The position of the typebars
would have made it very
difficult for the typist to see

what was being printed. The

open body gives the typewriter
an industrial look, which
would not have appealed
to the domestic market.

Specifications
Country: US
Width: 153/in (40cm

1900
340
 TYPEWRIT

Multiplex 1919
Hammond produced many
innovative typewriters. The
Multiplex had a system of
interchangeable type shuttles
that carried different fonts. The
typewriter bears the legend "For All
Nations and Tongues," which implies
that the various fonts might be used
for foreign languages. Most shuttles
carried the fonts in three rows; but

for specialized shuttles that had four,

a second shift key was required.

Specifications
Country: US
Height: 9in (23cm)
Width: }A'A\n (37cm)

Lettera 32 c.1960
Marcello Nizzoli was Olivetti's
first and most influential product

designer. In the 1940s and '50s, he

created office appliances, including
adding machines (see p.354) and
typewriters, which have achieved
classic status. The Lettera 32 is

based on his portable typewriter

of 1950, the Lettera 22. The
hallmark of Xizzoli's designs

was his keen attention to

form and applied graphics.

Specifications
Country: Italy

Height: 3in (8cm)

Width: 12in (31cm)

34 1
THE OFFICE
v._J
Valentine 1969
The Valentine is the ultimate
portable typewriter, comprising two
simple elements. The machine and
handle form one element and the
matching carrying case the other. It

was designed for Olivetti by Ettore

Sottsass and Perry A. King, who
wanted to create a typewriter that

would be light enough to carry

anywhere and that would not

be associated with the work
environment. It is made from
bright orange-red molded
plastic, with yellow caps on the
ribbon spools "like the two eyes
of a robot," as Sottsass himself
described them. It represents
a radical departure from
traditional office equipment.

Specifications
Country: Italy

Height: 4in (10.3cm)

Width: 13in (33cm)

342
 TYPEWRITE
20<

THE "GOLFBALL"
Eliot Noyes designed the innovative Selectric
or "Golfball" typewriterfor IBM
in 1961. It was a revolutionary
design because the typebars were
replaced by a small spherical typing
head shaped like a golfball. This
head carried the usual
characters, but it moved while
the carriage remained
stationary. Heads were
interchangeable,
allowingfor a
greater selection
of typefaces. The
Selectric was part
of Noyes' program
to create a corporate
identityfor IBM, and its

style owes a great deal to

Marcello Nizzoli, who was
so instrumental in reshaping IBM Selectric, 1961
Olivetti's post- 1945 product range.

Samsung SQ-3000 990s 1

This Samsung is an example

of a crossbreed of typewriter that
combined a compact electronic
machine with a memory facility.

The small screen allowed the user

to view a line of text before it was
printed. Such models were populai
from the mid-1980s, until the
development of the personal
computer rendered their

features obsolete
H.M 11H1I II I I

I III
1-1 I T I I I
Specifications
T. rn
I I

T ii
r i i i t Country: South Korea

rr jpj.
I II I
Height: 4'A\n (11.3cm)
rr Width: 15Xin (39cm)

- 20<
343
THE OFFICE
1900

COMPUTERS
THE BOOK THAT YOU ARE READING was
written on a computer small enough
to fit in a briefcase, and designed and
edited on versatile desktop computers.
Yet the first electronic computer,
the ENIAC (Electronic Numerical
Integrator And Calculator), developed
in 1946, weighed 30 tons and
occupied a surface area of 1,722ft2
(160m-). The invention of the
transistor in 1947 and its successor,
the integrated circuit, in 1959,
reduced size and
facilitated the
greaterpower that characterize
computers today. As more
schoolchildren are taught
to use computers, they are
becoming as common-
place in the Western
home as televisions.

THE APPLE MAC

The Macintosh, designed byfrogdesign for Apple Computer Apple II 1 977
and unveiled in 1984, was byfar the most original personal The success of the Apple II,
computer of its day. With its high- shown here with the Disk II disk

definition screen, graphic icons, drive introduced in 1978, lay in

and mouse pointing device, it proved its user- friendliness. Developed
j
exceptionally user-friendly The disk by Steve Jobs and Steve Wozniak,
'
drive and monitor were built into
it was the first commercial
a single unit, giving the Apple Mac personal computer.
a more streamlined, compact
Specifications
look than its rivals.But it was
Country: US
«— »„ the sophistication and speed
Not known
^
u**i
of the machine 's graphics
Dimensions:

that made it popular in desktop

"
publishing and revolutionized
Apple Macintosh, 1 984 printed media in the late 1980s.

1900
344
 COMPUTE

EARLY COMPUTERS
Many early computers were developedfor defense
purposes, such as the electronic codebreaker developed
at Bletchley Park, England during World War II,
or the "Whirlwind," the first real-time computer,
built for the US air defense system in 1951. The first
electroniccomputer contained 19,000 electronic tubes,
enabling it to compute 5,000 additions, and about 500
multiplications per second It was child's play, though,
compared to the capabilities of modern computers
such as the Cray Y-MP (1988), which can perform
more than two billion computations per second.

The styling of the first

personal computers
wasfunctional rather
than aesthetic

IBM PC XT 1981
The most popular and influential personal

computer ever produced, the IBM PC sold

over 800,000 units within two years of its

launch in August 1981. It was designed

young team of computer scientists,

headed by Philip Estridge. Despite its

meager specification, it spawned a

whole new industry, setting higher

standards in personal computing.

Specifications
Country: US
Height: 17in (43cm)
Width: 20in (51cm)

been favored by computer

designers as an indication
of the machine's prat ti

345
THE OFFICE
-

Amstrad PCI 51 2 1986

The British company Amstrad,
established by entrepreneur

Alan Sugar, launched the hugely

successful PC 15 12 in 1986.

Compatible with IBM's PC, it

was, however, easier to use, twice

as fast, and substantially lower
in price. It made IBM standard
computing, previously restricted
to the US market, accessible
to the European home-user
for the first time.

Specifications
Country: UK
Dimensions: Not known

CD-ROM
Invented by Philips, and promoted internationally in
collaboration with Sony, the CD-ROM is a laser-read
disc that can be used to produce images on a computer
The ROM stands for "read only memory,
"
screen.
meaning the disc can be recorded on only once.
It holds a large amount of information, which is
displayed either in the form of text and images or
as narrated animated sequences. Until the 1990s the
main marketfor CD-ROMs was professional, but
Sony CD-ROM player, mid-1 990s they are now available to the home audience.

346
 COMPUTE

Psion Series 3 1992

The miniaturization made possible by the microchip

is epitomized in this palmtop computer, which

incorporates a personal organizer and word-
processor. It has more power than the
computers aboard the Apollo spacecraft.
Specifications
BBQOBBOBBB8 Country: UK
GDOOOOOOGOQ Height: 2in (5cm) open

Q0QQ0000080 ]

Width: 6 A\n (16.5cm)

The holes that keep
QQQOOOOBBOC the machine cool
eeba are featured as part

of the design

Acer Aspire 1996

In the marketing of computers, the
emphasis has generally been on function
rather than form. Previously, computer
use was largely restricted to offices, but
the 1990s saw the emergence of the home
office. Companies like Acer recognized
this change in the market and offered
something more attractive than the
ubiquitous beige box. With its decorative
surface, sculpted shape, and ultramodern
appearance, the Aspire is an attractive
item of domestic furniture as well as
a powerful computer.

Specifications
Country: Taiwan
Height: l9J6n (49cm)
Width: 15/in (39.5cm)
THE OFFICE

Veridata laptop mid-1990s

As the decade progressed, the laptop became more
and more essential for the busy executive. Indeed,

the majority of the text for this book was written on

just such a machine. Further reduction in the size of
the computer is restricted by the size of the keyboard,
which becomes unusable if reduced any further.
However the depth of the latest machines
shrinks with every new model.
Specifications
Country: Taiwan
Length: 11 in (28cm)
Width: lOin (25cm)

Depth: 2in (5cm)

iMac 1998
Launched in late 1998, the iMac quickly became a

design icon, influencing the design of other products

as diverse as cars and desk accessories. The compact
unit, with hard disk and modem included, enabled
Apple to notch up sales of 800,000 in five months,
doubling company profits and stealing a lead on
the PC market. The iMac has quickly become the
most admired and celebrated computer design ever.

Specifications
Country: US
Height: 15.8in (39.5cm), Width 15in (38cm),
Depth: 17Xin (44cm)

Rainbow colors
A few months after the initial launch of the iMac
(right), new colored casings were introduced. Despite
its generous technical capacity, the machine has
become equally influential for its looks.

—
348
 COMPUTEI
.. - 20<

The casing is

translucent,

showing the inner

components of
the machine

An internal modem
and disk drive mean
that the clean lines
are not compromised
by excessive
external wiring

Even the mouse has

been ergonomically
redesigned

20
349
THE OFFICE
1900

PHOTOCOPIERS
& FAX MACHINES
THE PRINCIPLES for duplicating
and transmitting documents
have existed since the
beginning of the century.
However, it is only with
the development of an integrated
telephone system and advances
in electronics that photocopiers
and facsimile machines have come
to play such crucial roles in the
office. Originally forbidding-looking,
the first copiers were transformed
as early as the 1930s, thanks to
Raymond Loewy's "face-lift" of
a Gestetner duplicating machine.
Fax machines were developed much
later, emerging in Japan and the US \

simultaneously in 1968, when it took

sixminutes to transmit a single-page
document. Today, communication by
fax is an instantaneous and
indispensable process.
k
Gestetner duplicating
machine 1929
Gestetner commissioned Raymond Loewy
to restyle the exterior of its duplicating

machine in the late 1920s. In contrast to the overtly

utilitarian appearance of the original machine,

Loewy's simplified version is sleek and refined,
Specifications
with the mechanism concealed in a casing. He
Country: UK
used a full-scale clay model to achieve the desired
Materials: Wood
sculptural qualities — a working method that was and metal
subsequently adopted by designers in the car industry. Dimensions: Not known

1900 ~
350
 PHOTOCOPIERS & FAX MACHIN
• »

THE FIRST COMMERCIAL COPIER

The word "Xerography" was coined by American
Chester Carlson in 1937 to describe his invented
method for reproducing images. It is derived
from the Greek Xeros. meaning "dry," and
Graphem. meaning "to write." The process,
which is still used in modern photocopiers,
involves the use of a powerful lamp, dry powder
toner static electricity, and heat After years of
.

struggle. Carlson teamed up with Haloid, which

later became Rank Xerox, and the Xerox 914
automatic copier was introduced in 1959. It was the
first commercially available photocopier, capable of
making seven copies per minute. Today, led by the
Japanese, manufacturers produce machines that Xerox 914,
make as many as 100 copies per minute. 1959

Qwip 1200 1970s

By the 1970s, fax machines were starting
to become a familiar feature in modern office

environments. By offering companies the very latest

technology in a new, compact form, the Qwip 1200 series revolutionized the
Specifications
market. The machine was designed in two sections: the main sender/receiver
Country: US
and the acoustic housing for the telephone headset. It required special paper* Material: Plastic
to receive documents; but otherwise it was simple to use, taking about four Height: 6Xin (16cm)
minutes to transmit or receive a document. Width: 22in (56cm)

351
THE OFFICE

Brother Fax-160 1980s

Compact and unobtrusive, this integrated

telephone/fax machine could serve either in

the office or the home. The light gray plastic

housing conceals the working apparatus. It

has push-button keys and a memory facility,

which allows high-speed dialing to a choice

of 50 programed numbers. Sixteen shades o

gray help ensure accuracy of reproduction.

Specifications
Country: UK
Material: Plastic
Height: 4A\n (11.6cm)
Width: 16Xin (42.4cm)

Paper/or
incoming
transmissions
is stored inside
the machine

Canon PC-3 portable copier 1993

This portable desktop copier by Canon was
designed to meet the growing need for a
photocopier suitable for infrequent use. It

works in the same way as a conventional office

photocopier, but is restricted to the most basic

operations. It is unable to enlarge or reduce
documents, and is without a paper stack.

Specifications
Country: Japan
Material: Plastic
3
Height: 5 /in (14.6cm)
Width: !5in (38.4cm)

352
 PHOTOCOPIERS & FAX MACHIN
20

-
1

The message
window displays
the current status
of the machine

QuadMark PassPort
portable copier 1993
When Xerox company QuadMark
introduced this portable copier in
1993, it was the world's smallest
plain paper copier. Battery-operated
(K«7

and cordless, it weighs just 4lb (1.8kg)

Y3SUVf»BUT and is diminutive enough to be stored
in a briefcase or desk drawer. Despite
r
4 /-. — a v[,e?ii?5j sva.* ft* V '4-
its modest size, the reproduction
quality is high, with copies printed
at 400 dots per inch resolution.
Specifications
Country: US
Material: Plastic
Height: Mn (7cm)
WWth. 11 3/in fWml
THE OFFICE
1900 —
ADDING MACHINES
WE NOW TAKE FOR GRANTED the use of sophisticated, inexpensive electronic
calculators.However, early calculating machines were heavy, slow, and had no
stored memory. Computers with storage capacity became available for commercial
use in the 1950s; they could be programmed to solve complex problems, but their
size made them impractical for home use. It was the introduction of the
microchip in the 1970s that facilitated massive reductions in the size,

weight, and cost of calculators, while transforming their power

beyond compare. Today, designers' increased sensitivity to
the needs of the operator is reflected in the form of the
machine, its graphics, and the grouping of keys.

Victor adding machine c.1935

This mechanical calculator has a two-tone,
typewriter-style keyboard, which allows the
fast and efficient entry of numbers. Designed
by W.A. Knapp for the Victor Adding Machine
Co. of Chicago, it is housed in a lightweight
Bakelite case. Relatively inexpensive and
easy to mold into a modern shape, Bakelite
was made popular in the 1930s by the likes
of Raymond Loewy, Wells Coates, and
Jean Heiberg.

Specifications
Country: US
Materials: Bakelite and metal
Height: 7in (18cm)
Width: 7Xin (18.5cm), Depth: 12%in (31cm)

1900
354
 ADDING MACHIN
!
Schubert c.1950
Cumbersome and complicated
to operate, the Schubert
The Schubert Specifications
was one of the last dinosaurs
was able to
Country: Germany
compute
of the adding machine world,
Materials: Metal and plastic
with doomed to extinction by
Height: 5%in (13.2cm)
up to 10 digits the advent of the Width: llMin (28.5cm)
silicon chip. Depth: 5^in (13.8cm)

Movable plastic-

levers were
aligned with the
numbers to be
together
 Olivetti Divisumma 18 1973
Like Marcello Nizzoli, Olivetti
designer Mario Bellini responds
to human requirements in his
designs. Although he studies
ergonomics, he stresses that they
can be merely a starting point, as
people are much more complex
than a set of measurements.
Divisumma 18 will be remembered
as much for its feel as its appearance.

Manufactured in brightly colored plastic and covered

with a thin sheath of rubber, its soft, tactile keys and
the rounded forms make it a pleasure to handle.

POCKET CALCULATORS
Thefirst pocket calculator was introduced in 1972 by
Clive Sinclair. This model by Casio from the 1990s is
typical of the millions now inexpensively available and in
constant use in homes,

Olivetti Divisumma 24 1956 offices, and schools

across the world It
This calculator is the work of one of
demonstrates the
Olivetti's most celebrated designers,
possibilities afforded
Marcello Nizzoli. Always mindful of
by modern technology:
those who will use and maintain his
in addition to its
products, Nizzoli has considered the
memory storage
positioning of the keys, the coloring, and multitude
facility
and the graphics layout to make the of mathematical
machine easier to use. Note particularly functions, it is

the large addition and subtraction powered by a solar

keys. To ease servicing, the two-part cell, and so requires

plastic casing is removable, allowing no batteries. The

maximum access to the mechanism. models simple, sleek

Specifications
form is a classic of
modern design.
Country: Italy

Materials: Plastic and metal

Height: 9!4in (24cm)
Casio pocket
Width: 9Min (24.4cm) calculator, 1990s
Depth: 17in (43cm)

356
 ADDING MACHIN
20"

Specifications
Country: Italy

Materials: Plastic and rubber

Height: l%n (4.6cm)
Width: 12Kin (30.9cm)
Depth: 436n (12cm

Because of the
ergonomic design,
there are separate
versions for right-
left-handed users
and

QQ@
Zelco "Double
Plus" calculator 1986
7* 8» 9»
Designed bv Donald Booty Jr. for

Zelco Industries, this calculator is

shaped to be gripped. The name 4* 5» 6*

"'Double Plus" derives from the
unusual feature of having two
addition keys, allowing the addition
function to be used more rapidly.
2* 3
These and the other kevs are
positioned, shaped, and colored
to maximize efficiency.

Specifications
Country: US
Materials: Plastic and acrylic
Height: SAm (14.4cm)
Width: 2/fin (6.6cm), Depth: A\n (1 .3cm)

20
357
 GRAPHICS, Typefaces

ADVERTISING, & Corporate ID

Magazine covers

PACKAGING Record covers

Posters 1900-19

Posters 1920-39

Posters 1940-59

Posters 1960-79

Posters 1980-99

Packaging 1900-09

Packaging 1910-19

Packaging 1920-29

Packaging 1930-39

Packaging 1940-49

Packaging 1950-59

Packaging 1960-69

Packaging 1970-79

Packaging 1980-89

Packaging 1990-99

I LANDER
U5TEPHE//E
GRAPHICS, ADVERTISING, & PACKAGING
1900

TYPEFACES
COUNTLESS PRODUCTS from the 20th century are instantly
associated with a particular style of lettering, be it a cereal
box, a newspaper, or a public transportation map. In fact,
so powerful is the impact of many typefaces that words
are often given expression even before the literal meaning
becomes apparent. There are two basic divisions of typefaces:
serif faces (those with terminal strokes) and sans serifs
(those without terminal strokes), and a multitude of
variations exist. Functional and geometric, sans serif
letterforms were pioneered by Bauhaus designers
in the 1930s, and labeled "new typography."

The letterforms
Even the verticals are based on
of Eckmann classical Roman
Schmuck curve proportions
organically

® FoftQedtfltann <9

HusStettung to UtUteltk>rS
Kuntt RHCtneaU Weal
Sdtule oon Bra b« n t
feted RUBCIIS Poet
meRKBuei Roland Bamlet
fOr das 3ahr 1901 5Don?uan7
Frankenthal
Unseren &EMH*
freunden ge»Mm«t ©wtattn nrac&itfieeit sm^a 4 GUBen
RuilliiirclTttic eichcrci in Olfcnbach
2
am main

Rudhanfos Gieberel \
Eckmann Schmuck 1900
Offenbach am Olata :
Organic and calligraphic influences are clearly evident in this

: Jugendstil typeface, designed by German typographer Otto

mmmlmm : Eckmann. The curvilinear strokes of each letter taper and swel
: as if with the movement of an italic pen tip. Devised for the

: Rudhard Foundry, it was also adopted by Klingpor, with

: which it is most commonly associated.

1900
360
 TYPEFAC
>

Underground 1915
In I"! 5, Edward Johnston
/'/if letter "()"
was commissioned by London
is a perfect circle
Underground to design a displa)

typeface. He produced a sans serif

alphabet that is simple to read and

easy to recognize; it is still used by
London Underground today. The
typeface is deployed to great effect

on the roundel, which appears

throughout the system to indicate

each station name.

The roundel originally

had a solid red disc Each stroke is

with a blue bar- of an identical

thickness

abedefghi
jKlmnopqr
sTuviuxyz

sTurm blond

Universal 1925
During his time as head of the print department at the

Bauhaus, Austrian Herbert Bayer produced this alphabet. An

advocate of modernism, Bayer defended the sans serif typeface

OFFSET as an expression of its time. He denounced

from handwriting, incompatible with modern typograp!
serifs as a hangover

BUCHUNDVERBEKIM printing. His simple, geometric Universal alphabet also

suspended the use of capital letters. It was employed in the

Bauhaus publication Offset, but never released as a typ

>

361
GRAPHICS, ADVERTISING, & PACKAGING

The launch pack for FUTURA fett FUTURA fett

Futura shows a
decorative variation MEISl
of the basic typeface Hand
MAri
DIE DRUCKTYPE 1ST DER MASCHINELIE ABDRUCK
Schr
maschinellhergestellterMetall-t.ettern,dIemehr
Lesezeidien sind alt Schrift. Die Druckschrift 1st
keine Ausdrucksbewegung wle die Handschrtft.

DIE GR OTESK SCHRIFTEN SINO DIE NATUR,

IND
Net
BAUERSCHE GIESSEREI BA
Rei
FUTURA SG
FRANKFURT AM MAIN

The form of
the lower case
"I " is reduced
to a single bar

1.

Futura 1927-30
The design of the Futura typeface owes more to precision engineering than to the calligrapher's pen.
Taking inspiration from Bayer's Universal face, German typographer Paul Renner was one of the first

to utilize the revolutionary approach of a completely even stroke throughout the alphabet. Futura is

notably more rigid in its geometry than its corresponding British typeface, Gill Sans. As with
Universal, the letterforms are based on squares and circles; but, interestingly, the crossbar of the
"E" and "F" is positioned above center. The typeface is still used today in a number of variations.

362
 TYPEFAC

KNNUAL MEETING
MAY 31

FEDERATION COLLECT FOR

THE FEAST OF S. ANGELA MERICI

OF DEUS. QUI NOVUM BEATAM

PER
ANGELAM SACRARUM VIRGINUM
MASTER COLLEGIUM IN ECCLESIA TUA FLOR-
ESCERE VOLUISTI: DA NOBIS. EIUS
PRINTERS INTERCESSIONE, ANGEUCIS MORI-
BUS VIVERE; UT.TERRENIS OMNIBUS
ABDICATIS, GAUDIIS PERFRUI MERE-
nil LANSTON Mi>\onPK CORPORATION LIMITED, LONDON AMUR AETERNIS- PER DOMINUM NOSTRUM
PRESENT IESUM CHRISTUM FIUUM TUUM QUI TECUM
Ui INTERIM PROOI Ol [HEIR VIVIT ET REGNAT IN UNITATE SPIRITUS SANCTI
SANS-SERIF TITLING DEUS PER OMNIA SAECULA SAECULORUM
DESIGNED B> KRK GILL

ABCDEFGHIJJKLMN
CONGRESS OPQQRRSTUV
SELLING WXYZ
AND ¥* l.2,3:4;S-6!7?8§9*ir()[*^-w]
PUBLICITY
Gill Sans 1928
Blackpool British designer Eric Gill was a highly
respected type designer, sculptor, and letter

cutter. His namesake typeface is identified with modernism. Gill studied under Edward Johnston,
whose guidance can be seen in the forms of this sans serif alphabet. Subtle stroke variations give

the face greater fluidity, making it easy to read as continuous text. Gill Sans was created for the
Monotype Companv (renamed the Monotype Corporation in 1931), whose adviser for typography,

Stanley Morison, had earlier supported Gill in the development of the typeface Perpetua.

MOVABLE TYPE
Printing with metal type has its origins in the
invention of movable type by the 15th-century
German goldsmith Johannes Gutenberg. Each
block has a single letter that can be set, inked,
and the relief surface then impressed onto paper.
The method was an improvement on woodblock
printing, not least because one mistake no longer
meant the replacement of an entire printing
block. Here, a "forme " is made up of the inked
"
type, wedges, and iron frame, or "chase.

Inked forme

363
GRAPHICS, ADVERTISING, & PACKAGING

Times New Roman 1931

THE TIMES NEW ROMAN As well as advising Monotype
It may be claimed that The Times, It may be claimed that The Times, with its new (see p.363), Stanley Morison
tiding, its new device, and its new text types,
with its new titling, its new device,
and its new text types, possesses, from
possesses, from the headline on the front page to was typographic consultant to
the tail imprint on the back, a visual unity. But
this is no more than the beginning of typographical
the headlineon the front page to the The Times, London, for three
wisdom, for visual harmony, whatever its signi-
tail imprint on the back, a visual ficance for the artist, has link: value for the general
unity. But this is no more than the reader unless and until it accompanies the basic
factors of textual legibility. The reader needs a
decades, when he created this
beginning of typographical wisdom, definite plainness and familiarity of type design;
for visual harmony, whatever its typeface for the newspaper. It

It
new
may be claimed that The Times, with
titling, its new device, and its new
its

text
km I front p«SC to the tail imprint on the hock,
was used exclusively for one
But no more than the hesinninc of
types, possesses, from the headline on the
iliix iv
whatever lit
year, replacing a Gothic type
front page to the tail imprint on the back, r the ocncral
accompanies the basic factors of
a visual unity. But this is no more than the
it
•adc/ need, a definite plainness and that had been favored for over
beginning of typographical wisdom, for familuiilj .1 it poHiblc ifzc and
clearness of adjustment of the
visual harmony, whatever its significance spacintj. nrsl, to the untie letters. 120 years. Simplifications to the
for the artist, has little value for the general
nukes the ultoic "look right"
reader unless and until it accompanies the formation of each letter meant
It may be claimed
that The Times, with its new that text could be condensed
titling, its new device, and its new text types,
possesses, from the headline on the front page
to the tail imprint on the back, a visual unity.
and remain legible, at the
But this is no more than the beginning of
typographical wisdom, for visual harmony,
same time saving space.
whatever its significance for the artist, has
little value for the general reader unless and
until it accompanies the basic factors of
textual legibility. The reader needs ;

Univers 1957
ABCOt'OH
Swiss designer Adrian Frutiger earned KLMNOPOR
TUVVVXYZC
his considerable reputation through b • d • f | h |

k I m n o p q , .

the creation of this versatile typeface.

Univers 65, shown here, is just one Univers 65
of 21 variations contributing to this
universal lettering system, which RESUMOiMS UN PEU
maintenant que nous
permits a multitude of combinations
and effects.

of filmsetting, Univers
Designed for the

is particularly
purpose

MMVHUfuX iSSOK Dl LA PMVllOUt

devons cesser pour un

BANQUEROUTE
!
compatible with printing in condensed une reproduction
spaces and has frequently been the authentique de la
I SUJCT ASSK OIF'ICIK A TBAITIft
preferred choice for timetables. In
expanded, bolder format, has been PERSUASION
i
it aaaoupHsum ten «prit at

used for large-scale, public signage 1ES DISCIPLINES OE LA SCIENCE

le mouvement
systems. The typestyle is sans serif,
U» effort* que I'homma fall pour qui eta it prevu
mtoux comprendre at pour miaux
connaitre aitoupliisent son (sprit
with the weight stress balanced on
both vertical and diagonal strokes. UN MOUVEMENT RAPIDE
la reflexion de la lumiere sur
FRANCHE
Univers was taken up by the les miroirs et la propagation instruction
Monotype Corporation soon
after it was launched.

364
 TYPEFAC
ABCDEFCHIJK
LMNOPQRSTUVW
a XYZ AOO MN
abcdefghijklmnopq
rstuvwxyz aoii
Optima 1958
German type designer
serif typeface, the

written quality.
Hermann Zapf created this sans
Roman proportions of which have a hand-
Elegant, flowing, and easy to read when
reduced in size, the letters terminate in shallow cups. Initially,

Optima was badly received by critics and designers, but

soon became a highly popular choice for page text. Zapf is

internationally recognized for his considerable contribution

to the printmaking industry and his celebrated designs,

including Palatino in 1949, Melior in 1952, Zapf Book in
1976, and Zapf International in 1979. More recently, he has
/EQC EEEE A0a0 been involved in the developmental design of digital type.
aeoeg chckfffiflftijfc

z £1234567890
.,-:;!?'()

aaaeeee
;'»«&-[]§t
i in
$

666 uuu
! This typeface was designed by Italian graphic
Aldo Novarese, director of a production type foundry, the
Societa Nebiolo, in Turin. Linear and sans serif in design,
Recta 1958
artist

the alphabet comprises a series of 21 variations designed to

be compatible with the technical requirements of modern
printing. This presentation document has been created to

I accentuate the geometric quality of Novarese's typeface.

univers M» Recta
Sene corsrva ner» stretta in corso di lavcanone

:
livers univers univers

Aletsandro Mwiom milt Odi

I Concorso grafico
DIPLOMATIC!)

SOCIETA NEBIOLC
iriattons sur un theme unique

365
td Sabon Antiqua

n
ABCDEFGHIJKLMNOPQ
RSTUVWXYZAOO
abcdefghijklmnopqrstuvwxyz
fchckfffiflft&aoii
1234567890 1234567890

Sabon Kursiv

Sabon 1964-66
Jan Tshichold began his career as a WaTUGaTE-WATSOK
WSTRKT Of COLUMBIA
modernist, and his Die Neue Typographie
| (1928) had a significant impact on the
-rt Bauhaus. In the 1930s, he returned to a
more traditional style of typography. His

Sabon face (see mauve alphabet below)

was the first typeface to be designed for
linotype, monotype, and hand composition.

MtoCixniwm a*-«a» «« i mo »«»««»«. » « mb-im

wm cm mnn£m~
11

MtaiCHwM«>e*>l
omkb w i ii ii»S^£^----'---'~ «m-SS
WMlM>IMIIOMh.a>
Bell Centennial 1 978 M2-ZII* ttf-Utl

Devised by British designer Matthew •

wttrnt
JM-MB

Carter, this typeface was commissioned Miiiiiiwiii

UMl lhllUM
for use in US telephone directories and
was launched during Bell Directories'
centennial year. Its key advantage was
its ability to stand up to compression;

unlike Bell Gothic or Helvetica.

^LMNOPQI 366
 TYPEFAC
20

Typeface Six 1 986

Postmodernist designer Ne\ ille Brody made his name while
art editor of British music and style magazine The Face (see

p.384). He is one of a number of designers who have taken

advantage of technological developments in printing to

produce typefaces and layouts that break the rules of

traditional printsetting. Frequently aided by computer-

generated manipulations, Brody uses letterforms as graphic

devices, designing unconventional alphabets that make a
dramatic impact, such as the "Duran" shown here.

EMIGRE N219:
Starting From
AbeFqor _
abcdeFghijklmnopqrstuvwxyz
Zer ABCDEFGHIJKLMNOPQRSTUVWXYZ
1234567890

Template Gothic 1990

This deconstructed modern typeface is taken from
laundromat sign lettering. It was created by American
designer Barry Deck and was acclaimed as "the typeface

of the decade." Deck's mutilated and distorted typefaces

first appeared on CD covers and in publications such
as Ray Gun and Emigre. He uses computer software to

create random destructive effects and is concerned with

"removing conceit from typography" by parodying the
functional and geometric forms of conventional typefaces.

Use of computer- manipulated typefaces

comfort
reflects designers' increased

with u reen- derived forms

STUVWXYZ 367
20(
GRAPHICS, ADVERTISING, & PACKAGING
1900

CORPORATE ID
PETER BEHRENS was the original "corporate
designer," the first to consider the complete
look of a company and the image that it

projects to the public. Since his revolutionary

program at AEG, most major corporations have
paid designers vast sums to create for them a
memorable visual identity. Ironically, one of
the world's most successful works of corporate
identity, the Coca-Cola script, was designed by
the company's bookkeeper.

Shell 1900-71
Although primarily a petroleum company,
Shell has many other commercial interests
and more than 90 percent of its businesses The modern symbol
around the world use the time-honored is a crisp, symmetrical
design in eye-catching
logo. The picture of the shell has been
primary colors
altered several times over the years, but

has been modified very little since 1971,

when the name was repositioned
below the stylized image.

THE SHELL
PECTEN
AND
LOGOTYPE

1900 1904 1909 1930

ell Shell
1948 1955 1961 1971 1995

1900
368
 CORPORATE I

MICHELIN MAN
Monsieur Bibendum, the Michelin
Man, has been symbol of
the chief
the French tire company since he
was created in 1898. Legend has
it that the designer, Mr. O'Galop,

was inspired by the sight of a pile

of rubber tires. In his earliest
incarnations, Monsieur Bibendum
had many more thinner rolls, as
Michelin made bicycle tires at the
beginning of the century. But as the
company moved into the production

of car tires, his shape changed

accordingly. Always depicted as an
active, friendly figure, Monsieur
Bibendum has achieved lasting
success, being both highly
memorable and evocative of
Early 20th-century advertisement the product he represents.

The bold, authoritative style

of lettering evokes the power

of the company

AEG 908-60 1

When, in 1907, Peter Behrens

was appointed artistic director

of the giant German industrial

company AEG (Allgemeine

Elektricitats-Gesellschaft), one

1908 1908 of his first challenges was to

redesign the company
logo. This he did by

lAEGl AEG
dramatically simplifying
it to just three letters in

a rectangle. The strong,

simple lettering remains

the basis of the logo
1914 1960 used today.

369
GRAPHICS, ADVERTISING, & PACKAGING

BMW 1 930
Bayerische Motoren Werke was founded in 1916
in Munich, the capital of Bavaria. But it was not
until 1929 that the Dixi became the first vehicle
to carry the famous BMW emblem. The symbol
is remarkably simple: silver lettering on a circular
black band that encases four segments of solid
blue and white — the colors of Bavaria. The image
has its origins in World War I, when the Bavarian
Luftwaffe flew planes painted in Bayern blue and
white, affording the pilot a view through his
propeller of blue and white segments. This
inspired the stylized design we now recognize on
vehicle emblems, such as the one pictured here,
and on other BMW products. It has been updated
to project an identity that is smart, clean-cut,
sporty — and image conscious.

COCA-COLA
The famous Coca-Cola was designed by an amateur: Frank Robinson, the fledgling
script
company's bookkeeper. He devised both the Spencerian script and the brilliantly concise words
beneath: "Delicious and Refreshing. " The logo now appears across the globe in languages as diverse as
Hebrew and Japanese. The bottle is also
A "Coke " variation among most recognizable icons in the
the

of the jamous world, a design that has come to symbolize

corporate logo the youthful exuberance of America. Countless
variations have been released over
the decades, but the enduring classic
— which has been used as a logo on
the company's cans — is the curved
green glass vessel designed by the
Root Glass Company of
Terre Haute, Indiana,
and introduced in 1915.
A Coca-Cola dispenser
was later designed by
the famous American
industrial designer
1950 1980 1983 1980s 1980s 1992 Raymond Loewy

370
 CORPORATE

UPS 1920s-61 The shield symbolizes

integrityand quality
United Parcel Service developed its first shield logo

in the 1920s, using the image of an eagle carrying

a package labeled "Safe. Swift. Sure." This was
simplified in 1957 to a shield outline containing
the companv initials. In 1961, the current logo
was born, the work of Paul Rand. He shortened the
shield, added a rectangular package, and clarified the

lettering. The key to good design, he explained, was

"taking the essence of something that is already
there and enhancing its meaning by putting it

into a form evervone can identify with."

CND 1958!
^Tien Gerald Holtom designed what has become
the symbol for the British Campaign for Nuclear
Disarmament, he was told that it would never
catch on. It has since been adopted as the universal
image of peace. Designed originally for the Direct

Action Committee Against Nuclear War. it works

on two levels: it is semaphore for "N" and "D",
and it is a self-portrait. Holtom explained: 'T

drew myself, the representative of an individual

in despair, with hands outstretched
outwards and downwards in the manner
of Goya's peasant before the firing squad."

>

37
GRAPHICS, ADVERTISING, & PACKAGING

McDONALD'S
The famous McDonald's Golden Arches logo
was introduced in 1962. It was created by Jim
Schindler to resemble new arch-shaped signs on
the sides of the McDonald's restaurants. He
merged the two golden arches together to form
the famous "M" logo that is now recognized
throughout the world as the McDonald's
trademark. Schindler's work was a development
of the stylized "v " logo sketched by Fred Turner,
which was conceived as a more stylish corporate
symbol than the Speedee chef character that
had previously been used. The McDonald's name
was added to the Golden Arches logo in 1968.
McDonald's restaurant, Ipswich, England

Olivetti 1970
Like Sony, Olivetti eschews a corporate symbol,
instead using the letters of its name as a logo. Devised
by Walter Ballmer, this latest logo, with its rounded,
lower-case letters, has evolved from three earlier
designs, dating back to a 1934 version by X. Schawinsky

SNCF 1 970
Established in 1938, the French railway SNCF (Societe

Nationale des Chemins de Fer) has made two significant

redesigns of its corporate image. The example shown
here dates from 1970, before which the interwoven
letters "SNF" were framed by the "C." Updated by
Roger Tallon in 1985, a lighter, more fluid-looking logo

emerged, based on the italicized outline of its letters.

372
 CORPORATE
5 *

Sony 1973 The thick letters of

The visual simplicity of the Sony logo is pivotal to its design. Easy to the Sony logotype
always appear in
understand and pronounce, the name is readable in any language and
a single color
immediately recognizable. The name derives from the Latin sonus,
meaning "sound."' and also recalls the English word "sonny," a term
of endearment for a small boy. The design of the logo has been
modified only minimally since 1957, when the strokes of the letters
were lighter and more expanded. The version shown here is from
1975. since when it has remained the same.

Apple's image-only
logo has broken the
conventional rules of
computer industry-
corporate imagery

Apple 1984
The American company
Apple was the first

computer firm not to use

its name as its corporate

identity. The idea of

selling a computer under
the name and image of
a fruit was conceived by
Californian Steve Jobs
and his colleagues (even

"Macintosh" is the name of an

American apple variety). The motif
of a multicolored apple with a bite

taken out of it is a reference to the

biblical story of Adam and Eve, in
which the apple represents the
fruit of the Tree of Knowledge.

373
GRAPHICS, ADVERTISING, & PACKAGING

Q8 1986
In a bid to expand its retail petroleum business into the
international market, Kuwait Petroleum took the radical
step of completely changing the name of its subsidiary
company, Gulf Oil. Gulf became Q8 in 1986, based on the
English pronunciation of Kuwait. Its symbol of twin sails

refers to traditional Kuwaiti trading ships, and the bright

color combination is intended to improve the visibility

of the gas stations in the dark. The new identity was

created by Wolff Olins.

ICI 1987
When Xobel and three other large
British chemical companies
merged to form Imperial
Chemical Industries in

1926, the existing black

and orange Xobel roundel

was adopted by the new
company. It has been
updated several times
since, most notably in 1987,
when the corporate identity
design group Wolff Olins
introduced the clean, modern
combination of white letters

against a blue background.

The full name is now used
only occasionally; otherwise, the
company is universally identifiable

by its initials.
The underlining
waves are now
smoother than in

earlier versions

374
 CORPORATE
20

Hen
Stroosh is
The Xike logo is a classic case of acompany gradually simplifying its corporate
i ./ on the
right-hand identity as its fame increases. The company's first logo appeared in 1971, when the
shoe word "Nike." the Greek goddess of victory, was printed in orange over the outline of
the Swoosh, its mark of positivity Used as a motif on sports shoes since the 1970s, this
Swoosh isnow so recognizable that the company name itself has become a superfluous
addition. The solid, orange Swoosh was registered as a trademark in 1995.

Barcelona Olympic Games 1992

In 1988. Jose M. Trias, professor of design

and director of Quod Design Company,

won a competition that had been launched
to select the symbol and logotvpe for the

1992 Olympic Games in Barcelona. The

apparently abstract image above the words
"Barcelona '92" is based on the stylized
form of a leaping human figure. It faces
s
the right, following the flow of the text,
and expresses dynamism,
Barcelona 92

OQO
victory, and joy.

A shadow has been included to give a sense

of height. The five interlocking Olympic
rings were designed in 1915 by Pierre de
Coubertin, each ring representing one
of the five competing continents.

2<X
375
GRAPHICS, ADVERTISING, & PACKAGING
1900 =

MAGAZINE COVERS M C V1TIE k PRICE'S oATo*K*,

BEFORE THE 930s, THE MAJORITY of magazines

1

featured art illustrations rather than photographs

on their covers. But during World War II, designers
began to fully realize the power of the photographic
image. Often used for political manipulation, pictures
such as those showcased by the photojournalism
magazine Picture Post had enormous impact. After
the war, there was a boom in the market for women's
journals; this was largely fashion led and started a
trend, which continues today, for glossy, color cover
shots of glamorous models. The advent of desktop
publishing in the 1980s enabled designers to create
pages on screen and to experiment with unusual
typefaces. In some cases, the creative presentation
of type and the frank content of the text make the
cover lines as eye-catching as the image itself.

Magazines 1900-10
Figaro Illustre
of Art Nouveau
is a fine example
design. It features
COLLIl
IVew7/ork,<Jamiarri
the abstract floral motifs and
organic forms typical of the
AlltOB
French
style
style. Elements of
were adopted by Edward
this
Nun
Penfield, who illustrated this

edition of Collier's. Penfield

was an influential figure in the

evolution of the American art

poster — a new genre of advertising

that was typified by bold, flat

colors and simple design. The

Young Man, counterpart to the

popular Victorian publication

Abstract floral patterns
The Young Woman, shows
were popular in French
elements of the Arts and Art Nouveau graphics
Crafts style, the predecessor

to

1900 —
European Art Nouveau.

376
 MAGAZINE COVE

Magazines 1 91 Os
There are several subjects that, when featured on the
cover of a magazine, are guaranteed to attract a readership.
Among these are political satire and the lifestyles of the
ishionable. The French publication La Ba'ionnette is a prime
example of the first, while Millions and Every Week, with
their cover images of chic women, demonstrate the second.
In early magazines, it was the illustration rather than the

words that conveyed the title's content. It was not really

until the 1980s that cover lines became equally as influential.

The cartoon style of La

Ba'ionnette was influenced
by the popular weekly The lifestyles of the
L'Assiette au Beurre and
rich, fashionable,

LECOMMUMQW famous continued to

attract attention

through the decades

EveiyWeelc

^r i

4 THE LABSE8T »nd

Y
'
THE
Ever ImimI f«r ONE
B!
PKm
Shjrchofd

»,b„r —,.— m
1
... .

v*i>' US

alphabet i

with the. i

The Girl Who Was Talked Afcoul Nouveau typefaces

277
 MAGAZINE COVE

Magazines 1920s
The Art Deco style takes its
name from the seminal Paris
Exposition Internationale des
Arts Decor-atifs et Industriels

Modcrnes. held in 1925. The

stvle was quickly adopted
worldwide and to such an
extent that national origin is

often difficult to identify. All

of the magazines shown here
demonstrate the combination of
cubist and modernist elements
with a bold use of color and
stvlized forms, which were
hallmarks of the Art Deco
stvle in the graphic arts. The
images promote the glamorous
high-living of the 1920s.

ie neue Magazines 1930s

September
1930 The Spanish Civil War turned
Spain into a battleground of rival

ideologies. Great political art

grew from the conflict, in the

\J
form of literature, posters, and
magazines. The propagandist
cover of Blanco y Negro celebrates
women's wartime role in industry.

Germany continued to be a
center for design excellence,
exemplified by the assimilation
of the Bauhaus school, and by
a stream of great designers

such as Herbert Bayer (see p.361).

who was responsible for this

beautiful cover of die neue linie.

>

379
GRAPHICS, ADVERTISING, & PACKAGING

Magazines 1940s
World War II dominated design John Bull
in the 1940s, and is the subject of
both the covers shown here. Like
Blanco y Negro (see p.379), the witty-

cover of Saturday Evening Post,

created by Norman Rockwell, pays
tribute to women war workers. Both
women hold amonkey wrench; but
Rockwell's woman, dressed in the
American flag, struggles with the
tools of many trades, from milk
delivery to nursing. Picture Post was
one of the first magazines to feature

photography - inside and out.

380
 MAGAZINE COVEF

Magazines 1950s
American Vogue was
established in the early

1890s, followed by

the British and French

versions in 1916 and
1920 respectively- The
early covers showed
a commitment to

contemporary art

movements; but from the

1950s, color photographs

of the latest haute couture

fashions were increasingly
popular. This copy of the
photojournalism title Look
shows a grid of famous faces

that repeats the squares

of the masthead.

The front cover of

Vogue has long been
associated with style
'ind glamour

381
oz
Theological striptease
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Why'r4ewStatesmanedrtof
[Johnson is so
PaufJ
8 J ptovmote MM
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Privatel
 MAGAZINE COVERS

Magazines 1960s
Among the many underground publications that appeared
in the 1960s was OZ magazine. Along with contemporaries
such as Milton Glaser (see p.56). OZs designer Martin
Sharp was instrumental in setting new standards in graphic
design. Their experiments with typography even rubbed off

on more conventional magazines like Woman and Beauty.

Y\ bile photographs were favored by news magazines
like Loot, Tunc, and Paris Match, the satirical journal
Punch continued to use illustrations.

Magazines 1970s
By the 1970s, as more
magazines appeared on
the newsstands, sales
became heavily reliant

on an arresting cover
image. The grainy, tinted

photograph used on this

edition of Canity Fair

demonstrates a technique
favored by designers in
the 1970s, which was
intended to give a sense
of realism. Cosmopolitan,

launched in its present

form in the US in 1965,

is now an internationally

successful title. Shown

here, the first British

issue prefigures the style

of women's magazine
covers of the 1 980s —
strong, vivid, and
unmistakably confident.

383
GRAPHICS, ADVERTISING, & PACKAGING
'
.. .

INTERNATIOH
Magazines 1980s
From 1981 to 1986, graphic
designer Neville Brody (see p.367)
was responsible for the ground-
breaking British style and music
magazine The Face. Like Peter
Saville (see p.388), Brody was
influenced by the chaotic typography
of Punk. He manipulated new and
existing typefaces to create a unique
visual language that challenged

the editorial content of the text.

Although The Face had a mixed
readership, it was aimed more
at men than women. Vogue took
advantage of a gap in the market
for a fashion-led men's magazine
and launched Hommes, presaging
the 1990s' craze for men's magazines.

Magazines 1990s
MIAT PUPPETS
Over the past decade, COSMC ^u
Terry Jones' i-D
magazine and others,

such as Raygun, have

challenged the most
basic concepts of

magazine design,
eschewing the grid
(on which designers
lay images and text), in

favor of a seemingly
random, anarchic
approach to layout. Desktop publishing has meant
that designers can create pages on screen and are able
to make immediate changes to typography, rather

than sending corrections to a typesetter. The ability to

manipulate and overlay type directly has resulted in the

image almost taking second place to the text in magazines

384
 MAGAZINE COVERS
- 2000

V "J 1S2il755000PW)

2000
385
GRAPHICS, ADVERTISING, & PACKAGING

Birth of the Cool 1 956 Elvis Presley 1 956 True Blue 1 960
Amran Avakian created the The sleeve of Elvis Presley's Blue Note Records is responsible
atmospheric image on this eponymous first album, produced for some of the greatest album
record sleeve for Birth of the by RCA, captures the young "King cover concepts ever devised. This
Cool by Miles Davis, released of Rock 'n' Roll" during a live sleeve for Tina Brooks' album is

by Capitol Records. The black- performance. Presley's pose and a witty example by Reid Miles.
and-white photograph is the the red-and-green lettering that Each song contains the word
perfect vehicle for cultivating spells out his name were echoed "blue" in its title, and each is

the ultra-cool persona of this two decades later on The Clash's represented by a rectangle in
1950s' jazz giant. London Calling (see p.388). a different shade of blue.

RECORD COVERS
ALTHOUGH POPULAR MUSIC has been
available on record since the beginning of
the century, it is only since the 1950s that
the design of record sleeves has emerged
asan art form. The American record
company Blue Note was one of the first
to develop an apparent design brand, an
idea taken to austere lengths in the 1980s
by the British label Factory Records. In
the 1990s, the significance of covers to
the potential purchaser is recognized by
all major record companies, who employ

teams of designers to create competitive

packaging for releases on vinyl, tape
cassette, and compact disc.

1900
386
 RECORD COVERS

Disraeli Gears 1 967 Ogdens' Nut Gone Flake 1 968 Sticky Fingers 1971
Martin Sharp's design for Cream's The British band the Small Early editions of this sexually
album combines peacocks, flowers, Faces released this album for suggestive album cover for the

and clocks — all surrealist icons of the company Immediate Records. Rolling Stones' Sticky Fingers
drug- induced hallucination and Created by P. Brown, the illustration ncorporated a real, functioning
1960s psychedelic album illustration. on the sleeve resembles a circular zipper, while the back of the
In their midst float the band can of tobacco. Developing this sleeve shows the rear view of
members' heads, photographed theme, the compact disc version the same denim-clad figure.

by Bob Whitaker. The album of Ogdens' Nut Gone Flake was The concept and photography
was released by Polvdor. later released in a can. were created by Andy Warhol.

Sgt. Pepper's Lonely

Hearts Club Band 1967
Designed by Pop artists

Peter Blake and Jann Haworth,

this celebrated sleeve for the

Beatles' seminal album,

released by Parlophone, is

probably the most famous ever

created.The host of stars was Tales from Topographic Oceans 1 972
made up of life-size cardboard i
This fantasy landscape for the triple-fold cover of the album by
cutouts and wax models. supergroup Yes is by British artist Roger Dean. Using illustrations of

The famous figures included famous English rocks, including those at both Stonehenge and Land's
Marilyn Monroe. W.C. Fields, End, Dean has created a space-age, dreamlike plane with an infinite
Oscar Wilde, and Mae West. background. The album was released by Atlantic Records.

387
 Dark Side of the Moon 1 973
EMI Records, this Pink
Released by
Floyd album was one of the most
successful of the 1970s. Its cover is

a product of the influential British

design group Hipgnosis. George Hardie

produced the slick, enigmatic image
of a light beam splitting into seven

colors as it passes through a prism.

Roxy Music 1 972
The term "Art Rock" was coined for Roxy Music, famed for the

arty, image-conscious sophistication of their music and personal

style. Released by Island Records, this was the first album to

contain credits for art (Nicholas de Ville), clothes, makeup, and

hair (Anthony Price), as well as photography (Karl Stoecker),
and "cover concept" (Bryan Ferry).

London Calling 1979

Designer Ray Lowry makes
overt typographic and
photographic references to
Elvis Presley's album of
1956 (see p.386) in his sleeve
design for the punk rock band Power Corruption and Lies 1983
The Clash. The powerful Inspired by the painting Roses by Henri
photograph by Penny Smith Fantin-Latour (1836-1904), Peter Saville
immortalizes vocalist/guitarist composed the cover for New Order's
Joe Strummer in the act album Power Corruption and Lies
of smashing his guitar. for Manchester's Factory Records.

388
 RECORD COVERS
2000

Blue Lines 1991

Designed by Michael Nash Associates,
this CD insert features the flame logo

that has come to identify Massive Attack

albums. The title Blue Lines appears in
such tiny lettering it looks almost like a
House Tornado 1988
copyright mark.
Graphic artist Vaughan Oliver is

renowned for his ability to reflect

the style of music m the design of

its accompanying record sleeve.

He established the design studio

23 Envelope, known as v23 after
1988. to create packaging for the
British record company 4AD. He
designed this album sleeve for the
group Throwing Muses, showing
painterly influences.
Post 1995
'
I The cover of Bjork's
^^B album, released on
HHB One Little Indian,

features the singer

against an electronically
enhanced background.
The pages of the CD
insert feature repeated

images of a lotus flower.

2000
389
GRAPHICS, ADVERTISING, & PACKAGING
1900 -

POSTERS 1900-19
THE DEVELOPMENT OF LITHOGRAPHIC PRINTING in the
second half of the 19th century heralded the start
of modern poster art. Work by Frenchmen Jules
Cheret (1836—1932) and Henri de Toulouse-Lautrec
(1864—1901) formed the background to the new art
form. By the turn of the century, the most important
movement in poster design was Art Nouveau; but
William Morris and the Arts and Crafts Movement
also had a marked impact on the two main centers
of design — Glasgow, home to the Glasgow School,
and Vienna, birthplace of the Vienna Secession.

The Arcadian c.1906

During the 1890s and 1900s,

the so-called Glasgow School

was centered around Charles
Rennie Mackintosh,
and included Jessie M.
King, who designed this
poster for the Arcadian
Tea Rooms. The Glasgow
School took recognizable
Art Nouveau elements and
added rigid geometry and
compositional decoration.
Flirt c. 1895
The Czech artist Alphonse Mucha
is the most famous and flamboyant
exponent of Art Nouveau poster
design. His posters featured beautiful
women, often with long flowing hair, These stylized
floral motifs
framed by floral decoration and organi
are typical of
lines. Mucha's break came in Paris in Art Nouveau
1894, when he designed a hugely

successful life-size poster for Sarah

Bernhardt. This example is one of

AK115E5- dWLXHlBmon
many advertising posters he produced.

1900
 POSTERS 1900-19

The figure of
Mercury is
identified by
his winged
helmet

Inauguration
of the Simplon
Tunnel 1906
Italian designer

Leopoldo Metlicovitz
(1868-1944) created
this poster to mark
the opening of the
Simplon Tunnel at the
Milan International
Exhibition. The
winged-helmeted figure
of Mercury, the god of

speed, sits at the front

of the train as it is

about to leave the

tunnel. The poster's

message is that "even

Mercury finds it faster

to take the train!" It

typifies Metlicovitz 's

work, with the painterly

figure of a muscular

athletic young man,

the allegorical subject
matter, and subdued
brown tones.

391
GRAPHICS, ADVERTISING, & PACKAGING
'

Skegness is so
Bracing 1909
The growth of the British
railroad at the start of

the century is responsible

for some quality posters
commissioned by London
Transport, various railroad
companies, and tourist
resorts served by the
railroad. This famous
poster by prolific graphic
designer John Hassall
(1868-1948) extols the
virtues of the seaside

resort of Skegness.

Like many other seaside

destinations, off-season

was harder to sell; so

Hassall resorts to the

invigorating effect of
the cold, fresh sea air. His
comic image is of a portly

gentleman skipping along

the beach in Wellington
boots, scarf, and hat. The
poster was so successful
that Hassall produced
different versions of

it. It is, in effect, a

translation into English

design of the French

entertainment posters of
the 1890s, typified by the
work of Toulouse-Lautrec.

392
 POSTERS 1900-19
1919

Stockholm Olympic
Games 1912
Throughout the century, the Olympic Games
have given both athletes and poster designers
the opportunity to prove their prowess. In
this version, A. Bortzells places a young naked
man center stage (his dignity preserved by
a well-positioned streamer) swirling the

Swedish flag above his head. He is followed

by a host of naked men with undulating
national flags.

The extreme
perspective of the
poster draws the
viewer into the poster

Your Country Needs You 1914

During World War I, many governments
made use of posters to aid the war
effort. This one, designed by Alfred
Leete (1882-1933), gave rise to many
imitations, including a recruitment

poster for the US Army by J.M. Flagg JOIN YOUR GOtlNTRYB URMY
(1877-1960). Leete's poster features GOD SAVE THE KING
the inescapable gaze of Lord
Kitchener, the Secretary of War.

1919
393
GRAPHICS, ADVERTISING, & PACKAGING
1920 -

POSTERS 1920-39
THERE ARE AS MANY SCHOOLS and movements in
poster design as there are in painting, and from
1920 to 1939 they abounded: Bauhaus, De Stijl,
futurism, cubism, to name but four. Yet we
should be wary of categorizing designers by
v. —When She Grows Up
movement. Certainly, the designer E. McKnight
Palmolive early 1920s Kauffer, author of The Art of the Poster (1924),
This poster exemplifies the technique complained that the public placed "cubist"
of selling a product with a slogan. or "futurist" tags on anything modern. The
American designer Clarence Underwood majority of the posters produced during
(1871—1929) was commissioned by J.B. these two decades were designed to promote
Watson, head of the giant Walter commercial products or cultural events; but
Thompson agency, to produce a series propaganda pieces, including the El Lissitsky
of posters around the same slogan: "Keep poster shown here, continued to appear in
that Schoolgirl Complexion." Watson Russia and elsewhere to support particular
had done extensive research into finding causes such as the Spanish Civil War.
slogans that triggered the "buy impulse."

Beat the Whites with

the Red Wedged 920
El Lissitsky 's famous Soviet
propaganda poster for the

Red Army is an icon of

Constructivist design. The
poster is typical of Lissitsky 's

style: simple elements;

sharp, dynamic diagonals
contrasting with circles;
and a bold use of limited

color, in this case red,

white, and black.

The Red Wedge

represents the Red Army
overcoming "White"
opposition during the
1918-20 civil war

1920
394
 K
POSTERS 1920-2
PETER
* Hagen-Pathe 1 920s
German designer, painter, theater set designer,

and illustrator Walter Schnackenberg produced

a number of high-quality posters, of which this
atmospheric theater poster is typical.

Jyldisc.1925
Josef Binder (1898-1972) was an Austrian
designer described in his day as "the biggest
talent and the greatest hope of Austrian graphic
arts."' His highly individual, aggressively
modern style was hugely successful. The
basis of his theory was "everything moves
faster today; we need the same speed to
transmit the message effectively."

ITALIA

Forte dei Marmi 1 930s

One of Italy's lesser-known poster artists, Gino Bocasile
designed both the Internationale Mailander Mustermesse
poster (see p.359) and this travel work for the resort of Viareggio.
The latter is an early example of using sexual imagery to sell.

395
GRAPHICS, ADVERTISING, & PACKAGING

Ramazzotti 1930s
Federico Seneca (1891—1976), one of the most
sought-after poster designers of his day, often
featured stylized, Deco-style cartoon characters like
this creation. Important clients included Buitoni
pasta and Perugina chocolates.

Futurist poster
stamp 1931
Through their experiments
in typography, the futurists

had a direct influence on

poster design. Their approach

has been called "painterly Winter Olympics 1936

Ml.Wi.itl >l li \tlll
wi^W&Sg? typography": a visual Ludwig Hohlwein is the greatest German poster
onomatopoeia, where words designer of the century, and his work prior to World
look like their meaning. So War I has hardly been equaled. Hohlwein's style

Speed might be in italics, remained unchanged — usually one or two figures set
and Shout in bold type. against large areas of color, and the lettering confined
Stamp-sized posters, allowed to a rectangle. Sadly, it is for his last works, celebrating
advertising through the mail. the Aryan race, that he is commonly remembered.

396
 POSTERS 1920-
^-19

Spanish Civil
War 1936-37
The Spanish Civil War
attracted the attention of

artists and intellectuals the

world over, and saw groups

of designers collaborating in
Madrid and Barcelona on the
design of posters in support
of the Republican cause.
Many of them made use
of photography rather than
illustrations. This poster shows
Constructivist influences with

the powerful fist grasping a

laurel wreath and sheltering
the people in the foreground.

The fist is an inclusive

graphic device, but also
a symbol of strength
GRAPHICS, ADVERTISING, & PACKAGING
1940 —

POSTERS 1940-59
DURING WORLD WAR posters advertising products
II,

were replaced by those helping the war effort, be

they recruitment appeals or vehicles for issuing
information. Governments that commissioned these
posters urgently wanted direct, effective messages,
and so took the risk of employing and giving free
reign to young modernist designers. The results
were often controversial, but from this period
comes some of the most creative poster designs.
The gates were also opened for more inventive
commercial advertising after the war was over.

Kill the Fascist Reptile c.1940

Propaganda posters often lacked subtlety.

This Soviet example shows the mighty

arm of the red soldier smashing the

enemy, here depicted as a swastika-

shaped reptile. Symbols such as the

hammer and sickle make the message

easily identifiable.

Budapest Gasworks 1 940

This commercial poster makes effective
use of color. Its focal point is the flame
that forms the engineer's hand, and
which illuminates the lettering above.

It was designed by leading Hungarian

graphic artist Georg Konecsni (1908—).
 POSTERS 1940-
= !

Join the ATS 1941

In his role as official war poster designer for
Britain, Abram Games produced nearly 100 posters.
This one is maxim
a good illustration of his personal
"maximum meaning, minimum means." It depicts a
stylized profile of a glamorous woman soldier, with

the simple message plastered across the bottom. The

serifs that descend from the crossbar of the white
letter "T" form the continuation of the woman's
collar, and the post of the "T" suggests a tie.

7up family c.1945

This advertising poster portrays an
archetypal American family enjoying the
great outdoors. The fresh -faced beauty,

wide smiles, relaxed attitude (the father

is holding a fishing rod), and clear
imagery present the drink as a

healthy, refreshing product.

Were afresh Vp
GRAPHICS, ADVERTISING, & PACKAGING

Ofen Ludin 1 949

One of Switzerland's most successful poster artists, Herbert
Leupin (1916—) first gained fame for his realistic commercial
advertising posters. However, after setting up his own studio ii

1939, he developed a distinct style of illustration that earned

him commissions from both European and American clients.

Many of his posters were humorous, like this penguin

warming himself with a Liidin company heater.

FR^NK SINATRA El^ANOR.

• PARttER.- KiM NOVAK

Bass producedfilm
posters and titles,

combining type,
calligraphy, and
illustration

The Man with the

Golden Arm 1955
Saul Bass's poster for Otto
Preminger's film about a drug
addict marked a radical departure

in movie advertising. Instead

of depicting the storyline, the

jagged arm and stark imagery is

used to capture the film's essence.

 POSTERS 1940-:
19

Astral Email 1955

Raymond Savignac was the master
of the visual gag. His numerous posters,

produced for clients around the world, are

all characterized by their direct, simple,
witty, and effective designs.

This cone shape

represents a snow-
capped Mount Fuji

Tokyo International
Trade Fair 1956
Takashi Kono (1906—), who designed
this poster, is one of the pioneers of
modern Japanese graphic design.

The simplified blocks of color

incorporating the Japanese flag are
reminiscent of 1950s' textile design.
GRAPHICS, ADVERTISING, & PACKAGING
1960 _i_i ^^_^_-_^^-_-^

»F»«28ftlS 286B fl 7 a * 6a*-# KlSSSffSR

J ^^^ ^^ I L_ l\ V.S I 7 T*S \J f W

THE PSYCHEDELIC ERA was one of the briefest, but most

memorable, movements of this period. Its posters were
designed for an exclusive audience with almost illegible
lettering carrying the implied message "If you can't read
it, it isn't for you." Psychedelia began on the West Coast of

the US, but spread to Europe with the hippie movement.

Elsewhere, Japanese designers were growing in international
importance, being more willing than most to embrace new
technology. In the 1970s, this gave designers far greater freedom
through increased control of typesetting and image reproduction.

Kobe Workers' Music

Council 1961
Tadanori Yokoo was one of the many
innovative graphic artists to emerge from
training at the Nippon Design Center,
which was founded in 1959. His cultural

and commercial posters of the 1960s and

'70s drew on both traditional Japanese
and Western imagery.

Arnhem Internationale
Filmweek 1961
This was one of several screenprinted
posters created by Dutchman Dick
Elffers (19 10-) to promote the Holland
Festival of 1961. They featured abstract
masked faces rendered with blocks of

solid color. This particular example,

advertising the Arnhem film week,
displays a mixture of crude typography

including some hand-rendered lettering.

In addition to his work as a graphic
artist and painter, Elffers taught at the

Rotterdam Academy, and was an

architect and set designer.

1960 =====^^
 POSTERS 1960-7

Wozzeck 1964
Jan Lenica's famed
poster for the opera

Wozzeck makes
direct reference to

the 1893 painting

The Scream by
the Norwegian
Expressionist artist
Edvard Munch
(1863-1944). In
both works, the
focal point of

the image is

a screaming

mouth, surrounded
by resonating
lines. Lenica,
a prodigiously

inventive Polish
designer, uses heavy

flowing lines that

divide the space

into solid bands

of color: in this
instance the whole
poster is designed
in vibrant shades of

red, split by varying

thicknesses of
black line.

QCBatJ BERG WOZZECK

403
Captain Beefheart at
the Fillmore 1966
The psychedelic artist Wes
Wilson borrowed ideas from
a variety of sources and
fused them together into

a style of his own. Using

images and lettering from
the Vienna Seccession
(including the flowing hair).
Art Nouveau ornamentation
and drug-inspired coloring,
he created a language that
was aimed at an exclusive
"underground" audience.
The swirling, multicolored

lettering is barely legible.

The rich patterning

evokes designs from
the first years of
the century

Paper Dress Show 967 1

Designed by Hirokatsu Hijikata, this poster advertises a Japanese fashion

show presenting dresses made of paper. It combines a photographic image
(the woman's face) with artwork. The design makes striking use of bold
graduated colors to evoke the woman's dress and cape.

404
 Haveabreak
Chicago 1968
John Rieben's (1935—) poster
is clearly influenced by the

Swiss magazine Xeue Grafik

("New Graphic Design"),
which was launched in 1958
by Josef Miiller-Broekmann
and others. Its designers

championed compositions
based on grid systems, lower-
case sans serif typography,

and unornamented images.

KitKat 1 970s
The success of this commercial poste
for a well-known chocolate bar relies

on the power of the brand-name.

Many things are suggested but not
shown in the design. The owner of

the feet is not shown, the viewer mus

imagine him. Likewise, the product
itself does not appear, although
the typography and color on the
sole of the shoe is the same as the
packaging on the bar of chocolate.

Echos of Great Britain 1970s

Reginald Mount was one of a number of
graphic artists who made his name with wor!
commissioned by the British Ministry of

Information during World War II. After the

!

i! li war he produced many commercial and

s
public service posters, including some for the

"Keep Britain Tidy"' campaign Humorous,

cartoon-like images, sometimes with
V. »1 i
] Surrealist elements, are typical of his style.

405
 POSTERS 1980-99
DESPITE VAST SUMS OF MONEY being spent on television
advertising campaigns, commercial companies and
government agencies have by no means abandoned the
poster as a direct and effective means of communication.
The computer plays an increasingly important role
in poster design, and new programs allow image
manipulation to a degree not dreamed of even a decade
ago. The resulting work may mix any combination
of photography, illustration, and typography.

Noh 1981
Ikko Tanaka's posters are renowned for
their subtle use of color; and while they
are distinctly Japanese, they do show
some influences of Western design. This
performance poster is one of many he
produced for the Kanze Noh drama. Here,
calligraphic boxes suggest bunched hair.

Exhibition poster for Musee

de I'Affiche 1981
This poster by the French design collective
Grapus combines elements of three
political philosophies: capitalism - the
image of Mickey Mouse, and one eye made
up of the US colors; fascism, suggested
by the Hitler moustache and flick of

bangs; and communism, represented

by the hammer and sickle. Grapus was
founded in 1970 by Pierre Bernard
(1942-), Gerard-Paris Clavel (1943-),
and Francois Miehe (1942-) to produce
"social, political, and cultural images."

1980
406
De Stijl exhibition at the Walker Art Center, Minneapolis 1982
By photographing a created "scene," Gert Dumbar broke all the conventions of

museum poster design. It advertises an exhibition of the Dutch art movement

De Stijl. The movement's originator, Theo van Doesburg, appears; and there
are references to De Stijl's ideas, including placing the text at the same angle
as the lines in the painting.

Benson and Hedges

Shaved Pack 985 1

The influential advertising campaign

for Benson and Hedges cigarettes has

featured a series of increasingly cryptic

posters, of which this one, designed by
Nigel Bose for the Collett Dickenson
Pearce agency, is particularly successful.

Although it is impossible to read the

product's name (the letters have been

shaved off the pack), the gold suggests it.

407
 Rambow at the
Bibliotheque Nationale 1987
This poster for an exhibition of
Gunter Rambow's work was designed
by the artist himself, and features
a cut-up photograph of a book,
rearranged to create a wedge shape
that seems to split the book itself in
half. Rambow, who typically employs
photography and photomontage, is

best known for his powerful political

and social posters.

Bicentennial Exhibition for

"The Human and The
Citizens' Rights" 1989
Peret, born Pere Torrent, is a Spanish

postmodernist designer. His work

often consists of bold, simple graphics
in strong colors. He has worked for many
humanitarian organizations, including
the Spanish Red Cross and Amnesty
International. This simple, yet effective,

poster plays on a mathematical equation

putting a human pictogram in a bracket,
multiplied to the power of "n," meaning
humanity is all-important.

408
 ;

POSTERS 1980-'
20i

Bowling for Rhinos 1991

i**«ontne brink oi The 1980s and '90s have seen the
rise of posters supporting a variety of

EXTINCTION environmental and ecological campaigns.

The American graphic designer Sonia
Greteman produced this poster for
Sedgwick County Zoo to raise funds

for black rhino conservation. Its central

image of a rhino is framed by a collage

of newspaper clippings about the plight
of the species, including one discussing

the demand for powdered rhino horn as

an aphrodisiac. At the bottom of the poster

are the shadowy silhouettes of the hunters

who are driving the rhino into extinction.

Benetton advertisement 1991-92

Oliviero Toscani has produced some of the

most controversial posters of the century for

the Italian clothing company Benetton. Undei

the slogan "The United Colors of Benetton,"

he has often depicted shocking and violent

images, including a Christ-like man dying
of AIDS, a burning cor, and a woman giving
birth. The one thing they all common
have in

is arresting images. Though some have

questioned their relevance to the pro :

they have attracts ion.

2(H
409
GRAPHICS, ADVERTISING, & PACKAGING
1900 -

PACKAGING 1 900-09
UNLIKE MOST OTHER AREAS OF DESIGN, packaging can
rarely be associated with individual designers. Instead,
designs evolve with each new era: by 1900, shopping for
This florid
groceries was changing from a traditional reliance on the
style was a I

grocer to recommend and wrap items to manufacturers' hangoverfror,

designs influencing choice. Many pack designs still the previous

reflected late 19th-century tastes, although toiletries century

and new brands were the exception, taking advantage

of the flowing, organic style of the moment, Art
Nouveau, to attract customers with a "modern" look.

410
 PACKAGING 1900-09

Recurring images
This American pharmaceutical
product is quite traditional with
Over the course of the 20th century, certain styles or images
its information displayed against have recurred frequently; examples include the rural scene (far
a white background on the left). Women have also become a much stronger selling point,
outside of the packet
either depicted as strong individuals attractive to men or as

role models for other women. The gin bottle label suggests the

simplification that was to be a feature of the following decade.

This scene reflects the new

attraction of automobiles;
but it also portrays an
independent woman,
perhaps to attract more

female drinkers

J
CLUB

A BLEND
BOTTLED B

boston. ;csg$H

41 1
GRAPHICS, ADVERTISING, & PACKAGING

Le Furet corset
The stylish Art Nouveau
graphics at either end of this
corset box create a strong
sense of refined elegance,
echoing the figure's form.

Indische Blumen-Seife-^

I;
"Wolff & Smtf

Lubecker marzipan
Somber colors and a picture of
an industrial factory lend this box ^r
a heavy sense of the past. Two crests Indische Blumen-Seife
appear to give credence to the product. The bright, eye-catching picture on
this box of German Indian Flower
Soft pack cigarettes soap illustrates the product quite
At about this time, collectible literally. The luxuriantly detailed
pictorial cards became popular exotic flowers still reflect popular
with cigarette companies as a tastes of the late 19th century.
promotional tool. The stiff

cards helped to protect the

cigarettes in the flimsy packs.

Turnwright's toffees
This gift-style box with its fashionable

Art Nouveau graphics is an attempt

to place these toffees in the same
market as a box of chocolates.

412
 PACKAGING 1 900-0
—• 190
Ivory soap
The name "ivory" was
first used for this soap by its

American manufacturer Procter

and Gamble in 1879. The
traditional appearance of the

monotone packaging remained

quite constant until the company
commissioned a utilitarian

redesign in 1940 (see p.421).

Quality products
The arrival of individual, pre-wrapped, branded goods meant that for the first time the
customer had to rely on the look of the manufacturer's packaging to suggest the freshness
and quality of a product. Designs that appeared to change little were often meant to
give the impression that a product was of a consistently good quality.

Heinz soup's 19th-century

"keystone " logo is still familiar

in the 20th century

BBOOKFS SOAP.
1

# MONKEY
BRAND ll TteNewSiar^

/ his packaging by c The idiosyncratic shape The stylish Lefetre-l tile

small manufacturer of this Perrier glass bottle, packs were often illustrated
comparatively crude allegedlyfashioned after byfamous artists such as
an Indian club, has barely- the Art Xouveau painter
changed through the century Alphonse Xlucha (see p.)90)

(see p.449)

413
GRAPHICS, ADVERTISING, & PACKAGING
1910 —
PACKAGING 1910-19
WORLD WAR I ACCELERATED THE TREND toward Extraordinary claims
individual packaging, for it was much easier to New household products for
distribute and supply rations to the troops in small cleaning and washing made
packets. The world was jolted into a new era by the some extraordinary claims
war, and packaging reflected this. Many 19th-century on their packaging: like those of

brand labels were updated and, more importantly, Armour's Cleanser (below left).

better packaging techniques improved the possibilities Reflecting this more pragmatic
of dispensing or resealing products. Art Nouveau decade, the graphics are more
was popular until about 1915, its characteristic
still ordered and controlled, with
swirls and typography appearing on coffee simple, straightforward colors
labels and candy boxes. and uncomplicated pictures.

This austere
image reflects

the practicality
This generic brand is
of the new era
typical of the off-the-
shelf design packaging
of the period

*4r*nottrs
CLEANSE*1

414
 PACKAGING 1910-19

Camembert cheese
French Camembert cheese box labels

traditionally depicted rural scenes or country

maids. But this label reflects the world's new

fascination with machinery and flight.

The airplane skimming across this label is

an exciting modern contrast to the image

of a smiling dairy maid.

Packaging developments
By1910, both the US and UK were
producing aluminum foil; in 1908, a Swiss

chemist had invented cellophane film.

These new materials would revolutionize
the way products could be sealed to retain
their freshness, but it took time for them
to become commonplace. More immediate
were the advances made in resealing

packages and dispensing the product.

 Creme Eclipse
Advertising came into

its own as manufacturers

jostled for the customer's

attention. This can of

string for tying packages

would sit on the shop

counter, its sides covered

with advertisements, such

as this one for Creme
Eclipse boot polish.

Savon Tatiana
CoiGHtTcO^
Images from nature were popular
with exponents of Art Nouveau, as
Itwesrosm Mi
the snaking golden tendrils and buds
on this French soap packet
embossed gold work and rich blue
reveal. Tht COLGATE'S
RIBBON DENTAL CREAM
colors are particularly striking.

Colgate's ribbon dental cream

This toothpaste packet informs the user about the
innovative and efficient nature of the product.
Previously, tooth powder had been sold in a glazed

pot or can; here, a cream is dispensed from a soft metal

tube in a flat ribbon, making it more economical and
preventing the toothpaste falling off the brush. Graphic
instructions are included on the side of the packet.

FE l_N E^SPEISC-S C H K G i. , < D P. W

Chocolate wrappers
Commercially sold chocolate bars tasted
so similar that the packaging had to
attract the eye: this Vacantie wrapper
(right), for instance, uses simple colors
and looks elegant. By contrast, the
German chocolate (above), which was
distributed to troops during World
War I, shows a patriotic image
on a functional wrapper.

416
 PACKAGING 1 91 0-1 9
1919

Cherry Kiev drink

This Russian beverage label,

possibly for a schnapps drink, was

manufactured by S. Shagriarskiy in
Tbilisi. The simple pattern around
the border has a strong Art Nouveau
style and shows how much the
popular style influenced all types
of packaging internationally

during this decade.

The side of this Exotic influences Lightweight cans

Horniman's cocoa
Some brands, such as the talcum powder (bottom gradually replaced
packet illustrates many glazed pot
right), Horniman's cocoa (left), and the dates
the plantation where containers and were
the product was grown (bottom center) accentuated the setting of the
especially popular
product's origin or the mystique of the Far for boot polish
East. This set the brand apart from similar
products and created an additional selling tool.

HOKNIMAN*
BOROLIC^
SOAP 'A
An elegant Art Souveau Sprinkler tops were
design turns this packet one of the new
of crystahzed chestnuts advances made in
into a sophisticated gift dispensing products
GRAPHICS, ADVERTISING, & PACKAGING
1920—' ——=— " " "" " " »

PACKAGING 920-29 1
This lettering shows
the influence
modernist typefaces
of

THE YEARS OF CHANGE after World War I continued into the 1920s
as the number of servants in the home declined and the family
unit reduced, encouraging a trend toward smaller pack sizes.

Leisure time also increased, and with it came a new breed of A_

snacks and "instant" packaged foods that saved time, such as
shelled peas. A different style in packaging gradually emerged
through the 1920s, with cleaner, fresher designs influenced by the
popular, vivid colors and angular lines of the Art Deco movement.

418
 PACKAGING 1 920-29
--

Launched in the I S A time of change

in 192 J. this ginger
The 1920s were a period when packaging
ale hot tic has a clean.

fresh appearance
stood at a crossroads between the more
,

traditional designs of the earlier part of

the century — seen here in the beer bottle

below - and the influence of the Modern

movement. Another innovation was the

ER arrival of convenience foods

such as the Pretz Sticks

and snacks,
(far left).

oded
al Size
mpany
ST. JOSEPH. MISSOURI
<iTOON. CANADA

419
Boyhood fruit crate label Candy wrappers
A flourishing fruit trade existed This 1927 Stolwerck wrapper (above)
in California by the 1900s, and and Sprengel label (top) are typical of

in order to identify different the highly decorative nature of items

orchards, pictorial labels were intended as luxury products. Their
pasted on to each wooden crate of extravagant graphics and strong
fruit. This label is quite upbeat, colors contrast distinctively with the
the oversized grapefruit on the American Hershey bar (above left), its

cart and the jolly colors create embossed monochrome packaging

a bold, attractive impression. giving a mass market appeal.

420
 Appetizing images
Realistic illustrations printed on the front of packets Strong, geometric
The carnation flower on
were becoming commonplace, giving a better impression shapes and intense
this American evaporated
colors defined
milk can has been used of what the product actually contained. The sumptuous
Art Deco
to suggestfreshness
display of fruit on the Rowntree's pastilles (bottom left)
and sweetness
and the juicy marrowfat peas on the Thorn's packet
(bottom right) make the brands seem far more enticing.

Tmrn Cum mi £W -^flW^"r«H^

1
IDEAL
M
^mm^J
t brillant rapide.
1 1 U™

This American household This potato chip pack

cleaning product has design, which came out in

been continually updated

through the century
(see p.4)2,
1920. lasted until the '50s

WITH SALT
m

421
GRAPHICS, ADVERTISING, & PACKAGING
1930 -.

PACKAGING 1 930-39
THE 1 930S WAS
THE DECADE when Art Deco influenced packaging and
when became noticeably bolder and simpler. Packing technology
graphics
was also improving: cellophane was a hygienic overwrap for packed
products, keeping them fresher; and plastic and aluminum, although
still expensive, were lightweight replacements for heavy glass containers.

This customized
typeface
typical of sans
serif designs
is
RICE
of the period

BUBBLES
OS-
THEY CRACKLE IN CREAM
EIGHT OUNCES NET WEIGHT
rWMtN PAOCU3)

MADE BY KELLOGG (AUST.) PTY LTD.. SYDNEY. AUSTRALIA

(IHCOWOCATtD m VKTODIA)

'
• • " "

422
 PACKAGING 1 930-39

The bold, unadorned Uttering _ Bold graphics

immediate visual impact
The influence <>l late

Art Deco can be seen

clearly in the 1950s,

especially in the way

that many packs —
the Kellogg's Rice
Bubbles and Giant
Soap Flakes — use
such bold blocks
of color, angular

lines, and large,

clear lettering.

The various
labels attempt
to give a feeling
of quality and
authenticity
GRAPHICS, ADVERTISING, & PACKAGING

Rowntree's Dairy Box

The illustration on this box clearly

explains its contents; labels to

identify each chocolate are even

printed alongside. This realistic

format prefigures photographic
packaging of the 1960s.

Petits Fours assortment

A classic example of two *i
r
popular concepts in packaging
at the time, this box of Petits
Fours depicts a sunburst motif
in the late Art Deco style

using a range of limited,

yet striking colors.

Rinso
THON MARINE .^M^fc^ A detergent, Rinso was first

launched in 1910 by the

American Lever Company to

compete directly with Persil

(opposite). This basic design

was adapted slightly in

successive decades.

Sacco Bonito Asalmonado

Allcanned tuna fish tasted much the same, so it was the
brand label that had to influence the customer's choice.

This label is made more attractive by the realistic

illustrations of tuna fish leaping through a stylized sea.

Purbeur butter cookies Japanese matchboxes

Images of animals were The stylish clothes, Art Deco colors,
often linked with certain and simple graphic stripes on these
products. This stylized elegant-looking Japanese matchbox
illustration makes the cow covers illustrate the international
licking a Purbeur look influence of both Western fashions
like a pat of butter. of the period and of Art Deco.

424
 Gargantua candy bag
Although a cheap piece of
packaging, this waxed paper
bag is fun and vital with its

simple illustration. Waxy

paper cartons were also
used for milk and waxed

BONBONS cardboard cartons for

GARGANTUA cream, honev,

and glace cherries
ice cream,
in
tifappengoli
Cigarette packs
/^UJt^'L iin the 1930s. By the 1930s, cigarettes and
tobacco were packed in aluminum
Sunrise motif containers, as well as round cans and
Throughout the history of packaging, the sunrise Black Magic's cardboard boxes. Pack designs also
motif has featured repeatedly as an immediately Art Deco
changed: this 1930 Gitanes design by
chocolate pack
identifiable symbol. Here it manifests itself in the
remained
Max Pontv has become a classic.

Gold Tint shortening (below left), Petits Fours constant/or

(opposite), and Synergy light bulb pack (bottom). years

LIFEBUOY
HEALTH SOAP

This fun light bulb

pack substitutes a
light bulb for the
body of a butterfly

ROJA

425
 —
GRAPHICS, ADVERTISING, & PACKAGING
1940

PACKAGING 1 940-49
IN THE 940S, LIFE WAS DOMINATED, once more,
1 notably in Britain, in order to save paper.
by a world war that affected every aspect Limited natural resources and food shortages
of society. Packaging had to be adapted in persisted in Europe after the end of the war
some countries because the availability of in 1945, so relatively unaffected countries
printing ink and packing materials was in such as the US and Canada continued to
short supply. Labels were reduced in size, export canned or dried produce overseas.

This pack shows

afrankness
unimaginable
20 years earlier

426
 PACKAGING 1940-49

Drinks were
Wartime label
packaged in glass

bottles with
reductions
cork stoppers Rationing in Europe
extended to paper
This Australian wheat for a time. This led to
flakes pack has the feel
the introduction
of the wartime effort
of smaller labels on
products, which were
packed in poor-quality
cardboard packages.

s V ON
BRAND
E_y

WHOLE WHEAT

427
GRAPHICS, ADVERTISING, & PACKAGING

Silver Lake
USA tomatoes
Part of the war
effort, this can is

minimalist in
terms of its two-
color printing.

Velim paper wrapper

» I g|p J, As a result of paper shortages in the 1940s, some

TOMATOES items were sold without any wrapping. Chocolate

bars, when they were available, were packaged
without silver foil, and for a time even the paper
wrappers were replaced by thin transparent ones.

Matchbox
Friction matches first

became available in

1827, and initally the

labels tended to be plain.
Gornik cigarettes This label from Eastern
The stark design on this pack Europe is just one example
has a strong utilitarian feel of the wide variety
that is reminiscent of of designs that
posters of the period. were produced.

Lucky Strike cigarettes Omo

Lucky Strike cigarettes were The austerity of
introduced to the US in 1917, the 1940s led to a
using the trademark red bull's- Aceto di Vino reduction in the
eye from the familiar Lucky The image on amount of ink
Strike tobacco. The pack this wine vinegar printed on some
remained the same until label shows brand packages
1942, when Raymond Loewy the consumer - a more extreme
replaced the green background exactly how to example is the Rinso
with a white one. use the product. packaging (right).
cigarettes
^^
428
 PACKAGING 1940-49
1949

Teen-age Western
Vegetables label
TEENAGE The airbrush technique
and graphics of this
#^y/ label are typically

1940s. As with other

American food crate

labels of the period,

Suiker Tabletten
this is attractive
As the supply of raw materials dried
and colorful.
up later in the decade, the quality of
WESTERN cardboard and paper deteriorated. This
VEGETABLES package of sugar cubes shows how
&a/uuuut csatm±. simple designs and strong color
contrasts became effective substitutes.

A typically British Utilitarian design

utilitarian 1940s
BALSAM pack design
Economic restrictions and limited natural resources in Europe
OF
forced designers in the 1940s to adopt a utilitarian style for
IMSEED
N packaging. The products shown here clearly reflect the war years.

This dried product

Heinz 's shrunken keystone
clearly states that
label is still recognizable
it is wrapped in a
"
"temporary pack

GREENS
SPONGE
MIXTURE
6?

429
GRAPHICS, ADVERTISING, & PACKAGING
1950 ' " '
" !
' .,

This Australian
PACKAGING 1 950-59
pack of Rinso
makes good use of
BIGGER, BOLDER, BRIGHTER - by the end of the 1950s, packaging could not
simple silhouetted have looked more different to that of the 1940s. This new incentive for
figures for a packaging to be more competitive was due to the rise of the supermarket
contemporaryfeel
store: by 1950, the vast majority of goods sold were prepacked and the need
for instantly recognizable
sell them-
products to
became imperative.
selves
Packaging was becoming
a formal marketing tool,
evoking a set of values
in the consumer's mind
through the images used.

430
 PACKAGING 1 950-59

Sport chocolate
This Danish design relies on
a clever visual association with

the brand name to make

a memorable image in

the consumer's mind.

Consumerism in the 1950s

The commercial advertisements that first

appeared on television in the 1950s were part

Tide and Surf (SunoJ Here, a bold design is of a new phase of consumerism. The range of
were part of a new type complemented by the
frozen foods available expanded, as did the
of soapless detergent use of bright colors
packaged or
selection of products on the shelves. As
in active,

bus\. bright designs the choice became wider, there was more
competition and products had to compete
for the "impulse buy." Graphics freshened
up, becoming simpler and more recognizable
with an emphatic logo or motif.

431
GRAPHICS, ADVERTISING, & PACKAGING

mini wt ttnm «•% »P m l» litosoiio Tobleretti chocolate

Visually arresting, this
wrapper has an "active"
feel, relying on a
combination of
geometric shapes and
detailed illustrations.

Peek Freans
Playbox cookies
The photo-realism
Connoisseur coffee
There is visually little
of this illustration,
to identify this product;
displaying the
but the simple, bold
contents of a can of
graphics designed
cookies, was typical

of the early 1950s.

by Buth Gill make
a strong impact.
By the end of the

decade, photographs
were replacing
drawn images
Birds Eye peas
(see
BON
opposite), as they

a cheaper means
producing an image.
were
of AMI
Sophisticated
b-U
packaging aimed at '*» 55,c«*"
the female consumer .

Cigarette packs
The manufacturers of
HOUSEHOLD CLEANSER
products such as these IHAT POLISHES »S IT CIEAJS

capitalized on the 1950s'

trend in graphics toward Bon Ami
simpler, bolder images The chick motif of the
or cartoon characters Bon Ami household
to identify them. The cleaner, designed in 1901

painting palettes and by Louis H. Soule, was

bird visually refer to the radically updated for the

products' brand names. 1950s with new lettering.

»>
432
 PACKAGING 1 950-59
1959

Sharpe's toffee box

This bright, space-age
gift box lid is redolent
of the 1950s' fascination
SNEEUWWIT
with science fiction
and popular children's
comics. Interestingly,
gift boxes rarely had the
manufacturer's name
printed on their lids.

Sneeuwwit
Some well-known household
products kept their traditional zuiver
packaging, despite the new wave als Oiigerepte
of soap and detergent designs sneeuw
emerging during the 1950s.

Like cartoon or comic

characters, sales pitches
using popular personalities
proved successful
This American
soap pack has a
strong, bold design

433
GRAPHICS, ADVERTISING, & PACKAGING
1960 «._

PACKAGING 1 960-69
THE 1 960S WERE TRULY AN AGE of modernity. Fast food,
refrigerators, freezers, convenience food, diet products
all became commonplace, influencing the eating habits

The packaging of and consumers throughout the world. Soft

lifestyles of
liquor remained drinks were sold in "throwaway cans" with ring pulls,
relatively
a dramatic departure from the traditional glass bottle
unchanged
and cork stopper. Cellophane, aluminum, and plastic
(compare p. 411)
now ensured the freshness of many products.

GIN
triscoll
Rotie et croust
dans les fours de I'Als

434
 PACKAGING 1 960-69
-

Consumer appeal
Packaging designers were preoccupied with conveying
a message to buy. while photography and promotional The fresh, crisp
colorsof the
incentives proliferated. Bold colors and striking images
packaging
were used to create visual appeal and, for the first time,
convey a sense
fun images were introduced to appeal directly to children. of cleanliness

11

OA !

e
me

U
435
GRAPHICS, ADVERTISING, & PACKAGING M M
—
1 1 1 E 1 1 1 1 i 1 1 1 1 1 1 I
j

Siks diet cookies

ook voor
1
The new fashions in clothes
meant that women were more
conscious of their figures. Diet
packs used fashionable images
jonge mond
to attract the consumer.
ffrisse adem
Liga rusks
Household packs used vibrant
designs and active images to
capture attention. This pack was
designed to appeal to women
IMA *Pe0$odeJtC
TANDPASTA

who wanted their children to

Kinder Pepsodent toothpaste
look as healthy as this one. nahrung This toothpaste product competes for
more shelf space, and therefore more
customer awareness, by adding a tall
This cardboard
cardboard back to the packet. The
counter box is a
traditional selling typography has been updated and the
technique fresh -faced child added to give

the product a sense of vitality.

Presidential Favorites
bubble gum cigars
Individually packed in cellophane, these bubble
gum cigars are sold through another personality

sales pitch, promoting Richard Nixon as a candidate

for the presidential elections in 1969. Presumably

they were aimed at politically aware adults buying
treats for their children.

Cigarette pack
A stylized image Dairy Box chocolates
of a spacecraft, this The simple, rounded
dramatic and visual characters on the label of
design was influenced this box are modern and
ontemporary eye-catching. Designed by
space race between the artist Raymond Peynet
the then Soviet (1908-91), the quirky scene
Union and the US. was aimed at the gift market.

436
 PACKAGING 1960-69
— 1969

Kellogg's Rice Bubbles

An updated Australian pack
(see p.422), this is a modern

vet familiar version of

BUBBLES jl> Kellogg's designs. The
healthv photographic image
aims to convince the parent Radion washing powder
of its nutritional value, while
In order to stand out from other
the fun cartoon character and products, this pack has strong
free promotion appeal colors and bold, raised letters
directly to the child.
that appear to jump out from
the two-dimensional design.

Stylish alternatives
Interestingly, some of the more successful The fun packaging
represents a bird's
designs of the decade were supermarket "own
head and beak
brand" packs, such as the British Sainsbury's with its cap and
peas pack (below), which were more experi- direction pointer

mental, despite being sold as cheap alternatives.

Sainsburys sweet young

-

Garden Peas quick dried 1

Although displayed on
a tin can this design
.
Disposable beverage cans
depicts a bottle cap from The 1 960s was the era of the throwaway
previous packaging beverage can. Coca-Cola (left) was the first

drink to be canned in 1960; the ring-pull

opener was developed in the US in 1967.

437
GRAPHICS, ADVERTISING, & PACKAGING
1970 -

—
PACKAGING 1 970-79 This British cereal pack
with sunrise motif and
earthy colors — captures
PACKAGING DESIGN REACHED A CROSSROADS in the 1970s, with a the essence of California,
tremendous variety of different styles; and the stark new design of in the 1970s

some products and supermarket "own brands" provided yet another

alternative. Packing technology continued to improve with the
arrival of the "Tetrapak" to hold milk, soft drinks, and juices,
and molded plastic containers that were all lighter and cheaper to This design by Dick
transport than heavy, breakable glass bottles. Consumer tastes were Bruna was intended
to appeal to both the
changing as people took more vacations abroad and tasted foreign
mothers buying the
food, while instant "TV dinners" proved popular alternatives to
product and the
family meals around the table. children eating it

438
 PACKAGING 1 970-79

Psychedelic colors Another example of personality sales,

this orange drink is promoted by
Maiiv of the packages on these pages make use
comic book hero Superman
of orange and brown, both strong fashion shades at

the time. The garish plastic Aqua Manda container

(below opposite) is dyed orange to accentuate the
orange-scented talcum powder inside. Its yellow
cardboard box creates a greater sense of value.

439
GRAPHICS, ADVERTISING, & PACKAGING

Floral Nature beauty soap

Toiletries continued to represent

the latest fashions and popular

jloral styles on their packaging, as this
r\atupe line illustration on a pack of beauty
sabonete de beleza
soap shows. The white background
is used to imply that this is a pure,

natural product.

Brooke Bond
GirlBrand
Ceylon tea
This simply illustrated
pack of Syrian tea uses
a traditional image
symbolically to create Crocodillo
a sense of timelessness sparkling wine
in the product. Developed in 1979, this

strangely shaped bottle

Fruyio yogurt
prefigures some of the
Cafe To fa The Greeks started to
gimmicky containers that
The modern package their yogurt
appeared in the 1980s
typography in plastic containers in
and '90s. Shaped like the
of this stylish about 1970. Molded
top part of a glass bottle,
Portuguese coffee plastic containers could
it looks as though the rest
pack has a clever literally be produced in
of the container is missing.
motif of a full coffee any size or shape as this
cup, seen from above, square-bottomed, round-

incorporated into it.

topped yogurt cup shows.

Euro Coop Antelope Brand

hazelnut cookies mosquito coil incense
Packaging was generally This conspicuous Indonesian
mu wagon* becoming lightweight, pack design encapsulates
while retaining a pack's the modern approach to
freshness. Cookies were selling a product: using
often now only packed bold graphics and colors
in gift cans. to catch the eye.

440
 PACKAGING 970-79
1979

Mir detergent Presto detergent

The brightly-colored The age of computer
silhouettes on this pack technology took off in the
of French detergent are 1970s. These animated
displayed as examples enzymes devouring dirt

of the free gifts available are similar to a popular

in every packet. computer game concept.

Minimalist design
The bewildering array of styles that appeared in
the 1970s was capped by the "own brand" packs in
supermarkets. The tea pack (below) takes thetheme
This distinctive
of a single color on a white ground to an extreme packaging
Fruit yogurts is

art of a compared with the Welch's and Dannon brands. still in use today
flourishing
of healthy
dairy products

DANNGN, iHoogen-DaiSj
SPARKLING
31 'Blueberry 125g4.4oz CRAPE
LAWFAT
YG6URT NET 12 FL 0Z (355 I

RUM RAISIN RUMMBJ

This ethnic TV dinner box is an extn

This box of chocolate
packaging
liqueurs uses retro-
styled artwork
characteristic of
the 1950s

BEEF CURRY
WITH RICE

441
GRAPHICS, ADVERTISING, & PACKAGING
1980 =====5^^
Announcement flashes of the
changes and improvements,
latest

as well as special offers and

competitions, have begun to
cover much packaging
An embossed basket
on the innovative
label makes this

liqueur bottle appear

more sophisticated

FREQUENCE

442
 PACKAGING 1980-89

PACKAGING 1 980-89
IN THE 1 980S, PACKAGING became a stronger selling vehicle Glass bottles
for products.Designers realized that packaging could be Ironically, after disposable

integrated as part of a brand concept, conveying a total aluminum cans had almost
message to the consumer. The technology for cutting and universally dominated the soft-

folding materials and molding plastics became cheaper, drink market for years, glass
leading to more innovative packaging ideas. While upbeat, bottles (below) began to make a
contemporary graphics targeted a younger generation, comeback with certain soft drinks.

nostalgia also came back into fashion to stress the The hope was that the product
wholesomeness and consistent quality would be imbued with a greater

of some products. sense of quality and value.

443
 Hawaiian punch
This distinctive
container is shaped
as a character, a case

where the product is

identified with the

form of the packaging.

Rowntree Christmas selection pack

A piece of novelty packaging aimed at the youth
market, the dynamic graphics and vibrant colors
make this molded plastic chocolate gift box an
unusual and exciting one.

Le Sueur canned peas

NOVO LE SUEUR Here the reflective silver

L
1 _ H __^1 (

"
>DENT V
I VERY YOUNG SMA
EARLY PEASJ
label imitates a tin can

with a kind of hyperealism,

an influence from other
Pepsodent toothpaste
areas of art and design
Gone are the pink candy stripes of previous
in the 1970s and '80s.
decades; this "new" Portuguese version of
the American product has precise graphic
design, with strong, clean white typographv.

Pink orangeade
This small cartoon-
character label
allows the bright
contents to
show through.

The label's
Terry's Le Box bright colors

One of the more complicated packaging devices of the 1980s,

make the product
appealing to
.^arm-inspired box for chocolates looked impressive
children
concept on the drawing board, but in reality proved too

——
actical and expensive.

'

AAA
 PACKAGING 1980-89
1989

Recreating identities
Manufacturers use different
strategies to create fresh identities

for products. The Coca-Cola can

(below) has a 1980s' fashion-led
design that, although collectible, was
intended to have a short shelfhfe.
The traditional look of the graw Convenience food
granules (below right) gives a Prepacked ready-made
nostalgic feel, harking back to a meals such as these

previous era; but it also makes the reflect a growing trend

product stand out on a supermarket of 1980s and '90s consumers finding less time to shop and to cook

shelf. The classic Black Magic basic ingredients. The growing popularity of microwaves has

chocolates packaging (below) has meant that these packs really can provide instant cooked food,

been updated using a deep red rose. a fact identified in their basic, slightly garish packaging.

Use of a black
background has
always been
the distinctive Gold lettering attempts
feature of this to create a luxuryfeel
packaging

IHHI ii
i

445
GRAPHICS, ADVERTISING, & PACKAGING
1990 ~

PACKAGING 1 990-99
CONSUMERISM IN THE 1 990s has created a curious juxtaposition. On the
one hand, excessive choice means that product designs adopt novel or
gimmicky images to attract attention. On the other hand, increasing
General
concern about environmental and ecological issues has put pressure on Mills
manufacturers to supply products in recyclable or biodegradable packaging.
"International consumerism" rejects any regional product varieties; yet,
at the same time, there is a trend toward minimalist packaging with
cleaner, purer products that stress an independent and authentic identity.

International consumerism The Perrier

Plastic packaging has made it possible to preserve,
bottle is now so

familiar that it
pack, and transport products from across the world
can be instantly
for consumption or use elsewhere, inviting an element recognized
of international consumerism into our lives. underneath the
printed image

446
 PACKAGING 1 990-99

Lettering is now The use of

so bold it almost transparent
constitutes an plastic suggests
illustration in itself that the water
is clean and pure

447
GRAPHICS, ADVERTISING, & PACKAGING
=

Frufoo Choko-UFOs
Having none of the sophisticated style of adult gift boxes, this

pack of German children's chocolates uses every incentive to se

including a free toy As is the case with many products on these

pages, children are specifically targeted.

Crik Crok Woody chips Harvey Nichols

Printing methods are now teaand pasta Robocop bubble bath
so advanced that bright, Although these black This is the ultimate example of
fluorescent colors can be and white photographs state-of-the-art plastics technology
effectively printed on packing appear to have no direct used in the packaging industry.
materials. This Italian potato relevance to the produce Aimed entirely at children,
chip packet, with its fun inside, they do give the the container is molded in
colors and cartoon characters, utilitarian packaging the shape of a popular film
.'.ins a novelty toy a sophisticated, character, which, once empty,
to boost sales. alternative image. can also be used as a toy.

>
448
 PACKAGING 1 990-99
2000

Body Shop toiletries

The identity

this health

are embodied
and beliefs of

and beauty company

in its minimalist
$ ff
packaging. This is unusual in the
cosmetics world, which is known
as primarily a packaging industry
The majority of its packaging
is also recyclable,

customers to return with

enabling
5
Pure Baking Soda'
their empty bottles for refills.
NETWT. 16 0ZH LB.)

User-friendly
This Japanese Arm & Hammer baking soda
Even mundane household items now energy drink has a This American packaging for baking
have complete packaging concepts. The quirky, stylized
soda incorporates an older logo in a
shower gel container (bottom) is specially image of a
Samurai warrior medallion superimposed over a jokey,
molded to hook on to the shower unit.
on the label modern design with an engaging
character to encourage sales.

This disc top plastic dispenser

allows the product to be opened and
reseated easily with just one finger

"fiAo
***

AA9
A-Z OF DESIGNERS
A-Z OF DESIGNERS

^The use of this buildings that reflected with built-in Albers (see below).
symbol and a cross- the close relationship of speakers or There, she taught,
reference indicates architecture with nature. telephone (Asko, experimented with
the page(s) on which
work by the particular
designer appears
in another section
During the 1920s, he
experimented with wood,
especially plywood, and
in 1935 founded Artek to
1963), the Gyro
fiberglass chair
(Asko, 1968), and
the Viking dining
/ weaving, and
designed textiles
for industry.

of the book. produce his furniture and table and chairs ALBERS, Josef
The company (Polardesign, 1888-1976 German

<&
lighting.

<
still produces many of 1983). Albers was a
his original designs. His painter, designer,

AALTO, Aino work includes the Paimio AICHER, Otl and color
1894-1949 Finnish Tuberculosis Sanatorium, 1922-91 German theorist who
^pp.74-75 Finland (1929-32), the A corporate taught at the
Aino Marsio was an Viipuri Library (1927-35), identity specialist, Bauhaus from
the Paimio chair (1930), Aicher studied 1923. After

•4
architect and designer its

best-known for her and the Savoy vase (1936). sculpture before closure in 1933, he
glassware and interior establishing a lectured at several
designs. She was the wife AARNIO, Eero graphics studio. He universities in the

of Alvar Aalto (see below), 1932- Finnish was the consultant US. A series of

with whom she often ^p.64 designer for the abstract paintings
collaborated. Aarnio studied industrial corporate identity Aicher's 1972 entitled Homage
design before opening his of the 1972 Olympic to the Square
AALTO, Alvar own design studio. He is Munich Olympic Games epitomize his
1898-1976 Finnish well-known for his chair Games (see right), pictograms color theories.

pp.60, 74-75 design and use of synthetic and produced many

One of Finland's most materials. His early and corporate identity and ALISON, Filippo
important designers, Aalto late works make use of visual information systems, 1930- Italian
designed avant garde traditional materials; working for Braun, t?p.J24
although during the 1980s Lufthansa, and Frankfurt Alison is an architect with
he used computer-aided airport, among others. In a special interest in interior
design and manufacture. the 1970s, he designed a design. Among his industrial
His pieces include the Ball, new identity for the designs is the Filumena 2
or Globe, fiberglass chair German town of Isny, coffeepot (Sabattini, 1984).
using a series of geometric
images. Aicher created the AMBASZ, Emilio
typeface Rotis, which 1943— Argentinian
combined serif and sans In 1972, w hile
r
curator
serif letters, in 1988. of design at New York's
Museum of Modern Art,
ALBERS, Anni Ambasz organized an
1899-1994 German exhibition proposing that
Textile and industrial good design depended on
designer Albers (nee many objects functioning
Fleischmann) studied at together as an environment.
the Bauhaus under Gunta His designs include the
Stolzl (see p.486). In 1933, Vertebra chair (Cassina,
The Rover Chair, she emigrated to the US 1977) and lighting for
designed by Ron Arad, with her husband, Josef Artemide and Erco.

452
 AALTO-BAKKER

ARAD, Ron designing for menswear Guild and School of pieces, such as his Senna
1951- Israeli British company Nino Cerruti m Handicraft in 1888 and chair (1925), are currently

# p,71 1961. Armani founded his designed many pieces of manufactured by Cassina.
The design company Due own clothing firm in 1974. jewelry, silverware, and
Off was founded in 1981 \s well as his exclusive
mens- and womenswear
furniture for
was linked to Art
it. His style
Nouveau.
B
bv Ron Arad. Many of his BAHNSEN, Uwe
furniture designs were lines, he also mass 1930- German
made of metal, such as his produces clothing for ASHLEY, Laura Automobile designer
stainless steel Big Easv Emporio Armani stores. 1926-85 British
Bahnsen was head of car
Volume armchair and
II ^p.2/9 design at Ford Europe from
most
sofa. Possibly his D'ASCANIO, From an inauspicious start 1976 until the mid 1990s.
famous design is the Rover Corradino as a cottage industry, He oversaw the design of
Chair (198 5: see left), 1891-1981 Italian Laura Ashley's company the Fiesta, Granada, and
consisting of a salvaged ^p.305 has become a worldwide Escort; but the most radical
seat from a Rover car fitted In the 1920s. d'Ascanio commercial success. Aside and admired of his cars is
into a tubular-steel frame. worked at an aircraft from the trademark floral the Ford Sierra, launched
His later work includes factory as technical dresses and womenswear, in 1982.
hi-fi systems made of director. He soon started the shops sell domestic
concrete (1985) and the his own firm and designed interior BAIER, Fred
interior design of the Tel a successful helicopter. 1949- British
Aviv Opera House (1990). In 1934, The work of furniture
designer and maker Baier
ARAI, Junichi is complex, often colorful,
1932- Japanese and always unconventional.
A textile designer and For example, his Roll Top
manufacturer. Arai gained Drop Leaf Transforming
fame for his experiments Robot Desk (1989) owes
with unusual combinations as much to science-fiction
of materials, including imagery as traditional
celluloidand metallic furniture design.
fibers.His highly complex
Corradino d'Ascanio's Vespa scooter, 1946
patterns for weaving using BAKKER, Gijs
computer punch cards have 1942- Dutch
influenced other textile he began working for the furnishings, all marketing ^>p.270
designers. He now works engineering company a nostalgic English Together with his late
for his Tokyo- based retail Piaggio. designing aircraft "country" look. wife, Emmy van Leersum,
company. Nuno. components and helicopters. Bakker created a new look
But it is a 1946 design for ASPLUND, Erik for contemporary jewelry.
ARMANI, Giorgio which he is best-known — Gunnar In the 1960s, they made
1935- Italian the eternally popular Vespa 1885-1940 Swedish aluminum collars and
^p.253 scooter (see above). Although usually bracelets. Later, they
One of the most highly remembered for his moved into performance
acclaimed fashion ASHBEE, Charles contribution toward and sculpture, using the
designers to emerge from Robert Scandinavian modernist body as a part of jewelry
Milan. Armani pioneered 1863-1942 British architecture and for his design. Bakker has also
a loosely tailored look of Ash bee was one of the interior designs, Asplund designed items of
casual elegance in the leading figures in the also designed furniture for furniture, including the
1980s. Afterworking as a English Arts and Crafts the Nordiska Kompaniet. Strip chair (1974) and the
window dresser, he began movement. He set up the Reproductions of some Finger chair (1979).

453
A-Z OF DESIGNERS

BALENCIAGA, furniture and seating BASS, Saul Its geographically distorted

Cristobal system (Sunar Hauserman, 1920-96 American and simplified lines were
1895-1972 Spanish 1978). He has also ^p.400 easier to follow than

Balenciaga is thought by designed wheelchairs. Design pioneer Bass previous maps. Beck
many to be the century's established his graphic developed it until 1959.
greatest couturier. At the BALMAIN, Pierre design company, Saul Bass
age of 18, he opened his 1914-82 French Associates, in Los Angeles. BEDIN, Martine
own shop inSan Sebastian Balmain began his fashion In movie advertising and 1957- French
and began work as a career supplying drawings credit sequences,he Bedin moved to Florence,
couturier under the name for the couturier Piguet. produced groundbreaking Italy, in 1978. There, she
Eisa. In the late 1930s, he After a five-year stint for work, most notably for Otto worked for the Super-
opened a couture house in Molyneux, he worked for Preminger's film The Man studio group before joining
Paris and produced his Lelong alongside Christian with the Golden Arm (1955). Ettore Sottsass at Alchimia,
first collection, consisting Dior (see p. 462). Balmain In addition to Bass' film then Memphis. Her
of full-skirted crinoline founded his own house in work, the company has designs include the Super
dresses. Like much of his 1945. His designs found developed many corporate table or floor lamp (1981)
later work, the designs favor with rich, older identities including AT&T, and Charlotte sideboard
were influenced by his women and many Minolta, Quaker Oats, (1987) for Memphis, and
Spanish background and celebrities. The house United Airlines, and luggage for Louis Vuitton.
featured brocades, ruffles, diversified into ready-to- Warner Communications. In 1992, she cofounded
black lace, and embroidery. wear, sportswear, and La Manufacture familiale
His dramatic evening perfumes, while Balmain BAYER, Herbert to produce mainly wooden
clothes were strongly himself designed stewardess 1900-85 Austrian/American furniture.
colored. In 1957, he uniforms and numerous /^ pp.36/, 379
produced the "sack" dress, stage and film costumes. The graphic designer BEHRENS, Peter
a radical departure from most associated with the 1868-1940 German
Dior's close-fitting "New BARNACK, Oskar Bauhaus, Bayer designed 0P.126. 369
188, 332,
Look." He retired in 1968. 1879-1936 German and produced all its typo- Industrial designer and
^p.282 graphy between 1925 and architect associated with
BALL, Douglas Barnack was the inventor 1928. These lower-case, company
the electrical
1935- Canadian of the Leica camera, sans-serif typefaces became AEG, Behrens epitomized
Canada's most the first successful identified as the Bauhaus the growing relationship
successful industrial 35mm camera, which graphic style. Bayer left between art and industry
designer, Ball is provided the model for the school in 1928. In the during the early 20th
best-known for the later Leica A. years that followed, he art century. His early paintings
his Race office directed the German Vogue, and graphic work were
designed typefaces, and influenced by Jugendstil.
introduced surrealism to After joining the Munich
the advertising style of the Secession, and then the
1930s. In 1938, he moved to artists' colony in
the US, where he designed Darmstadt, Behrens
graphics and buildings. worked for AEG between
1903 and 1914. He was
BECK, Henry C. responsible for its publicity,
1903-74 British packaging, and later its
o Bellini's ^p.26 architecture and general
Class faucets for In 1931, Beck designed a design. His many product
Ideal Standard, diagrammatic route map designs include kettles and
1990s for London Underground. fans. Among his pupils at

454 I
 BALENCIAGA-BOf

VI" C were Gropius (see also worked as an interior (1954),Lamborghini produced footwear
BMies van dor Rohe designer. He is now best- Miura (1966), Ferrari Dino collections for many
(see p.475), and Le known for Ins furniture. 308 (1973), and the Citroen important fashion houses,
Corbusier (see p. 474V textiles, and jewelry. BX (1982), among others. including Calvin Klein
and Yves Saint Laurent.
BEL GEDDES, BERTOIA, Harry BLACK, Misha
Norman 1915-78 Italian/American 1910-77 British BLAKE, Peter
1893-1958 American ^p.63 Russian-born Black moved 1932- British

Italian born Bertoia moved to the UK as a child. During ^p.386

After working as a window to the US in 1930. After the 1930s, he designed Pioneer of the British Pop
and set designer. Rel teaching metalwork, radios and televisions for Art Movement, Blake's
Geddes began designing he worked with most famous design is the
industrial objects in 1927. Charles Eames LP cover for the Beatles'
- .-.lcluded cars, radios, on
(see p.463) Sgt Pepper's Lonely Hearts
and aircraft interiors. Due plywood and Club Band (1967). He is

to the futuristic nature of wire chairs. In associate artist at the

his designs, few went into 1950, he set up National Gallery, London.
production. However, his a studio with
book Horizons helped help from Knoll BLOMBERG, Hugo
popularize streamlining, International, for 1897- Swedish
and he was the first which he ^p.226
industrial designer to produced the As chief engineer and hea<
gain public notice. Diamond Chair of design at the Swedish
(1952). telecommunications
BELLINI, Mario company Ericsson,
BERTONE, Blomberg conceived and
1935- Italian
35, 153, 174-75, Flaminio
NTERNi designed the Ericofon
356-57
One of Italy's leading
1903- Italian
<? P .313, 314, 318 LANDE single piece telephone
(1940-54) with Ralph
industrial designers. Bellini The man behind Lysell (see p.474).
studied architecture in the idiosyncratic Nil!
Milan. Since 1963. he has shape and styling BOCASILE, Gino
been consultant to Olivetti. of the Citroen 2CV Bocasile's poster for active 1930s Italian
for whom he has designed (1939), Bertone also a trade fair in Milan, 1934 ^p.396
typewriters, computers. styled the company's One of Italy's leading
calculators, and display Traction Avant (1934) Ekco, using new plastics. poster designers during the
terminals. Bellinis other and DS (1960). Much of his career was 1930s, Bocasile produced
work includes the Yamaha devoted to exhibition many advertising and
cassette deck (1973), the BERTONE, Giuseppe design, and he was tourism posters (see left).

Figura chair (Vitra. 1987), 1914-97 Italian responsible for part of the
consultancy for Renault Festival of Britain (1951). BOERI, Cini
cars, and editing Domus "Nuccio" Bertone joined Between 1959 and 1975 he 1924- Italian
magazine. his father's car body shop taught industrial design. After graduating in
in 1934 and went on to architecture, Boeri worked
BENNETT, Ward change it into a successful BLAHNIK, Manolo in the studio of Marco
1917- American and influential auto design 1943- Spanish Zanuso (see p.491) until
Artist, sculptor, and studio. He was responsible Known as the creator of 1963, when she became
designer in many other for the design of the Alfa original and extravagant a freelance designer.
capacities. Bennett has Romeo duhetta Sprint shoes, Blahnik has Although best known for

455
A-Z OF DESIGNERS

her furniture designs, Avant (1934), 2CV ( 1939),

including the Bobo (1967) and DS (1960), all of which
and Strips (1972) seating were styled by Flaminio
sytems, she has designed Bertone (see p.455).
showrooms for Knoll
International (1976) and BRANDT, Marianne
a series of prefabricated 1893-1983 German
houses in Japan (1983). Painter, designer, and
iminmiviiH metalworker, Brandt
BONETTO, Rodolfo studied painting and
1929-91 Italian sculpture in Weimar. She
A furniture and industrial joined the Bauhaus in 1923
designer, Bonetto first and, under the influence of
worked in the Pininfarina Laszlo Moholy-Nagy (see
car design studio. Since p. 476), became one of its
!!
setting up his own studio best known metalwork
in 1958, he has designed Mario Botta's Quarta chair for Alias, 1 984 students. She evolved from
products for Brionvega, an Arts and Crafts worker
Olivetti, Gaggia, Driade, designs only, but later Prima chair (1982), Quarta to an industrial designer
Veglia Borletti, and Fiat. offered the work of other chair (see above), and Tesi employing geometric
His original use of single- designers, such as Norman table (1986). principles. In 1925, she
piece plastic molding in Foster (see p.465). Borsani's began designing metal
the interior of the Fiat most famous pieces are BOUE, Michel lamps at the Bauhaus, and
132 Bellini (1980) earned the P40 chaise lounge 1936-71 French is particularly remembered
him much acclaim. (1954-55) and the D70 Automobile designer for the Kandem bedside
reclining sofa (1955). Boue's career was cut short light (Ktirting and
BOOTY JR., Donald when he died of cancer at Matthiesen, 1928). Between
1956- American BOTTA, Mario the age of 35. However, he 1928 and 1929, Brandt
1943- Swiss had already produced one worked for Walter
briefly
Before founding Booty ^p./65 major design, the Renault Gropius' office (see p. 467)

Design Associates in 1988, Botta studied architecture 5 (known in the US as Le in Berlin. After World
Donald Booty Jr. had at the University of Venice, Car). The car, which War II she taught first in

studied industrial design and his training included a appeared in 1972, was the Dresden, then in Berlin.
in Chicago. The company stint in the Paris studio of first of the Superminis,
designs not only for other Le Corbusier (see p.474). and became the best- BRANZI, Andrea
manufacturers, but also In 1969, Botta returned to French car ever.
selling 1938- Italian
for its own production Lugano and began work on An architect and designer,
division, Phorm. various public and private BOULANGER, Pierre Branzi was an influential
buildings that would earn 1886-1950 French member of the Florence-
BORSANI, Osvaldo him recognition as an ^ pp.313, 314, 3/8 based design group
191 1-85 Italian organic, rationalist architect. Boulanger, an engineer, Archizoom Associati
Borsani worked as both A recent commision was worked French tire
for the (founded in 1966). He
an architect and furniture the San Francisco Museum company Michelin until moved Milan in 1979
to
designer. In 1954, with of Modern Art (1995). 1935, when it took over and worked with Studio
his twin brother Fulgenzio Since 1982, Botta has the car manufacturer Alchimia, then Memphis.
he founded
i
designed a number of Citroen. He became chief His designs for Memphis
the furniture company pieces of metal furniture of the car company and include the Century couch
Tecno. In the early years, for the Italian company was responsible for the and sauceboat (1982),
Tecno produced Borsani 's Alias. These include the concept of the Traction Foglia wall lamp (1988),

456
 lONETTO-BULOW-Hil

and Magnolia bookcase b\ .m unadorned. use of tubular steel for the and advertising. 1 le moved
In 1982, Branzi industrialized style and Wassily chair (1925). The to the US in 1930, where
became educational geometric simplicity. Cantilever chair that he was art director of
director of the Domus followed (1928) was made Harper's Bazaar for 25
Academy, a postgraduate BREER, Carl with an unbroken length years. Brodovitch
design school in Milan. 1883-1970 American of tubing, and became a revolutionized American
In the 1930s. Breer was prototype for countless magazine design by
BRAUN, Artur chief engineer at the US similar chairs. After a short introducing cropped
1921—71 German car manufacturer Chrysler. time working for Isokon in photographs, spare layouts
^p.92 He was responsible for the England (for whom he with ample white space,
Artur Braun took over the unconventional-looking produced a bent plywood and illusory effects.
Frankfurt based radio and Airflow (1934). which chair), Breuer moved to
record player company although a commercial the US, where he built his BRODY, Neville
Braun on the death of his failure, was widely own house and produced 1957- British
father in 1951. and turned commentated on at the experimental furniture. ^p.367, 384
it into the electronics giant time and influenced the His major architectural A graphic designer who
it is today. He hired Fritz design of many other works include the UNESCO rose to fame in the 1980s,
Eichler (see p.463) as automobiles. Breer retired headquarters in Paris Brody studied fine art and
design director. Together in 1951. (1953) and the Whitney graphic design at the
they designed the 1955 Museum of American Art London College of
Phonosuper SK 4 and the BREUER, Marcel inNew York (1966). Printing. He began his
Sk. 25 radio (see belovy). 1902-81 Hungarian/American career by designing record
Eichler employed Otl & PP .59, 221 BROADHEAD, covers. In 1981, he was
Aicher (see p.452). Dieter After studying at the Caroline appointed art director of
Bams (see p.482). and Bauhaus. Breuer opened 1950- British the magazine The Face,
Hans Gugelot (see p.468). an architect's office in A prominent figure in and experimented with
designers with whom he Berlin in 1928. His most European jewelry design, unconventional typefaces,
had worked at the Ulm significant contribution to Broadhead first worked logos, and symbols. He
Hochshule fur Gestaltung design this century is his with ivory. In 1977, she continues to run his own
(Llm College of Design). revolutionary tubular-steel produced bound-thread design studio in London.
The Braun products they furniture. Inspired by the necklaces and, in 1978,
created displayed a strong strength and lightness of innovative bracelets. BULOW-HUBE
company look, epitomized his bicycle, he first made She was one of the first Vivianna Torun
designers to reject precious 1927- Swedish
materials in favor of £>p.270
everyday materials such From 1951 to 1956, Bulow
as cloth, rubber, and Hiibe worked in her own
paper. In the 1980s, she studio, concentrating on
created wearable pieces wooden and silver jewelry.
that combined jewelry, From 1967, she produced
clothing, and sculpture. various jewelry and watch
prototypes for Georg
BRODOVITCH, Jensen Solvesmedie. She
Alexey later turned her hand to
1898-1971 American glassware, porcelain,
Born in Bussia, Brodovitch and ceramics, and went
worked in Paris during the on to design kitchen
1920s. where he designed utensils, lamps, baskets,
Artur Braun and Fritz Eichler's SK 25 radio, 1955 books, posters, furnishings, and office equipment.

457
A-Z OF DESIGNERS

BURYLIN, Sergei in an Art Nouveau style, 1953, he lived in the US, arm. Over 60 years later,

Petrovich Steuben soon became a and there produced the first the design is still in

1876-1942 Russian major player in the glass US defense poster in 1941. production and remains
A textile designer, Burylin world. In 1918, the virtually unchanged.
was active at various textile company was taken over by CARTER, Matthew
mills in Ivanovo-Vosnesensk. the Corning Glass Works. 1937- British CASSANDRE, A.M.
His most widely known During the 30 years that ^p.366 1901-68 French
fabric, the Tractor cotton Carder was art director Today considered to be A.M. Cassandre was the
print (1930), is typical of there, he designed many a master of typography pseudonym of graphic
his strong, semi-abstract, of the most successful and its technology, Carter Adolphe Jean-Marie
artist

constructivist style. pieces himself. designed the Bell Mouron. Between 1923
Centennial type for the and 1936, he designed a
CARDIN, Pierre US AT&T telephone series of highly successful
1922- French directories in 1978. In and influential advertising
CAMPBELL, Sarah Born in Italy to French 1981, he cofounded posters using his
1946- British parents, Cardin studied Bitstream Inc. to produce idiosyncratic style of bold,
Textile designer Campbell architecture in Paris after fonts for computers. geometric abstraction and
works with her sister, World War II, and then broad planes of restricted
Susan Collier (see p.460), trained at the fashion CARTIER, Louis color to integrate images
with whom she founded houses of Paquin, 1875—1942 French
Collier Campbell. Schiaparelli, and Dior. In ^p.229
1950, he opened his own Grandson of the founder
CAPUCCI, Roberto house, showing his first of the jewelers Cartier,
1930- Italian collection in 1953. During Louis Cartier became
Capucci studied at the the 1960s, he moved into its most important and
Accademia delle Belle Arti menswear and came to innovative designer,
in Rome, and in 1950 be considered one of improving the types
opened a fashion house France's most adventurous of materials used in
there. In 1962, he went, couturiers. His unusual jewelry design.
to Paris, returning to designs used bright and From around 1900,
Rome after seven years. patterned materials, some he utilized platinum,
He has produced many influenced by the space a suitably flexible
experimental and daring age, and had exaggerated metal, for his lace-like
fashion items using bright features. Many of his diamond-set jewelry.
colors and sculptural designs were suitable for
forms, including plastic men or women, and he is CARWARDINE,
garments filled with said to have invented George
colored water. Capucci is unisex clothing. Cardin's 1887-1948 British
renowned for the skilful name is now also associated
cut of his garments. with cars, furniture, As an automobile
luggage, and wigs. engineer, Carwardine
CARDER, Frederick was a suspension system
1863-1963 British CARLU, Jean specialist; as a lighting
In 1903, Carder moved 1900-97 French designer, he is famous for
to theUS, where he co- One of France's leading his 1934 Anglepoise lamp.
founded the Steuben poster designers of the The springs and hinges
Glassworks in New York. 1920s and '30s, Carlu was of the lamp were designed
Starting out by making clearly influenced by to replicate the muscles
iridescent glass, Aurene, cubism. Between 1940 and and movement of a human

458
 BURYLIN-COAT

and words. He also created Polytechnic. For more than CHASHNIK, Ilia their unconventional look,
three new typefaces: Bifur 20 years, he collaborated Grigorevich Cliff's designs were sold in
Noir (1930),
(1929), A.cier closely with Pier Giacomo 1902-1929 Russian shops such as Harrods. I ler
and Peignot (1936). His on lighting, exhibition, pp.22, J 45 work is enjoying renewed
Dubonnet poster (1934) and product design. The Chashnik collaborated with popularity.
and Ftoile du Nord poster brothers are best-known fellow suprematist painter
(1927) have become classics. for their exploratory Kazimir Malevich (see COATES, Nigel
furniture design: the 1957 while working at
p. 475)
1949- British

CASTIGUONI, tractor seat stool Mezzadro, the Lomonosov State An architect and furniture
Achille and the 1970 kneeling Porcelain Factory design designer, Coates has
1918- Italian stool Primate. studiosbetween 1922 and achieved notoriety for
1924. Chashnik designed his extravagant and
Innovative industrial CHANEL, Gabrielle the enameled decoration unconventional designs
designer Castiglioni joined (Coco) for Malevich's witty for restaurant, bar, and
forces with his brothers 1883-1971 French porcelain Half Cup. club interiors in Japan
Lavio (1911-79) and Pier and London. He has also
Giacomo (191 5-68) in From humble origins. CHERMAYEFF, Ivan designed fashion shops in
19+4. after graduating in Chanel had no formal 1932-96 American London for Jasper Conran
architecture from Milan fashion training, yet she is A designer, illustrator, and and Katherine Hamnett
one of the most enduring painter. Chermayeff's (see p.468). He launched
fashion success stories. In major work w as in partner-
r his Metropole and Jazz
1914. she opened her first ship with Thomas Geismar furniture collections in
dress shop. During the (see p. 466). The design 1987 and his Noah
1920s, she responded to group Chermayeff and collection in 1988.
women's work and leisure Geismar Inc. became
fashion needs with practical known for its bold, graphic COATES, Wells
but stylish wool jersey and work in corporate identity. 1895-1958 Canadian
corduroy clothing in He won many awards, both
neutral shades or red. jointly and individually Born in Tokyo and
Hers was a relaxed, educated in Canada, Coates
simple style. Her CUFF, Clarice settled in the UK in 1929.
evening wear was 1899-1972 British He is most commonly
luxurious, with Cliff is one of the foremost associated with the
beading, embroiderv. British ceramic designers Modern movement in
and fur. The look for of this century. She began England during the 1930s.
which she is best- as a lithographer in 1916 His interest in new
known is the jersey or at A.J. Wilkinson Ltd, the materials and technologies
soft tweed collarless Boyal Staffordshire pottery led him to form the Isokon
suit, with braid trim with which she was company with Jack
and many pearls or associated for the rest of Pritchard in 1931 to design
gold chains. After her her working life. Her best- and build modern housing
death, theHouse of known design was the and furnishings. Most of
Chanel remained open Bizarre range, produced Coates' industrial design
and was taken over by from 1927, which was work throughout the 1930s
Karl Lagerfeld in 1983 typified by brightly was for Ekco, and he is
(see p.473). colored, stylized designs particularly remembered
against a creamy back- for his series of Bakelite
Wells Coates' AD 65 radio, ground, giving a strong radios, including the A I )
'>">

1 932-34 \rt Deco feel. Despite (see left).

459
A-Z OF DESIGNERS

COLANI, Luigi concern for the technical tea and coffee sets and its thin black lines, precise
1928- German problems of design using decorative items. Her graphics, and autumnal
new techniques and designs feature patterns colors expressed a new
Colani's designs are largely materials. His 1965 Chair inspired by nature and approach to textile design.
influenced by aerodynamic 4860, made by Kartell, was strong shapes with clean She has created many
styling, ranging in subject one of the first one-piece lines and modern colors. elegant screen-printed
matter from transportation injection molded chairs in furnishing fabrics.
to fashion accessories. Most ABS plastics. An interest CORDERO, Toni
of his transport designs ineconomy and scale led active 1 980s & '90s Italian DAY, Robin
have never progressed him to design a complete ^p./95 1915- British

beyond prototypes, although mobile kitchen in 1972. Designer of the dramatic Husband of Lucienne
they have inspired other His other clients have Sospir bed, Cordero also (see left), with whom he
designers. Among his best- included O'Luce, Italora, built the AlpineStadium formed a design studio,

known designs are his 1971 Zanotta, and Bieffeplast. (1985) and the Automobile Day won a low-cost
Drop porcelain service for Museum (1987), both in furniture competition in
Rosenthal and his cameras CONRAN, Terence Turin, Italy. He designs 1948 at the Museum of
for Canon. 1931- British for Artemide, Driade, Modern Art in New York.
Conran has greatly and Sawaya & Moroni. He subsequently designed
COLLIER, Susan increased Britain's design one of the most successful
1942- British awareness, bringing "good COURREGES, Andre post-World War II chairs

Susan Collier worked design" to the masses at 1923- French for the non-domestic
as the design and color affordable prices, largely Trained by Balenciaga (see market, the Polyprop or
consultant to Liberty of through the Habitat stores p.454), Courreges received Mark II stacking chair
London Prints before he established in 1964. His great acclaim for his (Hille), in 1963.

founding her own textile early work was inspired by futuristic clothes. His 1964
company in 1979 with her Italian and Scandinavian Space Age collection and DE BRETTEVILLE,
sister,Sarah Campbell. design. In 1989, the Conran 1965 miniskirts and white Sheila Levant
Collier Campbell's Foundation funded a Design and pastel trousers were 1940- American
philosophy was to grow Museum in London devoted copied worldwide. A typographer, graphic
away from the formal, to mass-produced goods. designer, and educator,
organized graphic designs
of the 1950s and produce
painterly fabrics with
COOPER,
1902-95 British
Susie D
DAY, Lucienne
de Bretteville
forcombining social
is

and political attitudes

known

strong colors and abstract An enduring name in 1917- British with design. Her early
patterns. Its concept of British ceramics, Cooper Day created her famous inspiration came from
"design for now" is still set up her own firm in Calyx fabric design for the feminist issues and much
apparent in its fashion 1929, producing popular Festival of Britain in 1951: of herwork promotes
and furnishing fabrics. women's creative expression.

COLOMBO, Joe DE LUCCHI, Michele

1930-71 Italian 952- Italian
# pp.1 12, 231 pp.41. 70
A painter, sculptor, and De Lucchi was closely
designer, Colombo was inked with the radical
ling figure of post- international design
World War II Italian group. Memphis, from
design. He set up his own its initiation in 1981;
studio in Milan in 1962 previously he worked for
and his works show a Roger Dean's Close to the Edge record sleeve, 1972 Studio Alchimia. Like

460
 COLANI-DESK

DEAN, Roger 1982 Torso armchair, sofa,

1942- British and bed for Cassina are
important pieces.
Dean has designed stage
sets, Teddy Bear Chairs, DELAUNAY, Sonia
and seating for a jazz club, 1885-1979 French
as well as illustrating album Delaunay's painter husbanc
covers. Characteristically, his Robert, influenced much
work fuses natural images of Sonia's work: with him
with fantastical, unworldly she explored dynamism,
creations (see opposite). In rhythm, and movement
1979, he co founded his own through color. Her work
design company, Magnetic incorporated interior
Storm, to specialize in design, fabrics, and theater,
product research and designing ballet costumes
development, architectural for Diaghilev's Aida and
and set design, illustration, Cleopatra productions. By
and film. 1925, her bold, decorative
clothing designs had
DECK, Barry become fashionable.
1962- American
^p.367 DESKEY, Donald
Graphic designer Deck 1 894-1 989 American
graduated from Northern ^p.69
Illinois University in 1986. An industrial and interior
Moving to New
York in designer, Deskey was a
1992, he quickly earned a pioneer design consultant
reputation for his distorted, and an important exponen
computer-manipulated of Art Deco in the 1930s.
typefaces, which epitomize He began in advertising
the "new wave" of the but was later commissioned
Michele de Lucchi's First Chair for Memphis, 1983
early 1990s. He established to design items such as
his own New York-based washing machines and
many Memphis designers. DE PAS, D'URBINO, company, Dysmedia, in printing presses. He was
de Lucchi used bright, LOMAZZI 1995. His fonts include greatly interested in the
garish colors and established 1966- Italian Template Gothic (1990), new materials aluminum,
asymmetry in his post- Originally an architectural Caustic Biomorph (1992), cork, and linoleum. From
modernist work. His best- practice, the firm of and Cyberotica (1994). 1927 to 1931 he worked
known piece for Memphis Jonathan de Pas (1932-91). in partnership with Phillip
was the 1983 First Chair Donato d'Urbino (1935-). DEGANELLO, Paolo Vollmer, and his work
(see above). He setup his and Paolo Lomazzi (1936-) 1940- Italian expanded to include
own studio in 1 984 and turned to furniture design, After studying architecture, interiors, wallpapers, and
went on to design plastic producing one of the most Deganello became a fabrics. In 1 932, he won a
tableware for Bodum. He memorable pieces of Pop- cofounder of the radical competition to design the
has also been a consultant inspired design, the PVC design group Archizoom interior of the Radio City
to the office supplies inflatable Blow chair, in Associati in Florence in Music Hall, New York,
manufacturer. Olivetti, 1967. The group have also 1966. He has also designed which is acknowledged as
and designed more than created designs for Zanotta furniture for the Cassina a piece of classic American
50 Fiorucci shops. and Artemide. and Driade companies: his Art Deco.

461
A-Z OF DESIGNERS

DIOR, Christian influenced by the bright, Total Design (established

1905-57 French strong colors of the Fauves. 1963), Studio Dumbar
Later, he designed dress produced the corporate
At his first fabrics for couturier Paul PTT, the Dutch
identity for

collection in 1947, Poiret (see p.480) and Postal, Telegraph,and

Dior launched a textiles for the Lyons-based Telephone authority. Other
totally new look that company Bianchini-Ferier. commissions include the
m _

transformed fashions celebrated signage system

worldwide. His rise to DUMAS, Rena for the Bijksmuseum and
fame was meteoric: he 1937- Greek the corporate identities for
taught himself to draw, ^p.330 Westeinde Hospital in The
selling his ideas to Dreyfuss' Thermos After completing her Hague, and ANWB (Dutch
couturiers and magazines, carafe, 1930s studies in Paris, Dumas Automobile Association).
and then trained formally began working as a

at the Piguet and LeLong to Norman Bel Geddes (see designer of leather goods DUNAND, Jean
fashion houses. His 1947 p.455), he then established for Hermes in 1962. She 1877-1942 Swiss
"New Look" captured the hisname in the 1930s set up her own office in Dunand studied art in
postwar mood; his famous with the Bell Telephone 1971, designing office, Geneva before moving to
A-line collection appeared Company, designing its home, and shop interiors. Paris, where he worked as

in 1956. After Dior's death, classic Bell 300 in 1933. He Working in collaboration a sculptor until 1902. He
Yves Saint Laurent (see also designed for companies with Peter Coles
p. 484) became head of such as American Airlines, (1954—85), she produced
design for a brief period. Lockheed, Thermos (see the Pippa collection of
above), and Hoover. His folding furniture (Hermes,
DORN, Marion autobiography, Designing 1985) and has since created
Victoria For People, was published shop interiors for Hermes.
1899-1964 American in 1955.
After experimenting with DUMBAR, Gert
resist-dyed fabrics in the DU PASQUIER, 1940- Dutch
US, Dorn moved to the UK Natalie t? P .407
in the early 1920s, making 1957- French A graphic designer and
original batiks for interiors. A leading postmodern teacher, Dumbar studied
During the 1930s, she textile designer, du painting and graphic
became a leading Pasquier worked first for arts before joining Tel
modernist designer, Bainbow Studio and then Design Associates in
achieving acclaim for her Memphis from 1981 to The Hague in 1967.
textiles and tufted carpets. 1988. She is known for Tel created the
her vivid printed patterns. internationally
DREYFUSS, Henry In 1982, she joined the acclaimed corporate
1903-72 American creative staff of Fiorucci. identity for the
^ PP ./90, 225 She has also designed Nederlands Spoorwegan
Industrial designer furniture,lamps (see right), (Dutch Bailways). In
Dreyfuss' interest in the clocks, and ceramics. 1977, Dumbar left
relationship between man the group to set up
and society led him to DUFY, Raoul his own practice.
incorporate ergonomic 1877-1953 French Working in
features in his work, an The early work of painter association with
approach that influenced and decorative designer
later designers. Apprenticed Dufy was strongly Du Pasquier's Bordeaux Lamp for Memphis, 1986

462
 DIOR-EISENLOEFF

established his own of Modern Art. In 1941, EBENDORF, Robert the Art Nouveau typeface
metahvork studio in 1905. he and Ray moved to c.1938- American Eckmann Schmuck, one
Best-known for his lacquer California. The couple Ebendorf is a jeweler of several designed for
work, from 1912 he studied were m partnership from whose early work, including the Klingspor foundry
with the Japanese artist 1944. creating furniture coffee pots and umbrella Offenbach. In addition
Seizo Sugawara. who also designs which were mass handles, showed both to his work as a graphic
trained Eileen Gray (see produced by Herman American and Scandinavian artist, he also designed

p. 467 V He incorporated Miller. They created influences. In contrast to textiles, ceramics, and
lacquering techniques into several notable pieces, his early pieces, made from pieces of furniture.
his metahvork designs, and including the leather and precious and semiprecious
later applied them to rosewood Lounge chair materials such as silver, EDISON, Thomas
furniture, screens, and and ottoman (1956). Later, ebony, and moonstone, his Alva
panels. Some of his finest they moved into film 1847-1931 American
Art Deco creations include production, photography, & pp.100, 333
the interior of the smoking and exhibition design. In Edison is a key figure
room of the Ambassade 1949, they designed then- in the development of
Francaise at the Paris Expo own house in Pacific modern technology. Amon
in 1925. and lacquered Palisades, California. Their his many inventions are th
panels for the Xormandie client list included the US phonograph (1878),
ocean liner (1955). government and IBM. the incandescent
light bulb (1879),
D'URBINO, Donato EAMES, Ray and talking motion
See de Pas, d'Urbino, 1912-88 American pictures (1912).
boaazz ^pp.64-65
Ray Eames (nee Kaiser) EICHLER, Fritz
collaborated with her 1911-91 German
husband, Charles Eames ^pp.92, 457
EAMES, Charles (see left), on their Eichler began his
Ormond magazines, exhibition, career in theater
1 907—76 American film, and furniture designs. set design. In 1954 he was
employed by Artur Braun
Charles Eames' LCW
Architect-designer Charles EARL, Harley (see p.457) as a program
Eames studied architecture 1893-1 969 American
dining chair, 1946 director. Together with tht
atWashington University ^pp.32-33, 3/<5-17 Braun design team, he wa<
before setting up in his Earl was responsible for jewelry from the 1980s responsible for developing
own practice in St. Louis the styling of General was produced from a range the austere functionalist
in 1950. In 1956. he was Motors cars from 1927 of non-precious materials, style that has come to
offered a fellowship at until his retirement in including paper, wood, represent the company.
Cranbrook Academy of Art. 1959. His grounding in photographs, and Formica.
Michigan, where he met the glamorous world of EISENLOEFFEL,
Eero Saarinen (see p.485), Hollywood showed in his ECKMANN, Otto Jan W.
and his future wife. Rav flamboyant styling. He was 1865-1902 German 1876-1957 Dutch
Kaiser (see right). Saarinen an innovator, introducing ^p.360 & pp. 142-43
and Eames designed a yearly model changes and After starting out as a After training in
series of molded plywood the use of clay models for painter, Eckmann turned Amsterdam at the Hoeker
seats, which won the 1940 developing the shape of his attention to the applied en Zoon silver workshop,
Organic Design in Home the bodywork. His most arts,producing illustrations Eisenloeffel spent a year
Furnishings competition famous model is the for themagazines Pan and learning enameling in
at New York's Museum Cadillac Eldorado (1959). Jugend. In 1900, he created Russia. The metalwares

463
A-Z OF DESIGNERS

and ceramics that he clients include Apple, for fashion house in 1957. His FERRARI-HARDOY,
created for various Dutch which he designed the career as a couturier was Jorge
companies, including De Apple Macintosh (1984). interrupted by World War 1878-1976 Argentinian
Woning and De Distel, all II, but he emerged in ^p.6J
demonstrate his preference peacetime as a successful Ferrari -Hardoy worked
for simple, industrial forms haute couture designer. in collaboration with
suited to mass production. FARINA, Battista In 1948, he entered the two fellow architects,
1893-1966 Italian American ready-to-wear Argentinian Juan Kurchan
ERTE (Romain de Before setting up his own market, creating biannual (1915—75) and Spaniard
Tirtoff) shop Turin in 1950, car
in collections for Joseph Antonio Bonet (1915-89),
1892-1990 Russian designer "Pinin" Farina Halpert. Fath was one of to produce the Hardoy
Erte took his name from the first fashion houses chair, also referred
the French pronunciation to offer clothes in to as the Butterfly chair,
of his initials, R.T. standardizedsizes, which in 1958. Its inexpensive
After studying at the were sold through manufacture made it

Academie Julian, Paris, boutiques. In 1949, a popular choice for

he was employed as a Fath received the reproduction by many
fashion illustrator by prestigious Neiman- manufacturers, including
Paul Poiret (see p.480). Marcus Award. The Knoll and Artek-Pascoe.
From 1915, he created Jacques Fath house was
drawings for the covers relaunched in 1992. FERRIERI, Anna
of Harper's Bazaar and Castelli
designed theatrical FERRAGAMO, 1920- Italian
costumes and sets. Working Salvatore Anna Ferrieri graduated
briefly in Hollywood, he 1898-1960 Italian in architecture from Milan
designed sets for Cecil B. ^p.255 Polytechnic in 1945. She
de Mille and Louis B. The "shoemaker to the married Giulio Castelli
Mayer. Later, he achieved stars," Ferragamo found the same year and entered
renown when a his vocation early in life, into the family business,
retrospective of his setting up his own studio Kartell, for which she
drawings was shown in in Bonito, Italy, at the age produced plastic furniture,
New York and London. Ferrieri's stacking chair of 14. In 1914, he went to tableware, and modular
for Kartell, 1 986 the US, where he opened storage systems. She set
ESSLINGER, Hartmut a shop in Hollywood. He up her own architecture
1945- German visited the US to study was appalled by the poor office in 1946, and from
Ford's production methods. quality of mass-produced 1959 to 1975 worked in
Industrial designer Generally associated with shoes and developed his collaboration with
Esslinger founded the classic Italian makers, own method of hand architect-designer Ignazio
frogdesign, an industrial such as Alfa-Romeo and production, working directly Gardella(1905-)on
design consultancy, in Ferrari, he also designed from the wooden last. In furniture and public
Altensteig in 1969. The formass production. In 1927, he returned to Italy, housing. She has received
firm's first client was Wega 1961, the firm was where he continued to numerous awards.
Radio, which was later renamed Pininfarina. produce exciting designs,
bought out by Sony - popularizing the wedge FOLON, Jean-Michel
establishing a presence for FATH, Jacques heel in the 1950s. He 1934- Belgian
frogdesign in the Japanese 1912-54 French Neiman-
received the Illustrator and graphic
market. Esslinger opened Trained at drama school, Marcus Award in 1947, artist Folon has produced
an office in Silicon Valley, Fath worked briefly as an the year he invented the drawings for various
California in 1982. His actor before establishing a "invisible shoe." American journals,

464
 ERTE-FUKUC

xhibited at the FRANCK, Kaj FRUTIGER, Adrian

Milan Triennale 191 1^89 Finnish 1928- Swiss
in 1940. An important ceramics and ^p.364
Famous for his glassware designer, Franck Graphic designer FVutiger
black-and-white worked for both Arabia earned his reputation m
trompe-Voeil pottery and Xuutajarvi 1957. when he launched
designs, his glassworks (absorbed by the versatile Univers
most celebrated YYai'tsila in 1950) between typeface. Creator of more
commission is 1945 and the late 1970s. than 20 typefaces, he has
the Casino. San Through his work, such also worked on signage,
Remo (1950). as the revolutionary Kilta including Charles de
including Time, Fortune, tableware line (1952), Gaulle airport, and
Paris,

and The New Yorker. His FORTUNY Y he promoted a distinctly as a consultant for IBM,
work, which highlights MADRAZO, Mariano utilitarian aesthetic. for which he developed
human alienation in a 1871-1949 Spanish both typewriter and
technological environment, Working with hand-dyed FRANK, Josef computer faces.

has also been used and velvets, artist and

silks 1885-1967 Austrian
extensively in posters dressmaker Fortuny made Austrian- born designer FUKUDA, Shigeo
and advertisements. stunning aesthetic-style Frank became a lecturer at 1932- Japanese
and capes.
dresses, coats, the Kunstgewerbeschule, The witty posters, mosaics,
FORD, Henry His most famous garment Vienna, in 1919. Between and sculptures of Shigeo
1863-1947 American is the Delphos dress (1909), 1925 and 1934, he ran an Fukuda all demonstrate
for which he employed his company
interior design his playful approach to
Apprenticed to a machinist patented pleating method. called Haus und Garten. design. He achieved
in Detroit in 1878. Ford had The body sheathing dress Moving to Sweden in international acclaim for
produced his first gasoline- maintained its pleats 1934, he joined Svensk his posters and signage for

driven car by 1895. In 1903, when twisted into a knot Term, where he designed the Osaka World Expo in
he founded the Ford Motor for storage. textiles, furniture, and 1970,and since then has
Company. The hugely wallpaper. He was an early exhibited inmany group
successful Ford Model T FOSTER, Norman exponent of the Swedish and one-man shows
(see above) of 1908 was 1935- British Modern movement. throughout the world.
the first car to be mass ^p.330
produced on the assembly Foster is best-known as Work by
station
line. The emphasis shifted a high-tech architect, Norman and
Foster
from function to styling reponsible for the Tecno, 1983
with the introduction of Sainsbury Centre for the
the streamlined V8 in Visual Arts, University of
1932. Ford was eventually East Anglia, Norwich
succeeded by his son and Hong Kong and
(1978); the
grandson. Shanghai Bank, Hong
Kong (1979-85); and the
FORNASETTI, Piero new Reichstag building.
1913-88 Kalian Berlin (1995-99). He also
Fornasetti is recognized designed the Nomos set
for his individualistic of office furniture (1983-87)
decoration. He collaborated with Tecno (see right),
on a number of projects which has been used for
with Gio Ponti (see p.480). the chancellor's office in
after Ponti saw his work the new Reichstag.

465
A-Z OF DESIGNERS

FULLER, Richard of stylized images and designer in 1976, creating Mobil Oil logo (1964)
Buckminster type. His more commercial ready-to-wear lines as and Xerox logo (1965) are
1895-1983 American designs include symbols for well as his own exclusive among his works, as well
Radical architect and the 1951 Festival of Britain label. His work, which number of exhibition
as a
inventor Fuller trained in (designed in 1948), and often utilizes unusual advertisements. In 1985 he
mathematics at Harvard BBC television (1952). materials, reveals the received a Presidential
and then at the Naval influence of London street Design Award for his

Academy, Maryland, where GATTI, PAOLINI, Punk.

style, particularly standardized transportation
he began to develop his TEODORO Gaultier has produced related symbols.
humanistic design concepts. Established 1965- Italian glamorous, nonconformist
His extensive research z^p.66 wear for men. GIACOSA, Dante
resulted in the Dymaxion This design association was 1905-96 Italian
house (1927) and car (1933). founded by the Italian trio GEHRY, Frank O. ^p.3/6
His foremost invention was Piero Gatti (1940-), Cesare 1929- Canadian One of Italy's greatest car
the geodesic dome, which & pp. 66-67 designers, Giacosa joined
served as a model for An internationally active Fiat in 1930. His Fiat
future exhibition domes. and designer,
architect 500A, launched in 1936,
Gehry has been prolific was the basis for several
since the late 1970s. He variations on this small
studied architecture at the car. He also created the
GALLIANO, John University of California Fiat 124, 128, and 130.
1961- British and Harvard Graduate
Gibraltan-born fashion School of Design, setting GILL, Eric
designer Galliano graduated up on his own in 1962. 1882-1940 British
from London's St. Martin's Characterized by irregular, ^p.363
School of Art in 1983. In layered shapes and Letter- cutter, illustrator,
his early collections, ethnic volumes, his buildings typeface designer, and
influence blended with have been termed writer, Gill studied at
his technique of spiral uinness deconstructivist. The fish Chichester School of Art.
tailoring. When Hubert is a recurrent theme, used and later under Edward
de Givenchy retired from in 1983 for his fish light, Johnston (see p.471). After
his Pans couture house Poster by Games, 1 958 and in his Fish Dance becoming involved with
in 1995, Galliano became restaurant in Kobe, Japan, the Roman Catholic Church
the first British fashion Paolmi( 1937-83), and 1987. The Vitra Design in 1913, he produced many
designer to head a French Franco Teodoro (1939-). Museum in Germany religious illustrations.
couture house. They acquired early (1989), and the Pito kettle During the 1920s, Gill
recognition with their (1988, see right) are among was commissioned by the
GAMES, Abram Sacco beanbag seating his works. Monotype Corporation,
1914-96 British (1968-69). for whom he produced
^ pp. 123, 399 GEISMAR, Thomas the typefaces Perpetua
A leading Modernist GAULTIER, Jean- 1931- American (1925-30) and Gill Sans
graphic designer, Games Paul Geismar is most commonly (1928-30).
is remembered for the 1952- French associated with New York
posters he produced for the & pp.] 86-87 graphic design consultancy GIUGIARO,
War Office during
British After early contact with Charmayeff & Geismar Giorgetto
World War II. His ideal fashion designer Pierre Inc., which he co-founded 1938- Italian
of "maximum meaning, Cardin (see p.458), in 1960. Best-known for A prolific contributor to
minimum means" is Gaultier established corporate identity and international car design.
expressed in the cohesion himself as a freelance exhibition design, the Giugiaro has produced

466
 FULLER-GROPI

over 100 designs for several member of the group of

major manufacturers. In architects known as the

1968. he set up Ital Design. "New York Five." His

One of the ears the many buildings include
company worked on was the Public Services
the Volkswagen Golf Building in Portland,
(,1974). Giugiaro's consumer Oregon (1982) and the
products include appliances Disney World Dolphin
for Sony cameras for Nikon, Hotel (1989). Among his

and lighting for Luci. most celebrated pieces are

the Plaza dressing table
GIVENCHY, Hubert for Memphis (1981) and
Taffin de the Kettle with a Bird
c :~-
"

French Whistle for Alessi (1983).

One of the most highly

respected fashion designers GRAY, Eileen
toemerge from Paris. 1878-1976 British

Givenchy studied at the ^p.68

Ecole des Beaux- Arts and This Irish-born architect
Frank Gehry's Pito kettle for Alessi, 1988
went on to work for the and designer studied at

couture houses of Fath. an international AIDS early creations include the Slade School of Art
Lelong. Piguet. and symbol for the World household appliances for in London from 1898 to
Schiaparelh. In 1952. he Health Organization. Kenwood and the 1959 1902, then moved to Paris.
established his own house, Brownie 44A for Kodak. There she developed skills

designing traditional, GOLDMAN, He co-founded the design in Japanese lacquerwork.

elegant garments. He Jonathan consultancy Pentagram Gray's production of
created Audrey Hepburn's 1959- American in 1972. In the 1980s, he geometric furniture in
wardrobes for the films ^p.89 was influential in Japan, aluminum and glass, such
Funny Face (1956). and Founder of the design designing bathroom as her 1927 table, earned
Breakfast at Tiffany's consultancy GoldmanArts fixtures for Inax and her much respect for her
(1961). and later expanded in 1986. Goldman has sewing machines for contribution to theModer
into the readv-to-wear been described as an Maruzen. One of his most movement. Between 1926
clothing market. environmental sculptor. recent innovative products and 1929, she designed a
His novelty items include is his Silk Effects razor house in France for the

GLASER, Milton an inflatable Sawtooth forwomen, developed for architect Jean Badovici
1929- American lamp (1980s), and a 300- Wilkinson Sword and (1893-1956).
foot (91 -metre) ribbon for launched by Schick in 1994.
Illustrator and graphic the opening of the Trump GROPIUS, Walter
designer. Glaser co- Taj Mahal Casino. Atlantic GRAVES, Michael 1883-1969 German
founded Pushpin Studio. City, in 1990. 1934- American pp.19. 146-47
New York, in 1954 with PP. 128-29 A leading figure in moder
Seymour Chwast and GRANGE, Kenneth A key protagonist of post- design, Gropius establishe(
Edward Sorel. Although 1929- British modernism, Graves has the Bauhaus, the most
he is often associated with ^pp.8, 136. 183 been active as an architect influential design school
1960s' psychedelic graphic A London-based industrial and industrial designer. He this century. He assisted

design, he also created the designer. Grange advocates graduated in architecture Peter Behrens (see p.454)
Twergi range of kitchen- that the design of a from Harvard University from 1908 to 1910, becam<
ware for the Italian design product should be intrinsic in 1959. From the late a member of the Deutsche
group Alessi. and in 1987. to its manufacture. His 1960s until 1977, he was a Werkbund in 1910, and in

467
A-Z OF DESIGNERS

in Paris. Inspired by the for the porcelain factories

style of the Belgian Victor Borstand (1917-24) and
Horta (1861-1947), he Karlskrona (1917-33).
produced architecture,
interior designs, and HAMNETT, Katharine
Lurelle Guild's GUGELOT, furniture. Many of the 1948- British

bowl, 1934 Hans buildings featured cast A fashion designer whose

920-65 Dutch iron. Florid, curvilinear collections take inspiration

1911 was one ^p.102 forms found m his from utilitarian workwear,
of the first An industrial entrances for the Pans Hamnett founded her own
to adopt the designer Metro system (1900) typify company in 1979 after
International Style and architect, the style that is simply freelancing for various
with his Fagus factory at Gugelot was an influential known as "Guimard." foreign firms.
Alfeld in Germany. figure in reviving the

Director of the
schools of fine and applied
Weimar functionalist ideology of
the Bauhaus after World
War Educated in
H
HAFNER,
arts, he combined them in II.

1919 to form the Bauhaus, Switzerland, he moved to Dorothy

an exponent of unified Germany in 1954, where 1952— American
arts. When it relocated to he became a designer for & pp. 148-49
Dessau in 1925, Gropius Braun. His chief works Primarily a ceramicist,
designed the new building. include Braun's Phonosuper Hafner's work is

He resigned from the record player (1956). From characterized by a lively,

Bauhaus in 1928 to 1955 to 1965, he was head graphic style and vibrant
concentrate on his own of product design at the colors. These are shown
architecture and design Hochschule fur Gestaltung in her Boundabout
practice. Nazi criticism in Ulm. punchbowl and ladle (see

forced him
England in to right). A number of her

1934, where he designed GUILD, Lurelle Van pieces have been produced
furniture for Isokon. In Arsdale by Bosenthal Studio Line.
1937, he emigrated to the 1898-c. 1986 American
1 S. He taught at Harvard ^p./22 HALD, Edvard
and, in 1945, founded The Although he began his 1883-1 980 Swedish
Architects' Collaborative career in theatrical design, ^p.79
(TAG) in Cambridge. Guild is best-remembered Hald's association with the
Hafner'sRoundabout
Massachusetts. for his industrial products. famous Swedish glassworks punchbowl, 1986
Among the most important Orrefors began in 1917, and
GRUAU, Rene is the Electrolux vacuum continued for the rest of his She is famous for bringing
1910- Italian cleaner (1937). He life, including time spent as political and ecological
/^p.267 produced several products its managing director. At issues to the forefront
After an international for the Chase Brass and the 1925 Pans Expo, Hald of fashion.
education, Gruau settled Copper Co. (see above). won a grand prize for his
in Paris after World War work. Embracing the HANDLER, Laura
II. He contributed regular GUIMARD, Hector features of Swedish Modern 1947- American
illustrations to Vogue, but 1867-1942 French design, his engraved wares, £>p.84
turned to poster design as & op.l 4, 58 some of them colored, Active as an industrial
fashion magazines began A key proponent of Art reveal a controlled, designer in Italy, as well
to make increasing use Nouveau, Guimard studied traditional influence. He as her native US, Handler
of photography. at the Ecole des Beaux-Arts also worked as a designer has created designs for

468
 GRUAU-HOGLUr

s a Vivian, and as well as producing silver- HILTON, Matthew Koloman Moser (see p.476),
other Milan based manu- and metahvare for various 1957- British and arts patron Fritz
facturers. She received an manufacturers. ^p.73 Warndorfer set up the
award from 2D magazine Best-known for his Wiener Werkstatte (see
tor her Cat's Eye candle- HEIBERG, Jean Antelope (1987) and His architectural
p. 16).
holder (Design Ideas. 19° ! 1884-1976 Norwegian Flipper (1988) side tables achievements include the
with animal legs, Hilton Purkersdorf Sanatorium
HAUSTEIN, Paul Heiberg*s training was as also designed high-tech (1904-05) and the Palais
5c;- c
— German a painter, first in Munich, products for the London- Stoclet in Brussels
and then under Matisse, based design group CAPA. (1905-11), on which he
Active predominantly as whose influence is He established his own collaborated with Gustav
an enameler. Haustein studio in 1984. Klimt (see p.472).
also worked as a Furnishings for both
HOFFMANN, Josef buildings were created by
Franz Maria the Wiener Werkstatte.
1870-1956 Czech/Austrian Hoffmann also produced
learlv visible in & pp.] 8-/9, 57, 78, designs for other leading
is paintings. He 162^63 Viennese firms, including
was commissioned Architect and designer J. & J. Kohn and Lobmeyr.
<•
by the Swedish Josef Hoffmann trained
company L.M. as an architect under Otto HOGLUND, Erik
Ericsson to produce Wagner (1841-1918), with 1932- Swedish
a telephone design. whom he worked between pp.84, 15*5-57
was instigated in
It 1896 and 1899. A founding Glassware designer
1951 and remained member of the Vienna Hoglund was employed at
internationally the Secession (1897), he Bodafrom 1955 to 1973.
most common design organized one of its early His designs include
until the 1950s. exhibitions. In 1905, anthropomorphic candle-
inspired by the work of holders and vases, bowls
HENNINGSEN, Charles Rennie Mackintosh engraved with primitive
Poul (see p.474) and C.R. Ashbee figurative drawings, and
895-1967 Danish (see p.455), Hoffmann, hand-blown vessels with
^ PP .8f3-87
Henningsen's PH ceiling,
wall, and table lamp line : „.

(1924), produced by Louis

Poulsen & Co. is his most
celebrated work, although
he had won many prizes
ceramicist. metalworker, for earlier lighting designs.
graphic and furniture He initially trained as an
designer. He was a co- architect, and later
founder of the Darmstadt supported modernism
artists" colony in Germany while employed as editor
in 1905. where he created of the magazine Kntisk
silverware. From 905 1 Revy (1926-28). His
until his death, he taught architectural works
metalwork at the School include restaurants,
of Applied Art in Stuttgart theaters, and houses. Brass box by Josef Hoffman, 1915

469
A-Z OF DESIGNERS

irregular she opened a INDIANA, Robert Britain in 1922. After

bubbles (see boutique called 1927- American training as a engineer in
right). Hoglund': Biba,which ^ pp.38, 270 London, he worked as a
approach was marketed a look Artist and designer Robert draftsman at Rootes
unique in that that typified the Clarke renamed himself Motors in Coventry. In
it challenged 1960s. In 1969, home state. His
after his 1936, he joined Morris
the fashion for Biba took over most famous work, shown Motors. Oxford, for which
more formal an Art Deco in his first one-man he designed the Morris
glassware. building on exhibition in New York Minor (1948) and the
Kensington (1962), is based on the celebrated Morris Mini
Decanter by Erik
HOHLWEIN, High Street. word LOVE. The words (1959). The Mini, with its

Ludwig Hoglund, 1950s London. tmv wheels, transversely

It is HUG, ERR, and EAT
1874—1949 for this chic have also inspired works. mounted engine, and
German store, with its all-black front-wheel drive, was
^p.397 interior, that Hulanicki IOSA GHINI, a radical departure from
Hohlwein studied is best remembered. Massimo conventional car design.
architecture in Munich 1959- Italian
before abandoning this A designer of graphics J
discipline to become a
IE, Kho Liang and objects, Iosa Ghini has JACKSON, Dakota
poster artist. In his early produced furniture designs
1927-75 Dutch 1949- American
work, including a series for companies such as
^p.J94 ^p.67
of posters for the Munich Architect and designer Moroso (see below) and In the early 1970s, Jackson
sports tailor Hermann Kho Liang Ie trained at Memphis. Since 1985, he was commissioned bv
Scherrer. he established has acted as a consultant
the Bietveld Academy Yoko Ono to design some
a characteristic style that to RAI, the Italian broad-
of Arts, the Netherlands. furniture for John Lennon.
varied little over the casting service, and in
Later, he produced Since then, he has manu-
next 40 years. His use 1988 designed the Bolidio
furniture designs for the factured his own furniture,
of bold type, asymmetry,
Dutch company Artifort. discotheque in New York. including the 'vik-ter
and large blank areas was
His commissions have range (1991).
influential on the work
included the interior ISSIGONIS, Alec
of Mcknight Kauffer (see
of the Schipol Airport. 1906-88 British JACOBSEN, Arne
p.472). Hohlwein created
Amsterdam, and two ^p.3I7 1902-71 Danish
more than 3,000 posters
rooms for the London Born in Turkey ^pp.35, 63, 160
during a career that
home of Sir Robert Issigonis Born in Copenhagen,
spanned two world wars.
and Lady Sainsbury emigrated to Jacobsen trained as
an architect before
HULANICKI, Barbara opening his
1936- Polish/British
own practice
Of Polish descent,
in 1930.
Hulanicki moved to
Britain in the 1940s. After
studying at Brighton Art
College, she worked brieflv
as a fashion illustrator. In
1963, she started a mail
order fashion business
aimed at teenagers.
Encouraged by the
response to these designs, New-tone sofas for Moroso by Massimo

470
 hohlwein-k>

Influenced by the work designed a large proportion Johnston also published a where he developed this
of Gunnar Asphmd (see of the company's output. classic calligraphy book, approach. He has also
e Corbusie]
I
- including jewelry, candle- Writing & Illuminating & worked in video productioi
p.4~4\ and Mies van der sticks, tea and coffee sets, Lettering (1906). and acted as a consultant
see p.475), he was cutlery, and other luxury to Fiorucci.
an earlv exponent of the items. By 1924. Jensen JONES, Terry
Modern
He worked
style in
as
Denmark.
an architect
had outlets in Berlin,
Paris. London, and New
194^- British

Jones worked on Good K

KAGE, Algot
and product designer, York. When he retired in Housekeeping magazine
creating furniture for Fritz 1926. his family took over before becoming art Wilhelm
Hansen and tableware for the firm. 1889-1 960 Swedish

Stelton (see right), among Trained as a painter,

others. He earned wide JENSEN, Jakob Kage joined the Swedish
acclaim for the SAS Hotel. 1926- Danish Ceramic Company in
Copenhagen (1956—60). ^p.!02 Gustavsberg in 1917.
Jensen graduated from and There, he introduced a
JEANNERET, Pierre went on to become chief line of heat-resistant and
1896-1967 Swiss designer for the stackable dinner sets,

Pierre Jeanneret. cousin of Copenhagen School such as Pyro and

Le Corbusier (see p.474). of Arts. Crafts, and Praktika (1930s); as
moved to Paris in 1920. Design, working j
well as more eleganl

Together they designed under Sigvard ! and decorative piece

various villas in the Bernadotte from
:
in the 1940s.

Parisian suburbs, before 1952 to 1959. In

teaming up with Charlotte 1961. he set up a KAMALI, Normc
Pernand (see p.479) to design consultancy; \ 1945- American
create the company's iconic by the late 1960s, | Inspired by London
tubular- steel - framed his clients included I designers like
furniture. Jeanneret Bang & Olufsen. for 1 Barbara Hulanicki
produced some designs which he designed (see p.470), Kamali
independently, such as the sleek Beogram opened a shop selling
the Scissor Chair (c.1947)
* imported European
4000(1972).
for Knoll. After World fashions in 1967,
War he collaborated on
II. JOHNSTON, Edward Arne Jacobsen's quickly introducing her
projects with Jean Prouve 1872-1944 British Cylinder line ice bucket own line. In 1978, she
(see p. 480). as well as & pp. 360-61 for Stelton, 1 967 established OMO (On My
continuing his association Calligrapher and professor. Own), the showcase for hei
with Le Corbusier. Johnston is best-known for director of the British innovative garments. She
his tvpeface design for Vogue. His Not Another popularized the use of
JENSEN, Arthur London Lnderground Punk Book, produced sweatshirt fabric and Lycra
Georg (1915): its geometric forms in 1977, represented a for everyday wear.
1866— '925 Danish perfectly complemented turning point in his
26-27. 268 the 1950smap designed career. In this title, he first KAN, Shui-Kay
Early in the century. bv Henrv Beck (see p.454). employed instant design, 1949- British

Jensen established The sans serif alphabet using collage, photocopied Born in Hong Kong, Shui
the famous silver companv served as a model for Gill distortions,and typewriter Kay Kan studied and still

name.
that bears his Sans, the face created bv print to convey a sense of works in Britain. In the

Together with Johan his former pupil Eric Gill energy. In 1980, he mid-1970s, he established
Rohde (1856-1955). he in 1928 (see p.466). launched i-D magazine, SKK Lighting. He is

471
A-Z OF DESIGNERS

greatly influenced KIESLER, Frederick 1965. He worked with

by major artistic c. 1890-1 965 Austrian Sottsass on the design of
movements, such An architect, sculptor, the Valentine portable
as cubism, Art and designer of furniture, typewriter (1969). In
Deco, vorticism, stage sets, and interiors, collaboration with Spaniard
and surrealism. Kiesler is best-known for Santiago Miranda (1947-),
his biomorphic designs, he designed typefaces for
KAWAKUBO, including Two-Part King-
Olivetti. In 1975,

Rei Nesting Tables (1935-38). Miranda became a formal

1942- Japanese In 1923, he joined the De partnership, concentrating
Having studied group and, in the
Stijl on furniture, lighting, and
literature at Keio same year, developed the graphic design.
University, Tokyo, blueprints for his Endless
Rei Kawakubo joined House, which although KJAERHOLM, Poul
the textile company never realized was 1929-80 Danish
Asaki Kasei. She nevertheless influential Although he is known
founded Comme for both architects and mass-
for his designs for

NATURAL des Garcons in 1969.

Her unconventional
artists.

moved
In 1926, Kiesler
to the US where
produced furniture,
Kjaerholm trained in the
HISTORY clothing, including
wrapped, loosely
he continued to work on
a variety of projects.
traditional craft of cabinet-
making. A proponent of the
SOUTH KENSINGTON structured garments, late International Style,
is based on Japanese KING, Jessie Marion he employed chromium
Poster by Kouffer, 1 922 workwear and 1875-1949 Scottish and tubular steel in his
ceremonial dress. ^p.390 furniture designs, which
interested in new lighting King is known primarily were made by Ejvind Kold
techniques and has KENZO, (Kenzo for her book illustrations. Christensen and Hellerup.
produced low-voltage and Takada) Her name, together with among others.
motorized systems. His 1939- Japanese that of Mackintosh (see
1988 Motorized Robotic Kenzo was one of the p.474), is linked with the KLEIN, Calvin
Light was installed in the first male students to be Glasgow School. From 1942- American
London Design Museum. admitted to the leading 1905, she designed Inspired by Yves Saint
Tokyo fashion school, silverware for Liberty, and Laurent (see p.484), Klein
KAUFFER, Edward where he was awarded a fabrics and wallpaper for set up in business in 1968,
McKnight prestigious prize in 1960. other clients. Inspired by specializing in classic
1890-1954 American/British In 1965, he moved to Paris, Leon Bakst's drawings for designs in natural fabrics.
^p.397 designing for various the Ballets Russes, she His name is associated with
Edward Kauffer adopted fashion houses before integrated bright hues jeans,which throughout the
the name McKnight in establishing his own shop, into her pastel palette. 1970s were sought after bv
honor of the professor who Jungle Jap, in 1970. Taking the label-conscious. Klein is

sponsored his visit to Paris inspirationfrom Japanese KING, Perry A. also known for his perfume,
in 1913. In 1914, he moved and ethnic costume, Kenzo 1938- British furs, shoes, and underwear.
to the UK, gaining his first adapted the dramatic shapes ^p.342
commission as a poster and bright colors to suit An industrial designer, KLIMT, Gustav
designer from London Western tastes. By 1985, his King undertook various 1862-1918 Austrian
Underground in 1915. His international reputation projects for Olivetti and
prolific output for clients was well established with Praxis in Milan before Painter and designer Klimt
including Shell and shops in London, New teaming up with Ettore studied at the Vienna
London Transport was York, and Milan. Sottsass (see p. 485) in School of Arts and Crafts.

472
 KAUFFER-LAUR

ami was one of the KOPPEL, Henning to furniture design won a. id since 1984 lias also
founders of the Vienna 1918-81 Danish him acclaim in the 1970s. worked under his own
ssion. He combined Koppel trained as a His minimalist designs. name, producing 16
the stylized shapes of sculptor in Denmark executed in industrial collections a year.
symbolism with rich, before World War I. but materials, such as metal-
deeorat ive backdrops during the Occupation he mesh (see below), steel LALIQUE, Rene
inspired by Art Nouveau. worked in Stockholm for and Plexiglass
cables, 1860-1 945 French
the Orrefors glassworks. On combine Japanese severity An important designer
KNOLL, Florence his return to Denmark in with the softer elements known for his figurative
Schust 1945. he began his long of Western design. jewelry in unusual
1917— American association with Georg Important works in the combinations of base
Jensen (see p.471). For field of interior design metals, stones, and
A furniture designer. Knoll Jensen he produced some include a series of enamel, and later for his
was greatly influenced bv of his finest designs — boutiques for fashion glassware. He established
the Saannens (see p.485). elegant, sculptural jewelry, designer Issey Miyake Cristal Lalique in 1909,
In 1945. she joined Hans flatware, and hollowware. (see p.476) and the Seibu from where he created
Knoll ( 19 14-55) in his He produced ceramics for store, Tokyo (1987). vases, bowls, perfume
furniture business, where bottles, lighting, and
she headed an interior other decorative glass
design service for Knoll designs produced by
customers. With her molding methods. He
financial backing, thev was particularly prolific
formed Knoll Associates in producing glass, often
(now Knoll International) for architecture, between
The eompanv
in 1946. the wars.
manufactured many
furniture classics, including LAND, Edwin Herber
designs by Bertoia (see 1909-91 American
p.455'. Mies van der Rohe ^p.286
(see p.475). and Saarinen. Physicist and businessman
as well as Florence Knoll. Edwin Land was educated
at Harvard University.
KOMENDA, Erwin How High the moon by Shiro Kuramata, 1986-87 He is credited with the
1904-66 German invention of the Polaroid-
^ pp.3 14. 320 Bing Grendahl from 1961 Land instant print-
An automobile engineer. and glassware for Orrefors L processing camera in 1947.
Komenda was a designer from 1971. LAGERFELD, Karl and the Polaroid-Land
forDaimler-Benz before 1959- German SX-70 in 1972, an instant
joining Ferdinand KURAMATA, Shiro A fashion designer best- color processing camera.
Porsche's Stuttgart office 1934-91 Japanese known for his flamboyant
(see p. 480) in the 1950s. t&pAQ evening wear and fur coats, LAUREN, Ralph
He was responsible for Kuramata worked for the Lagerfeld has been 1939- American
the styling of the original Teikokukizai furniture predominantly active in Born Balph Lipschitz,
Volkswagen Beetle (1959). factory- and the interior Paris. At the age of 14, Lauren had no formal
and the series of Porsche design departments of he began working for the training, but has become
cars that commenced several major Tokyo stores couturier Balmain, and one of the most successful
with the Type 556 (1949) before setting up on his later for Patou. In 1985. fashion designers in the
and ended with the Tvpe own in 1965. His he became head of I
S. Combining American
911 (1965). unconventional approach Chanel's ready- to -w ear,
r
prairie style with English

473
A-Z OF DESIGNERS

tailoring, he creates a 1914—24, in collaboration LOMAZZI

relaxed but elegant finish. with German artist Hans See de Pas, d'Urbino,

His menswear was for

first Arp (1887-1966). lomazzi
his company Polo in 1968.
Ithas since expanded into LLOYD, Marshall B. LYSELL, Ralph
womenswear. 1858-1927 American 1907- Swedish
^p.60 ^p.226
LE CORBUSIER Lloyd patented a Lysell was the industrial
1887-1965 Swiss twisted craft paper fiber who worked with
designer
An instrumental strengthened with wire Hugo Blomberg (see p. 455)
figure in 20th-century that imitated the on the development of the
architecture and design, appearance of wicker. Ericofon telephone (1940s).
Charles-Edouard Put into production by
Jeanneret-Gris adopted the
pseudonym Le Corbusier
in the 1920s. His first
the furniture
Lloyd Loom,
company
method
this
of creating inexpensive
M
MACKINTOSH,
major piece was the Schwob furniture became very Charles Rennie
house in Switzerland popular during the 1920s 1868-1928 Scottish
(1916). It indicated the and '30s. &PP.4, 56, 138, 162,
purist, austere direction 192,328
of modernism, setting the LOEWY, Raymond Mackintosh was a leading
Magnussen's protagonist of Art Nouveau
style for his future works. 1893-1986 French/American
Thermos, 1977
In 1922, he set up an ^ pp.1 15, 139, 283, 350 architecture in Britain.
architectural office with Loewy is often heralded His work is unique in its
his cousin Pierre Jeanneret works are in
earlier as the originator of the combination of geometric
(see p.471). His book, Vers keeping with the Polish industrial design Celtic design and Japanese

Une Architecture (1925), school of design, his later profession in the US. He decoration and shows the
provided some of the works, such as the film studied engineering in influence of the Arts and
fundamental theories of Adam 2 (1969), reveal Paris, then emigrated to Crafts Movement. Born
modernism, which were a psychedelic influence. New York, where he and educated in Glasgow,
embodied in his Villa flourished as a designer. it was there that he

Savoye (1929-31) in USSITZKY, Lazar His redesign of the 1929 executed one of his most
France. Mainly concerned Markovich Duplicator 66 for Gestetner, definitive architectural

with urban design, he 1890-1941 Russian the establishment of projects, the Glasgow
also produced furniture, ^p.394 Raymond Loewy Associates School of Art (1898-1909).
and is particularly known An innovative typographer, in the same year, and the In his early years, he often
for his range of Confort architect, and designer, design of the 1934 worked in collaboration
armchairs and sofas Lissitzky followed Coldspot Super Six fridge with his wife, Margaret
during the late 1920s. constructivist ideology. for Sears Roebuck earned Macdonald (1865-1933),
He was a key figure in him early respect. His her sister, Frances
LENICA, Jan adapting these theories streamlined 1937 Macdonald (1874-1921),
1928- Polish to graphic design and Si locomotive for the and J. Herbert MacNair
^p.403 internationalizing them Pennsylvania Railroad (1868-1953) as members
A graphic designer, Lenica through his teaching and Company and the US of the Glasgow Four. In
studied architecture in traveling. He taught at Greyhound bus helped 1900, the group exhibited
Warsaw. In the 1950s and VHkUTEMAS, the transform the image of at the eighth Secession
'60s, he designed posters Moscow design institute American transportation. exhibition in Vienna. His
and experimented with he
(see p.23). In 1925, In the 1960s, he designed architectural works were
film animation. While his produced The Isms of Art for NASA. all in Britain.

474
 LE CORBUSIER-MIES VAN DER RO

MAGISTRETTI, Vico retained his exclusive In 1920, he founded the MELLOR, David
1920- Italian image by refusing the Unovis group, of which 1930- British

P .88 mass production of any Lissitzky (see p.474) was ^pp.3, 139
An architect and designer. of his designs. also a member. Later, he Leading British kitchen-
Magistretti benefited diverted to product design, ware designer Mellor
from Italv's postwar MAJORELLE, Louis as well as architecture. studied in Sheffield, when
reconstruction, opening 1859-1926 French he founded a workshop
a studio in the 1950s. ^p./93 MARI, Enzo in 1954. He is widely
He developed the Selene A leading exponent of Art 1932- Italy respected for his modestly
chair from ABS plastic for Nouveau, Majorelle has ^p.339 simple but elegant designs
Artemide in the 1960s. become synonomous with Man promoted the for everyday use. He won
providing a new look for the School of Nancy He importance of communi- an award in 1957 from the
Italian plastic goods. His inherited his father's cation through design. Design Council for his
range of Sinbad chairs furniture business in 1879, A prevailing interest in celebrated Pride cutlery
and sofas for Cassina updating the traditional children's games began
mphasize the styling of its products, with a wooden puzzle he MENDINI, Alessandrc
importance of structure. and finishing them with created for Danese in 1957. 1931- Italian
naturalistic marquetries. He continued to work £> pp.66, 221
MAGNUSSEN, Erik Mass produced at low cost, with Danese, After studying
1940- Danish these designs were experimenting architecture in Milan.
Magnussen studied with ABS Mendini worked for
ceramics before Marcello Nizzoli
establishing his own (see p.478). He
workshop, producing expounded radical
lighting, kitchen- design as editor of
ware, and furniture. the Italian magazine
His line of containers Casabella (1970-76). He
for Stelton (1977. see has produced furniture for
left) were designed to plastics and producing the design group Alchimia
be entirely functional. After kitchen products (see shown at the Milan
From 1978. he was his factory above). He also created Furniture Fair (1981),
employed at the was destroyed the 1972 Sof Sof chair. and silverware for Alessi.
Georg Jensen bv fire in

Solvsmedie. 1916. Majorelle's MARX, Enid MIES VAN DER

success dwindled. 1902-93 British ROHE, Ludwig
MAINBOCHER Inspired by the patterns of 1886-1969 German
1891-1976 American MALEVICH, Kazimir wood engravings, Marx ^p.59
Born Main Bousseau Severinovich became a prolific fabric Mies van der Bohe was
Bocher. Mainbocher 1878-1935 Russian and wallpaper designer. trained by his father as
embarked on his career as pp.22. 145 She is best-remembered for a stonemason, and from
a fashion designer in Paris, Influenced by the her upholstery design for 1908 to 1911 he was
illustrating for Harper's progressive movements of London Underground apprenticed to Peter
Bazaar (1922). He
founded cubism and constructivism. seating (1930s), and was Behrens (see p.454). Many
his own couture house in Malevich was primarily an awarded Boyal Designer of his early architectural
1930. designing classic. abstract artist. His work is for Industry in 1944. concepts featured steel
understated clothing, and characterized by strong She also created Utility and glass, but were only
was the first to create colors against a white furniture (1944-47) and realized in the form of the
boned, strapless evening backgound, a style he book jackets for the British International Style after hi

dresses in 1954. He described as suprematism. publisher Penguin (1950s). moved to the US in 1938.

475
A-Z OF DESIGNERS

In the 1950s, his tubular- and exhibition designer training in design. He featured internationally in
steel furniture was sold from 1928 to 1953, he acted as typographical exhibitions, including the
internationally through the created the sets for the advisor to the British 1987 exhibition in Tokyo.
German maker Thonet- Kroll Opera in Berlin. He Monotype Corporation
Mundus. His Barcelona emigrated to the US in from 1922 to 1967, during MOSER, Koloman
chair (1929) is one of his 1957, setting up a school which time he directed the 1868-1918 Austrian
best-known works. in Chicago based on design of types Baskerville Along with Gustav Klimt
Bauhaus ideologies. (1923), Gill Sans (1928), (see p.472), Josef Hoffmann
MIRANDA, Santiago and Walbaum (1935), later (see p.469), Josef Maria
See Perry King MOLLINO, Carlo using some of these more Olbrich (see p.478), and
1905-73 Italy radical designs while others, .Moser founded
MIYAKE, Issey & pp. 164, 194 working for the publisher the Vienna Secession in
1938- Japanese Mollino graduated in 1931 Victor Gollancz as a book 1897. Trained as a graphic
Educated in graphic design from his architectural jacket designer. In 1922, artist and painter, he was
in Tokyo, and fashion in studies in Turin, proceeding he set up the typographic involved in the launch of
Paris, Miyake founded to design the Turin riding magazine The Fleuron, and the group's journal Ver
couture house Issey Miyake school, Ippica, in 1957. His from 1929 to 1959, acted as Sacrum in 1898. In the
International Inc. in 1971. preference for organic typographic advisor to The same year, he designed the
He was among the first to forms, epitomized by his Times newspaper, creating stained glass and interior
exploit Eastern costume in Arabesque table (1947), new
its face, Times New decoration for the Secession
the West, uniting natural reflect the influence of Roman (1951-1952). gallery,where the members'
fiberswith traditional Spanish architect Antonio work was shown several
Japanese lines. He Gaudi (1852-1926). In the MORRISON, Jasper times a year. Moser created
disregards transient 1980s, a revival of interest 1959- British furniture, ceramic, silver,
fashions in favor of in 1950s' style resulted in #p.149 and graphic designs for
durable designs. the reproduction of many Educated at the Royal the Secession, as well as
of Mollino's designs. College of Art from 1982 pieces for the Wiener
MOHOLY-NAGY, to 1985, Morrison is a Werkstatte, a commercial
Laszlo MORISON, Stanley London-based designer of venture that he set up with
1895-1946 Hungarian 1889-1967 British individual, offbeat items of Hoffmann in 1905.
Forced to abandon his law ^p.364 furniture and accessories.
World War
studies by I, The typographer and type He cofounded NATO MOULTON, Alex
Moholy-Nagy began historian Stanley Morison (Narrative Architecture 1920- British
painting on recovering from did not have any formal Today), creating designs ^pp.299, 3/7
a war injury. He moved to for Vitra and Aram An engineering graduate.
Berlin in 1920, pursuing Designs, among others. Moulton worked as a
an interest in photography. Jasper Morrison's Moon His works have been researcher at the Bristol
After Walter Gropius (see teaset, 1997
p.467) saw his work, he
invited him
to teach at the
Bauhaus. Active as a stage

476
 MIRANDA-NELSC

Aeroplane Company during posters of Sarah Bernhardt, studio in Eschborn,

World War 11. later, he produced from 1894. Over Germany, specializing m
joined his family's rubber the next decade, he appliances and graphics.
manufacturing company, designed posters, magazine
developing rubber covers, packaging, textiles, MULLER-
suspension for cars. In and jewelry - all in a BROCKMANN, Josef
collaboration with Alec richly decorated Art 1914- Swiss
Essigonis (see p.470), he Nouveau style. Between After studying and training
designed the suspension 1905 and 1909. he made in Zurich, Miiller
tor theMini (1959). In several trips to America, Brockmann established
the 1960s, Moulton where he collaborated his own studio in 1936,
developed an innovative on jewelry designs with concentrating on corporate
line of bicycles. Louis Tiffany (see p.486). graphics, posters, and
Returning to his homeland exhibition design. A key
MOURGUE, Olivier in 1922. he produced a figure in the promotion of
1939- French series of 20 murals, Slav Swiss International Style, Muller's Multipress MP5(
Mourgue's colorful, gently Epic, depicting the history he was a cofounder of juicer for Braun, 1 957
curvaceous, biomorphic of Czechoslovakia. the journal Neue Grafik
forms epitomize the
design aesthetic of the
1960s. Trained in interior
MUIR, Jean
1933-95 British
(1958), which championed
this approach. During the
1950s, he received
N
NELSON, George
architecture and the Distinguished fashion international recognition 1907-86 American
decorative arts in Paris, he designer Jean Muir served for a series of concert ^p.230
designed his first prototype her apprenticeship at posters for the Zurich Architecture graduate
chair for Airborne while Liberty, London, before Tonhalle, and also created Nelson won the Prix de
still a student. The Djinn joining Jaeger in 1956. In powerful public health Rome, which funded his
line, which he created 1962. she began to design and safety posters using visit to Europe in 1931.
for Airborne in 1965. was under the Jane & Jane photomontage. From 1966, On his return to the US
used by Stanley Kubrick label, opening her own he worked with Paul Rand in 1933, he became an
in the film 2001: A Space house in 1966. She is (see p.482) as a consultant editor on Architectural
u y. Mourgue has known for her classical, for IBM. Forum, where he was able
also worked on various elegant,and superbly to promote the modernist
domestic projects, comfortable womenswear, MUNARI, Bruno architecture and design
including a mobile studio made up in soft, flowing 1907- Italian that he had witnessed in
(1970). as well as acting materials, such as silk The early work of artist Europe. His Storagewall
as a consultant to Renault and suede.
jersey, crepe, and designer Munari. from of 1945, shown in Life
and Air Prance. In 1985, she was awarded the 1920s and '30s, showed magazine, led to a long
aCBE. a strong futurist influence. association with furniture
MUCHA, Alphonse After World War II, he manufacturer Herman
1860-1939 Czech MULLER, Gerd began designing products Miller, for which he
^p.390 Alfred and toys. In 1957, he executed many designs,
Mucha began as a stage 1932- German created the Cube ashtray, including the unusual
set designer in Vienna, Industrial designer Miiller the first of many products Marshmallow sofa (1956)
moving to Munich in 1885 is best-known for the for Danese. He has taught and the Action Office
and Pans in 1887. Settling kitchen appliances (see atboth Harvard University (1961). Though a
he designed stamps
in Paris, right) and electric shavers and Milan Polytechnic and productive designer,
and posters throughout that he created for Braun written numerous texts, Nelson was perhaps most
the early 1890s. winning between 1955 and 1960. including Design and Visual influential in his writing
acclaim for a series of In 1960, he set up a design (
'ommunications ( 1968). and teaching.

477
A-Z OF DESIGNERS

NIELSEN, Harold and created the Model A designed numerous houses

1892-1977 Danish typewriter, the first in a and exhibition halls, as

t? P .155 line of IBM products that well as textiles, furniture,

Nielsen joined Georg established the company's metal- and glassware.
Jensen's Solvsmedie as an corporate image. Another
apprentice in 1909, where major client was Mobil, OLINS, Wally
he produced the Pyramid for which he designed the 1930- British
flatware service, one of round gas pump in 1964. #p.370
the company's best-selling Noguchi's Radio nurse Olins teamed up with
designs. When Jensen died NURMESNIEMI, Antti graphic designer Michael
in 1935, Nielsen became returning to the US in 1927- Finnish Wolff (1933-) to form the
artistic director, a position 1918. During the 1920s ^p.124 London-based consultancy
that he retained for almost and '30s, he worked as a After studying interior Wolff Olins in 1965. The
30 years. His jewelry and sculptor, visiting Paris in design in Helsinki, company has created
tableware designs are 1927, where he studied Nurmesniemi worked for innovative corporate
characterized by smooth, under Constantine architect Viljo Revell, identityprograms that
unadorned forms inspired Brancusi (1876-1957). His where he designed the have radically transformed
by the Bauhaus. firstmajor product was the interiors of banks, major firms. Important
Radio Nurse of 1937 (see restaurants, and hotels. clients include ICI, Q8,

NIZZOLI, Marcello above), commissioned by On his return to Finland P&O, and British Telecom.

1887-1969 Italian Zenith. Throughout the in 1956, he set up his own When Wolff left the
& pp.341, 356 1940s and '50s, he office. He has produced company in 1983, Olins
Nizzoli began as a painter, developed a distinctive popular designs for became chairman.
later turning to exhibition, sculptural style, producing furniture, household
poster, and textile design. furniture designs for objects — including the OLIVER, Vaughan
During the 1920s and '30s, Herman Miller and Knoll, Finel coffee pot (1957)- 1957- British

he worked with architects and lighting for Akari. His and transportation. His ^p.389
Edoardo Persico (1900-36) celebrated paper and client list includes Artek, A typographer and
and Giuseppe Terragni bamboo lighting designs Merivaara, and Cassina. graphic designer, Oliver
(1904—43) on various have been widely copied. is a prominent figure in
exhibition and interior record sleeve art. In 1981,
projects. In 1938,he was NOYES, Eliot Fette OLBRICH, Josef along with photographer
hired as a consultant by 1910-77 American Maria Nigel Grierson (1959-),
Olivetti, where he became ^p.343 1867-1908 Austrian he formed a design studio
the firm's most influential After studying architecture called 23 Envelope, which
^p.82
product designer. Among at Harvard, Noyes joined Having trained in
was renamed v23 in 1988
his best-known works are the Cambridge office of architecture, Olbrich
when Oliver went
the Lettera 22 portable Walter Gropius (see p.467) worked briefly for the
freelance. He is best-

typewriter (1950) and the and Marcel Breuer (see Viennese architect Otto known for his album
Divisumma 24 adding he became sleeves for independent
p.457). In 1940, Wagner (1841-1918). He
machine (1956), both for a curator at the Museum was a founding member of
record label 4AD
Olivetti. of Modern Art, New York. the Vienna Secession and,
After the war, he joined along with Gustav Klimt
NOGUCHI, Isamu the design consultancy of (see p.472), designed the PANTON, Verner
1 904-88 American Norman Bel Geddes (see Secession gallery. In 1899, 1926- Danish
^ pp.27, 70 p.455), starting his long he was invited by the ^pp.36-37, 64
Born in Los Angeles, association with IBM. In Grand Duke of Hesse to After studying in
Noguchi trained as a 1947, he set up on his own, join an artists' colony in Copenhagen, Panton
cabinetmaker in Japan. retaining IBM as a client, Darmstadt, where he worked briefly with Arne

478
 NIELSEN-PES

Jacobsen (see [1.4701 before Among Patou's clientele of work by Hoffmann to Barcelona in 1978, he
establishing a studio m were actress Mary Pickford (see p.469) and Moser (see created cultural posters
Switzerland in 1955. His and French tennis star p.476). His designs for the for the city council and
work covers the design Suzanne Lenglen. Werkstatte include silver, the regional government
spectrum, including textiles, furniture, of Catalonia.
architecture, textiles. PECHE, Dagobert ceramics, and glassware.
furniture, lighting, and 1887-1 923 Austrian PERRIAND, Charlotte
exhibitions. His most ^p.73 PERET, (Pere Torrent) 1903- French
celebrated design, a After studying archi- 1945- Spanish A graduate in decorative
cantilevered. plastic chair, tecture m Vienna. Peche arts, Perriand exhibited
produced by Herman established himself as Peret began as an her metal furniture at the
Miller from 1967. was a freelance designer in illustrator and graphic 1927 Salon d'Automne,
the first of its kind. 1912. creating wallpaper, designer in Barcelona, where it attracted the
textiles,and ceramics. In moving to Paris in 1970, attention of Le Corbusier
PAOLINI, Cesare 1915. he joined the Wiener where he worked in a (see p.474). It marked the
See Gatti Paolini, Teodoro YNerkstatte. developing an freelance capacity for beginning of their
ornamental style quite Citroen and Air France, productive collaboration,
PAPANEK, Victor distinct from the geometry among others. Beturning together with Pierre
1925-98 Austrian/American Jeanneret (see p.471),
Born in Vienna. Papanek which lasted ten years.
emigrated to the US m Acting as an industrial
1959. where he studied design advisor in Japan
architecture under Frank from 1940 to 1942, she

Lloyd Wright (see p.490). mounted two exhibitions

From 1964. he ran his own on French design. On
consultancy and lectured her return to France, she
widely. Through his continued her association
teaching arid writing, most with Jeanneret, as well
strongly in his book Design as independent work.

for the Real ff'orld (1971).

he criticized designs PESCE, Gaetano
slavery to commercialism 1939- Italian
and the futile waste of Architect, designer, and
resources, winning favor artist Pesce is known for
with the emerging his radical approach to
ecological movement. design. In the early 1960s,
he worked on various
PATOU, Jean experimental projects
1880-1936 French involving programed
After a false start, caused and kinetic art. In 1968, h(
by the outbreak of World began to explore furniture
War I. Patou opened his design, producing the Up
fashion house to immediate series of chairs, made by
acclaim in 1919. Like his B&B Italia in 1969. He is

rival Chanel (see p.459). known for his multi-

Patou realized the disciplinary approach —
marketing potential of his Tramonto a New York,
simple clothing for the a sofa he designed for
increasingly active woman. Italian furniture company
A-Z OF DESIGNERS

Cassina in 1980 is a good Jensen Solvsmedie in 1948. 1930s, becoming its

example of this. Pesce From 1976, he worked in director in 1963. The thick
has worked on projects the hollowware department. materials and vibrant
in Brazil, Japan, Europe, colors that characterize
and the US, as well as PEZETTA, Roberto his work are evident in his
teaching extensively. 1946- Italian bowls and vases (1960s),
Pezetta worked for Zoppas made by Danese.
PETERS, Michael and Nordica before joining
1941- British the domestic appliance PONTI, Giovanni
Design entrepreneur Peters company Zanussi in the 1891-1979 Italian
combines quality design mid-1970s. In 1984, he was
with business acumen. made head of the industrial Since the 1920s, Gio
Mary Quant
He established Michael design section. His best- Ponti has contributed to
Peters & Partners in 1970, known design is the Wizard the icons of Italian design. furniture and lighting,
handling packaging refrigerator (1987). He studied architecture including a line in 1985
designs for clients such atMilan Polytechnic, and for the company Luci.
POIRET, Paul founded the magazine
1879-1944 French Domus in 1928, through PRICE, Anthony
An influential fashion which he promoted 1945- British
designer, Poiret pioneered modernism. He cofounded ^ P .388
the use of the brassiere. a studio in 1927, seeking Educated in fashion at
In returning to the loose to achieve compatibility the Boyal College of Art,
fit of the Empire-line, he between tradition and London, Price was a
freed women from the industrial production. The prolific designer of 1970s'
discomfort of the corset. Pirelli Tower in Milan fashions. He is often
After training at the (1956) is considered to be associated with Bryan
houses of Doucet and his finest architectural work, Ferry and the Rolling
Worth, he opened his own while the Superleggera Stones, for whom he
salon in 1904, designing chair for Cassina (see left) designed costumes, sets,
lines which clearly show has become ubiquitous and record covers. Since
the influence of oriental seating for Italian cafes, 1979, he has worked under
costume. In 1911, he was compromising between his own name, continuing
the first couturier to convention and innovation. contact with media and
Ponti's 699 Superleggera launch his own perfume, rock stars.

Chair,1956 and expand into other PORSCHE,

areas. He greatly Ferdinand "Butzi" PROUVE, Jean
as Winsor & Newton Inks, encouraged creativity and 1935- German 1901-84 French
and Seagram. He is now spontaneity in students, ^p.89, 320-21 Metalwork designer
chairman of a new firm and in 1911 founded the One of three designers in Prouve was the son of
called Michael Peters Ltd. Ecole Martine decorative Victor Prouve (1858-1943),
the Porsche family, the
arts school. grandson of car designer a key figure of the Nancy
PETERSEN, Arne Ferdinand Ferry Porsche School. He opened a
1922- Danish POLI, Flavio (1875-1951), who founded studio in 1923, designing
^p./60 1900- Italian Porsche in 1911, was furniture made of bent
After serving as an t?p.80 nicknamed "Butzi." The sheet steel, suitable for
apprentice in the gold and An award-winning glass- 1963 Porsche 91 1 is his key industrial production. He
silver workshops of C.C. ware designer, Poli joined car design. He established created metal furnishings
Herman, Copenhagen, the glass manufacturer his own studio in 1972, for Le Corbusier's buildings
>on joined Georg Seguso Vetri d'Arte in the and in the 1980s created (see p.474) in 1925, and

480
 PETERS-RAMBO

in 1937. codesigned the of the 1960s. She opened QUISTGAARD, Jens

Roland Garros flying club, her Kings Road boutique. 1919- Danish
acclaimed as the first truly B<i:<utr. in 1955. responding ^p.161 RABANNE, Paco
industrialized building. In to the youthful optimism Educated as a silversmith 1934- Spanish
the 1950s. Prom e explored of the time with reach -to- during apprenticeship to This Spanish-born designei
the possibilities tor mass- wear fashions for teenagers. Georg Jensen (see p.471 ). of avant garde fashions
produced, prefabricated Quant helped popularize Quistgaard cofounded was active in France. Fron
housing, schools, and offices, the miniskirt in the Dansk International 1960 to 1964, he designed
1960s, also introducing Designs with Ted fashion accessories for
PUCCI, Emilio brightly colored tights. Xierenberg in 1954, creating Balenciaga (see p. 454),
1914- Italian Several decades later. mainly table and cookware. Givenchy (see p.467), and
A fashion designer who Quants range has In the same year, he was Dior (see p.462). In 1966,
has concentrated on expanded to include awarded the Limning Prize he launched a renowned
sportswear. Pncci opened makeup, jewelrv. for his enameled cast iron line of bodv jewelry.
Emilio. his own house, in and accessories, many cooking pots, designed for
1950. He created boldly of which feature her the Danish manufacturer RACE, Ernest
patterned, brightly colored trademark daisv motif. De Forenede Jerstoberier. 1913-64 British
silk jersey dresses, as ^p.62
casnalwear for women. His An architect and designer
international status earned of international reputatioi
him the Neiman- Marcus Race took his inspiration
Award in 1954. from 18th-century
craftsmanship. He foundec
PUIFORCAT, Jean Race Furniture in 1946,
1897-1945 French setting a precedent for the
#p. 144 linear look created with
Puiforcat apprenticed to steel rods. This is apparent
his father as a silversmith. in his 1951 Antelope and
and studied at the Central Gazelle chairs, displayed
School of Arts and Crafts at the 1951 Festival of
in London. He founded Britain. In the 1950s and
a workshop in 1921. '60s,he received various
producing clean -lined, awards, including Roval
unadorned silverware Designer for Industry m
with contrasting materials. England 1953, and several
such as semiprecious at the Milan Triennales.
stones and rare wood.
The forms of his later RAMBOW, Gunter
works are based on careful 1938- German
mathematical calculations. £>p.408
Herr Wunderlich dem Herrn Wunderlich

Q
QUANT, Mary
1
Rambow cofounded a
graphic design group with
Gerhard Lienemeyer
1934- British (1938-)in 1960. This
^p.267 was renamed Rambow/
The name Mary Quant Lienemeyer/van de Sand,
become
(see left) has when Michael van di- Sam
synonymous with the Fremdenanost macht einsam (1945—) became a partner.
swinging London scene A poster by Rambow, 1 995 The surreal effects of

481
A-Z OF DESIGNERS

photomontage are evident RAND, Paul in New York, which printed RIE, Lucie
in their award-winning 1914-96 American her famed Manhattan 1 902-95 Austrian
1978 theater poster for £>p.371 wallpaper design (1931). The ceramicist Lucie Rie
a production of Othello. The influential graphic Reeves was inspired by her was born Lucie Marie
The design group also designer Paul Rand extensive travels, including Gomperz. Rich in
created a corporate identity is acclaimed for his Guatemala in 1934
visits to ornamentation, her works
program for the German adaptation of modernist and India in the 1950s. embody the antithesis of
publisher S. Fischer Verlag design philosophies to modernism. She emigrated
(1976-83). suit graphic design. His REICH, Tibor to London in 1938, where
1916-96 Hungarian she established a pottery
RAMS, Dieter iSsiiiCuiuiLL l" 33 This textile designer and button-making
1932- German united his native workshop. Her ceramics
pp.92, 1 02 background with his are recognizable by their
An industrial designer formal education to cross-hatched sgraffito
and architect, Rams achieve a unique decoration, and subtly
played a pivotal role style. His woven colored glazes, or textured
as a designer for the fabrics are inspired white-tin surface. Rie has
German manufacturer Dieter Rams' fan heater by the colored ribbons won various awards, and
of durables, Braun. He for Braun, 1969 of peasant costume, while shown her works at several
joined in 1955, and by showing elements of exhibitions.
1988 was the company's corporate identity program modernism. In the 1930s,
director. Together, Rams for IBM (1956) set a style he settled in England, RIEMERSCHMID,
and Hans Gugelot (see for future trademarks, and producing woven materials Richard
p.468) developed a his influence has also been in Stratford,and also 1868-1957 German
functionalist style (see marked in advertising and printed fabrics from the Progressive designer and
right) that set a criterion editorial design. From 1950s. His theory that architect Riemerschmid
for other producers. Among 1935 to 1941, he directed "nature designs best" was one of the first
his most celebrated works magazines Apparel Arts is visible in his 1957 designers to adjust his work
are the SK4 Record Player and Esquire. His texts Fotexur line of fabrics, to industrial production. In
(1956), and the KM 321 Thoughts on Design rugs,and ceramics. In 1887, he cofounded the
Kitchen Machine (1957). (1947), and Paul Rand: 1966, Reich created the Verninigte Werkstatten
During the 1950s, he A Designer's Art (1985) upholstery for Concorde, fur Kunst im Handwerk,
contributed to new forms are well respected among the first supersonic plane. Munich, producing simple
of lighting, which initiated graphic designers. works in metal. As an
a change in interior design. RHODES, Zandra interior designer, he gained
REEVES, Ruth 1942- British international recognition
RAMSHAW, Wendy 1892-1966 American Rhodes graduated in for his Room of an Art
1939- British A painter and textile textiles from the Royal Lover for the Exposition
Following training in designer, Reeves studied College of Art, London, Universelle in Paris (1900).
illustration and fabric under the artist Fernand in the 1960s. Active as a He designed a variety of
design, Ramshaw Leger (1881-1955) in Paris fashion designer, her work goods suitable for machine
established herself as between 1922 and 1928. reveals the influence of manufacture, including his
a jeweler. She gained She is known for her Pop Art. Combining her Maschinenmobel (1905).
recognition in the 1970s printed fabrics and rugs, own textiles and fashions, Among his architectural
with her designs in which show similarities she creates individual, work is Germany's first
precious metals, and has to her cubist paintings. romantic clothing garden city at Hellerau
since experimented with From 1931, she worked influenced by her travels, (1907-13). He directed the
alternative materials, as a consultant for W. and featuring shells, feathers, Kunstgewerbeschule in
including paper and plastics. J. Sloane's furniture store and zebra motifs. Munich from 1912 to 1924.

482
 RAMS-SABATTI

RIETVELD, Gerrit ROSSI, Aldo designing the Hotel du strictl] geomerj ic. Educated
' 5^-" -o-i Dutch 1931- Italian Collectionneur, which has in Parisand New York, lie
& pp.1 25, 153 been hailed as a high point was active mainly in the
Architect and designer A leading postmodernist in Art Deco design. His US. In the early 1960s, he
Gerrit Rietveld is best- architect and designer, furniture for the Maharajah designed Dulles Airport,
known tor his association Rossi graduated from of Indore in the 1920s and Washington, and the
with the De Stijl movement, Milan Polytechnic in 1959. '30s and his 1930 Soleil TWA terminal at John
which he joined shortly Formal and unornamented. bed of rosewood veneer are F. Kennedy Airport, New
after its formation in 1917. his school library at typical of his furniture. York. He is also renowned
The linear aesthetic with Fagnano Olona in Italy for his use of bent plyw oo< r

which his work is 0972-76) typically draws RUSSELL, Gordon and fiberglass, the latter

svnonomous is expressed inspiration from 18th- 1892-1980 British used for his famous Womb
in his Red-and-Rlue chair century neoclassicism. A proponent of the craft Chair (1947) and his Tulip
0917-181 the Schroder Rossi's product designs ethic, Russell began his chairs (1956), both created
house in Holland (1924). for Alessi are commonly education by repairing for Knoll (see p.473).
and his low-cost Zig-Zag based on architecture, antique furniture for his
chair for Metz & Company such as his 1979 tea and father's business. In 1929, SABATTINI, Lino
department store (1934). coffee set, which is a he set up Gordon Russell 1925- Italian
Although he favored wood scaled-down version of his Ltd., working on designs of £>p.Ul
as a material. Rietveld also floating Teatro del Mondo mass-produced radio sets One of Italy's most
created some experimental in Venice (1979). for Murphy Ltd., and later inventive silversmiths,
tubular-steel furniture a line of Utility furniture. Sabattini is known for

during the 1920s. In the RUHLMANN, In 1949, he became the his fluid silverware; but
195<>s and '60s. he was Jacques-Emile director of the Council he has also produced glass
mainly active as a lecturer 1869-1933 French of Industrial Design. and ceramics. From 1956
and architect, designing the ^p.68 to 1963, he was design
Rijkmuseum in Amsterdam Ruhlmann is known for director of French
between 1963 and 1972. luxury Art Deco furniture company Christofle, for
and use of exotic materials. SAARINEN, Eero whom he produced the
RODCHENKO, He first exhibited in 1910-61 Finnish/American Como tea set (1960). In
Aleksandr 1913 at the Paris Salon pp.62, 165 1964, he set up his own
1891-1956 Russian d'Automne, and later Saarinen's designs embrace silver company in Italy,

A leading constructive plaved a significant role a diverse selection of styles, where he designed his

who was active as a painter in the 1925 Paris Expo, from the organic to the Estro sauceboat (see below)
and designer. Rodchenko
brought the aesthetics of
the machine age to these *v
fields. He collaborated

7
\
with fellow construetivists
Kazimir Malevich (see
aid Yladimir
Tathn 0885-1953) from
1915 and. in 1921. co-
founded the First Working
Group of Construetivists.
In the 1920s, he designed
posters for the go%ernment.
and journals
theaters, LEF Sabartini's Estro silver
and Novyi LEF sauceboat, 1976

483 k ft ti
A-Z OF DESIGNERS

SAINT LAURENT, death. After fighting in the He has designed film and SARPANEVA, Timo
Yves Algerian war, Saint Laurent theater costumes as well 1926- Finnish
1936- French opened his own house in asmenswear, perfumes, A leading figure in modern
Algerian-born Saint 1962. His early collections and household goods. Scandinavian design,
Laurent won the were influenced by the Sarpaneva has produced
International Wool Left Bank and the art SAMPE, Astrid textiles, graphics, ceramics,
Secretariat design contest world, most notably by the 1909- Swedish and metalware. However,
in 1954 with a cocktail work of Piet Mondrian As head of the textile he is best known for his
dress. The following year, (evidenced in the 1965 design studio at the glass designs, particularly
he began work for Christian collection)and Pop Art Swedish fabric company those for the Iittala factory.
Dior (see p.462), and in (1966). In 1966, he opened Nordiskafrom 1957 to
1957 he took over the great the Rive Gauche boutiques 1971, Sampe designed SASON, Sixten
couture house on Dior's for ready-to-wear designs. and commissioned many 1912-69 Swedish
printed and woven textiles. An industrial designer,
She favored an abstract Sason designed several cars
geometric style (see left). for the Swedish company
In 1972, she set up her Saab, including the Saab
own studio specializing 92, 96, and 99. He also
in fabrics and interiors. acted as consultant
designer for Hasselblad
SAPPER, Richard and Electrolux.
1932- German
^ pp.88. 92, 226 SAVIGNAC,
After working in Germany Raymond
as a designer for Mercedes- 1907- French
Benz, Sapper moved to
Milan in 1957. There, he A former assistant to the
worked first for Gio Ponti great French poster artist
(see p.480) and then the A.M. Cassandre (see p.458),
department store La Savignac produced
Rinascente. Many of theatrical set designs and
Sapper's most interesting costumes, as well as
designs have been created posters. He was adept at
with Marco Zanuso (see choosing a single, often
p.491) with whom he humorous, image to convey
began collaborating in the message of his posters.
1960. Their work includes
televisions and radios for SCHIAPARELLI, Elsa
Brionvega, and the Grillo 1890-1973 Italian
telephone (1965). Among ^p.185
Sapper's other works are Fashion designer
the Tizio lamp for Schiaparelli enjoyed
Artemide (1972), which phenomenal success in
won a Compasso d'Oro Paris during the 1930s.
award in 1979, kettles for She started out by selling
Alessi, and car designs sweaters knitted by
for Fiat. Since 1980, he Armenian women. Later,
has acted as a design she created interesting
Geometric textile design by Sampe, c.1960 consultant to IBM. fabrics and garments, many

484
 SAINT LAURENT-STA

decorated with surrealist- SHIRE, Peter which he produced

Her most
inspired features. 1947- American various pieces of
famous innovation was 0p.46 office equipment ai
"shocking pink." a far One of the many designers furniture. He show
more vibrant color than who produced pieces for work with Studio
those used by other the Italian Memphis Alchimia in 1979,
couturiers. In 1940. she group. Shire then set up Sottsass
moved to the US, and contributed Associati in 1980.
although she reopened m brightly colored The following year, he
Paris in 1945. she did not lamps, tables, a founded the Memphis
recapture her former glory. teapot, the Bel Air group, which became
armchair (1982), a leader of the post-
SCHRECKENGOST, and the Big Sur modernist movement. H:
Viktor couch (1986). He own designs for Memphi
"

Q 06-
American has also designed include seating, sideboan
pp.27, 79 silverware and tables, and plates. He
Schreckengosf s ceramics glassware for other continues to design
were heavily influenced by Italian companies. consumer produc
Viennese pottery In 1930. and exhibitions.
while working at the Cowan SINCLAIR, Clive
Pottery Studio, he created 1940- British
STAM, Mart
a set of punch bowls for Sinclair worked as a 1899-1986 Dutch
Eleanor Roosevelt. The technical journalist before (1988),Wardrobe After studying drawing,
bright blue bowls, which setting up Sinclair (1989-91), and a metal Stam worked for
combined words and Radionics in 1962. He wastepaper basket (1989). architectural practices in
contemporarv images. developed miniaturized Other works include the Netherlands, Germar
were later produced electronic goods, including tableware, glassware, and Switzerland, and as a
commercially. After the first pocket calculator and accessories. town planner in the Sovii
Cowan closed in 1951. (1972) and a miniature Union. He is usually
Schreckengost worked for television (1977). In 1980, SOGNOT, Louis remembered as the
a variety of other ceramic he launched the ZX80, the 1892-1970 French designer of the first
and industrial companies. first of a series of home 0p.l93 tubular-steel cantilevered
computers. His C5 electric An architect and furniture chair (see above left).
SERRURIER-BOVY, car (1985) failed to sell. designer, Sognot often
Gustave worked with Charlotte STARCK, Philippe
:
::- : '.
Beigian Sl'PEK, Borek Alix (1897-) designing 1949- French
& pp.220, 228 1949- Czech interiors and metal and pp.47, 171, 179,331
After initially working as '

pp.77, 141,221 glass furniture. Celebrated as one of the

an architect, Serrurier-Bow Originally from Prague, most exciting designers
began making furniture Sipek studied architecture SOTTSASS, Ettore of the late-20th century,
influenced by the Arts and inHamburg, taught in 1917- Austrian/Italian Starck shot to fame when
Crafts movement. His Hanover and Essen, and 0pp.222, 330 he refurbished President
Silex range of inexpensive now works in Amsterdam. One of the best-known Mit'crrand's private room
self-assembled furniture The design of his Bambi names in modern design, in the Elysee Palace
was introduced in 1902. It chair ( 1 985) is typical of Sottsass began work as an (1982). Other interior
featured wooden bedroom his individual poetic architect, opening a design designs include the Cafe
furniture, tables,and chairs. approach to functional studio in Milan in 1947. In Costes in Paris and the
along with metalwork items. For Vitra, he created 1957. he became consultant Royalton hotel in New
vases and lights. the Ota Otanek chair designer to Olivetti for York (both 1984). Starck 's

485
A-Z OF DESIGNERS

architectural projects range STRAUB, Marianne SUMMERS, Gerald pioneer professional

from the Nani Nani office 1909-94 Swiss/British 1899-1967 British industrial designer, and
building in Tokyo (1990) Straub played a major role #p.61 was one of the first to

and the Angle in Antwerp in revitalizing the Welsh In 1929, Summers set up adopt streamlined styling.
(1991)toLaRueStarck textile industry in the 1930s. a company called Makers His many clients included
in Paris. He has designed Later, working for British of Simple Furniture, for Eastman Kodak, Corning
many pieces of furniture, firms Warner & Sons and which he designed molded Glass Works, Ford, Texaco,
much of it made from Helios, she developed hand- plywood furniture similar and Boeing. He designed
pressed metal, as well as woven fabrics for mass to that of Alvar Aalto (see pavilions for the 1939
products as diverse as production. She created her p. 452). He is best known New York World's Fair.

motorcycles, lighting, famous Surrey textile for for the lounge chair he
clocks,lemon squeezers, the 1951 Festival of Britain. created from one piece TEODORO, Franco
and toothbrushes. of plywood (1933-34). See Gatti, Paolini, Teodoro

STICKLER Gustav THONET, Michael

1857-1942 American 1796-1871 Austrian
t?p.!2 TALLON, Roger & pp.56, 162-63
Stickley was the best- 1929- French Thonet's influence
known American exponent extended long after
of the Arts and Crafts Industrial designer Tallon his death through the
movement. In 1901, he was one of France's first designs of the furniture
launched The Craftsman independent designers. His company he founded in
magazine to popularize work includes furniture, bentwood chairs
1853. Its
the furniture made in his lighting, and watches. have become classics of
workshops using traditional Among his prestigious 20th-century design. In
construction methods. clients have been SNCF, the 1920s, the company
Stickley 's company went General Motors, Daum, began producing tubular-
bankrupt in 1915. Lipp, and Erco. steel furniture.

STOLZL, Gunta TANAKA, Ikko THUN, Matteo

1897-1983 German 930- Japanese 1952- Austrian/Italian
In 1927, textile design ^p.406 & pp. 140, 223
Stolzl took charge of One of the foremost A partner in Sottsass
the Bauhaus weaving Japanese graphic and Associati from 1980 to
workshop in Dessau, exhibition designers, 1984, Thun was also a
where she had studied Tanaka has produced cofounder of Memphis.
under the Swiss artist some outstanding Although he has designed
and teacher Johannes advertising and furniture, he is known for
Itten (1888-1967). cultural posters. his ceramics and computer-
In 1931, she set up aided manufacturing.
a textile studio in TEAGUE, Walter
Zurich with two Dorwin TIFFANY, Louis
ex-colleagues from 1883-1960 American Comfort
the Bauhaus. Among ^ PP 155, 283
. 1848-1933 American
their commissions Along with Raymond ^pp.72-73
were commercial Loewy (see p. 474) A well-known decorative
furnishing fabrics and Norman Bel artist of the early 20th-
for Wohnbedarf Geddes (see p.455), century, Tiffany set up an
furniture store. Starck's Juicy Salif, c.1990 Teague was a interior decorating firm in

486
 STICKLEY-VERSA

1879, the Tiffany Glass 1923 and later at the Mila

Company in 1885. and Triennale. Venini assumed
Tiffany Studios in 1890. sole ownership in 1925.
He designed pottery. He worked with various
jewelry, metalwork, designers, including Gio
furniture, lamps, and Ponti (see p. 480), Massim<
windows. His Favrile glass Vignelli (see p.488), and
^see right) was hugely Fulvio Bianconi (1915—),
ssful worldwide. who created the 1946
Handkerchief Vase, one
TSHICHOLD, Jan of the company's most
c
::-~- German enduring designs.
^p.366
Typographer Tshichold VENTURE Robert
was the principle 1925- American
champion of the New l?p.l48
Typography movement In his book Complexity
during the 1920s and '30s. and Contradiction in
He later adopted a more Modern Architecture
classical style. He also (1966), Venturi laid down
designed books. the basic tenets of post-
modernism. Although bes
TUSQUETS BLANCA, known for his architecture
Oscar achievements, including
1941- Spanish where he set up his own the Sainsbury Wing

Tusquets trained as a
U
UMEDA, Masanori
fashion house. His designs
were in such demand
extension for the National
Gallery, London (1988),
painter, architect, and 1941- Japanese that, in 1969, he opened he has also designed a tea
designer in Barcelona. In Umeda studied design in a boutique for ready-to- and coffee set for Alessi
1965. along with fellow- He worked at Studio
Tokyo. wear women's clothing. (1983) and furniture for
students Lluis Clotet
Castiglioni. Milan, until This was followed in 1972 Knoll (1984).
(1941-). PepBonet(l941-), by a range of menswear.
1969, joining Olivetti as a
and Christian Cirici (1941—), design consultant in 1970. In the 1970s, he expanded VERSACE, Gianni
he formed the radical His best-known piece is the his range to include 1946-97 Italian
design and architecture Tawaraya boxing ring bed perfume and accessories. Versace learned his
group. Studio PER. In 1972, (Memphis, 1981). In 1986, tailoring skills from his
in collaborationwith Lluis he founded U-Meta Design VENINI, Paolo mother, who was a
Clotet. he produced the
in Tokyo, specializing in 1895-1959 Italian dressmaker. From 1972,
controversial Belvedere de
abstract furniture, crockery, ^p.76 he worked as a freelancer,
Regas. which is generally and interior designs. Venetian law graduate producing a collection of
regarded as one of the first Venini became a partner, women's ready-to-wear
postmodernist buildings.
In 1975. Studio PER and
other design offices formed
V
VALENTINO,
together with Giacomo
Capellin (1887-1968),
in a Murano glassmaking
clothes under his own
name in 1978.
range followed
A menswea
in 1979.
B.d. Ediciones de Diseno (Valentino Garavani) business in 1921. Initially Versace was known for his
to produce avant-garde 1932- Italian concentrating on traditional original use of materials,
designs. Tusquets created Valentino studied fashion glassware, they began to particularly a soft metal
a tea and coffee set for in Milan and Paris, show more modern pieces fabric that he created for
Alessi in 1983. returning to Rome in 1959. at the Monza Biennale in his 1983 collection.

487
A-Z OF DESIGNERS

the Panama-Pacific
International

pg_ .
Exposition in
San Francisco.
Trapped by
the outbreak
of war, he
settled in the
US. In 1927,
he established
himself as an
Dinner set by industrial

Vignelli Associates, designer in

1986 Hollywood.
Weber developed
Concerned with function, a distinctive style, openly
economy, and purity, embracing modernism.
VIGELAND, Tone has headed the furniture Wagenfeld designed
1938- Norwegian and product design branch utilitarian ceramics, metal- WEGNER, Hans
(see above). and glassware (see right) 1914- Danish
One of Norway's foremost for companies such as ^p.163
jewelry designers, VIGNELLI, Massimo Rosenthal and the Jenaer Trained first as a cabinet-
Vigeland set up her see Vignelli, Leila
Glassworks. maker and later as a
own studio in 1961. Her furniture designer, Wegner
striking designs evoke her VITRAC, Jean-Pierre WARHOL, Andy worked in the office of
Scandinavian heritage. 1944- French
1928-87 American Arne Jacobsen (see p.470)
s?p.l40
^p.73 from 1940 to 1943, when
VIGNELLI, Leila Vitrac set up in business in
Although famed for his he set up his own studio.
1934- Italian 1974, with offices in Milan,
role in Pop Art, Warhol In 1940, he began his long
£> P .80 New York, and Tokyo.
also created advertisements and illustrious association
Husband and wife The company gained a
for Vogue and Harpers with furniture maker
Massimo (1931—) and Leila reputation for exploring
Bazaar, and record sleeves Johannes Hansen, which
Vignelli have introduced a innovative design concepts,
for Columbia Records. He produced his famous piece.
European sophistication producing furniture,
was awarded the Annual The Chair, in 1949. Mostly
into American design tableware, lighting, and
Art Director's Club Medal executed in natural
sports equipment.
through the graphics and
products that they have
produced since settling
the US in 1965.
initially for
Working
Unimark
in w
WAGENFELD,
Wilhelm
in 1956 and 1957 for his
I. Miller shoe and hat

advertisement. His
paintings and films drew
on themes from the
materials, Wegner's works
stand out for their elegance
and visual simplicity.

WEIL, Daniel
International, in 1971 1900-90 German commercial world. 1953— Argentinian
they founded Vignelli Entering the Weimar ^p.93
Associates. Massimo has Bauhaus m 1923, Wagenfeld WEBER, Kern Born and trained as an
been largely responsible studied under Laszlo 1889-1963 German architect in Buenos Aires,
for the graphic output, Moholy-Nagy (see p.476). ^p.229 innovative industrial
including Bloomingdale's He remained there, Emanuel
In 1414, Karl designer Weil went to
corporate image and teaching in the metal Martin (KEM) Weber London in 1978. He
signage for the Washington workshop until 1927, went to assist on received recognition for
subway system; while Leila when he went freelance. Germany's exhibit in a series of clocks, radios,

488
 VIGELAND-WEWERH

and lights that he designed German compositor WEISS, Rheinhold WESTWOOD,

in 1981 as part of his Wolfgang Weingart has German
1934- Vivienne
degree show for the Royal been instrumental in over ^p.I90 1941- British

ge of Art. London. turning the conventional Weiss remained at the Generally recognized as
together with Gerard Swiss approach to graphics. Hochschule fiir Gestaltung, the most influential and
T.i\ lor, he has worked He rejected strict adherence Ulm. as associate director original British fashion
on various interior and to the grid and introduced of the product design designer of the 1970s and
product designs for Sottsass wide tvpe spacing, step section, after studying '80s, Westwood has played
.. Knoll, and Alessi. rules, and mixing of type there. The products that he an important role in
weights. He is credited created for Braun in the reasserting London on
WEINGART, with bringing New Wave 1960s reflect both his the international fashion
Wolfgang graphics to the US via training at Ulm and stage. Inspired by the
1941— German his extensive teaching and Braun's functionalist street style of rebellious
As a typography teacher at through his cover designs aesthetic. In 1967, he urban youth and historical
the Basel School of Arts for American journals such moved to Chicago, setting and ethnic costume, she
and Crafts since 1968. the as f'isible Language. up a studio in 1970. has created a series of
outrageous collections.

WEWERKA, Stefan
1928-German
^PP.112-13
Artist, architect, film-
maker, and designer
Wewerka worked initially

as an architect and
sculptor. He made his

debut as a furniture
designer in 1974, when
he was commissioned
by Tecta to design a ch
room chair for its trade
stand. Since then, he has
produced a number of
asymmetrical furniture

489
A-Z OF DESIGNERS

designs for Tecta and, from responsibility for the house WRIGHT, Russel
1981, irregularly shaped of Worth. Jean Philippe 1904-76 American
clothing which he handled the creative ^pp.!38, I5J, 156
constructs on the body. output, while his brother Wright was born and
Gaston (1856-1926) raised as a Quaker in
WIENER, Edward (Ed) provided the business Lebanon, Ohio. His
1918- American acumen, hiring designers functional designs reflect
such as Paul Poiret (see his puritanical outlook. He
Wiener began working p.479). Retiring in 1910, began in theater design,
as a jeweler in 1946, Jean Philippe was but by 1930 he had
establishing himself in succeeded by his nephew, established a studio in New
New York in 1947. Spirals, who kept the name of York, producing metalware.
figures, and fish are familiar Worth at the forefront He introduced his hugely
motifs in his work. of fashion during the successful Modern Living
1920s. The house furniture line, which was
WILSON, Wes of Worth finally mass produced by Conant-
1937- American closed in 1954. Ball and sold through
^p.404 Macy's store, in 1935.
Underground cartoonist WRIGHT, Wright is best-known
Wes Wilson was a chief Frank Lloyd for his ceramics (see left),
exponent of Psychedelia. 1867-1949 particularly the American
Drawing on Secessionist American Modern dinnerware made
lettering, Art Nouveau £> P .150 by Steubenville Pottery
ornamentation, and East Primarily from 1939.
Indian motifs, he produced remembered
numerous posters for as America's
West Coast rock concerts, most creative
principally at the Fillmore architect, YAMAMOTO, Yohji
and Avalon venues in Wright was also 1943— Japanese
San Francisco. an important Yamamoto studied at Keio
design theorist. University and later at the
WIRKKALA, Tapio Working at the prestigious Bunka College
1915-85 Finnish architectural office of Fashion in Tokyo. He
^p.157 of Louis Sullivan founded his own company
One of the finest postwar (1856-1924), he was in 1972, showing his first
Scandinavian designers, Iroquois carafe by collection in 1976. Like
first exposed to the concept
Wirkkala won worldwide Russel Wright, 1950 of functionalism. His many Japanese fashion
acclaim for his entries for interest in Japanese designers, Yamamoto
the 1951 Milan Tnennale. forVcnini (see p.487), architecture led to the concentrates on daywear.
His glassware, produced by ceramics for Rosenthal, development of his His garments are
Iittalafrom 1946 to 1985, and lighting for Airam. own style of work, characterized by loose,
reflected his grounding in which he called "organic asymmetrical forms.
sculpture and his interest WORTH, Jean architecture." This was
in organic forms. His Philippe characteristically low YOKOO, Tadanori
famous Kantarelli vases, 1853-1924 French and simple and made 1936— Japanese
created in 1946, typify When his father, English- use of natural materials. ^p.402
this approach. He also man Charles Frederick He designed about 800 Working as a freelance
worked on a freelance Worth, died in 1895, Jean buildings, 380 of which graphic designer, Yokoo's
basis, creating glassware Philippe assumed were realized. striking posters from the

490
 WIENER-ZEIS

1960s and "70s earned him own design office m 1945.

international recognition. He is known for employing
Mixing Western images innovative materials, such
with Eastern graphics, he as foam rubber and sheet
explored the impact of pop metal, in his furniture

culture on Japanese society. designs for Arlex, among

others. From 1958 to 1977,
he worked with Richard
Sapper (see p. 484) on
ZANUSO, Marco various projects for Siemens
1916- Italian and Brionvega. Their 1965
^p.226 folding Grillo telephone and
Zanuso studied 1962 Doner 14 television
architecture at Milan are two of the best-known
Polytechnic, where he later pieces of Italian design
taught. He established his from this period.

Pitcher by Zeisel, 1958

ZAPF, Hermann (1958).ZEISEL / Eva

1918- German 1906- Hungarian
^p.365 <^p./5J
An outstanding typeface A Hungarian-born
designer, Zapf "s work spans ceramicist, Zeisel worked
five decades. Self-taught extensively in Europe
from the writings of before settling in the US
Rudolf Koch (1876-1934) in 1938. Her early work
and Edward Johnston (see reflects the prevailing

p.471), he began his career trend for geometric

at Paul Koch's foundry in patterns, but she adopted
Frankfurt. It was for the the emerging style of
Stempel foundry, where he organic modernism (see
worked from about 1940, above) with her move
that he created his finest to the US.
typefaces, such as Palatino
osTiurtm uuiirviiwtuiNSCD
(1949) and Optima
KUKIUIUini MfiSINCtlNltNIAUIl

Optima typeface by Herman Zapf, 1958

491
GLOSSARY

Characterized by simple geometric Bakelite

GLOSSARY patterns, sharp edges,

colors, the style

and bright
was applied to
The trade name
thermosetting
for a

plastic, Phenol-
ABS plastic a wide range of disciplines. Formaldehyde, invented and
Aery Ion itrile-butadiene-styrene patented by Leo Baekeland in
Art Nouveau
thermoplastic has superior 1907. An early, brittle plastic, its
An international decorative
ductility, high-impact strength, streamlining qualities, cheapness,
style that began in Europe in the
good colorability, and a high and similarity to wood made
1880s and reached the height of its
gloss, making it suitable for it ideal for consumer products
popularity by 1900. Based on forms
molded and decorative objects. such as radios and televisions.
of plantlife, the style created a
It is most commonly used in
new unity across the visual arts. Bauhaus
electrical goods, telephone
It is characterized by the whiplash An influential art school founded
handsets, and furniture.
curve, suggestive of organic fluidity. in 1919 by Walter Gropius, which
Aesthetic movement ran until 1933, when it was closed
Arts and Crafts movement
An artistic movement that evolved by the Nazis. One of its aims was
An English and American
in the 1880s and was devoted to forge links between art and
movement, first established in
to "art for art's sake." Leading to industry. In the 1920s, the Bauhaus
England in 1882 and named after
the Arts and Crafts movement, it became the leading intellectual
the Arts and Crafts Exhibition
adopted an extravagant ideal of and creative center of design,
Society. In its prime, between
beauty and led to freer expression playing a key role in the
1888 and 1910, it sought to revive
in art and design. development of modernism.
the ideal of the handcrafted

Anti-design object in an industrial age, a notion biomorphic design

A movement that emerged in the that had both social and aesthetic A style of design in which an
late 1960s and rejected established implications. Characterized by object is styled to imitate the
design theory. It reacted to the medieval and Gothic references, appearance of a living organism.
rise of consumerism in the 1950s its products were often robust
and '60s, which was thought to and simply constructed. Brussels Expo, 1958
promote "good design" to enhance A world's fair that was dominated
sales. Anti -design sought to Austerity by the Atomium, a huge structure
redefine design through its garish A period during World War II when built specifically for the exhibition,
colors and unconventional shapes governments in Europe, Japan, and which accurately represented an
and proportions. the US limited the use of strategic atomic molecular structure.
materials and instead commissioned
Art Deco a range of consumer products using cantilever
A decorative style, its name basic or new materials. An engineering term to describe
originated from the 1925 Paris a projecting bracket that supports a
Exposition Internationale des Arts Avant-garde load. The concept of a cantilever
Decoratifs et Industrieh Modernes. Meaning "the vanguard," a group has been applied by innovative
Its influences were diverse, from of innovators. In art and design, 20th-century designers to
cubism to Egyptian art to an the term refers to developments furniture, producing some
appreciation of modern machinery. in the use of materials and styles. highly original, modern chairs.

492
 GLOSSA

classicism Its name derives from the De Sti/l functionalism

e based on abstract journal, meaning "the style." Louis Sullivan coined the phrase
principles of organization and It used abstract geometrical forms. "form follows function" in 189fi.

order found m Greek and Roman with neutral and primary colors The term embodied the belief
antiquity. The style is simple, in place of natural form, in the that an object's function is

harmonious, and well-proportioned. search for a visual language to of primary importance in

express the new machine aesthetic.
determining its appearance.
Compasso d'Oro
Established in 1954. this design deconstructivism futurism
award for excellence is presented A term that emerged in the 1980s
An Italian movement launched
every year bv the Italian chain store to describe visually complex forms
in 1909 by Filippo Tommaso
La Rinascente to Italian designers
with geometrically arranged areas
Marinetti. It extolled the virtues
for outstanding products. of vibrant colors. Most designs
of modernity, demanding the
never progressed beyond prototypes.
new technology
inclusion of
constructivism
determinism and dynamism in art.
A movement that emerged in

Russia after the 1917 Russian

A philosophical theory that
Glasgow School
Revolution. Partly influenced by
humans do not act out of free will.
A group led by the innovative
but are directed by external forces.
cubism and futurism, it ignored Scottish architect and designer
fine art in favor of applied art:
eclecticism Charles Rennie Mackintosh. His
design for mass production was an Nouveau
The term for borrowing from, often interpretation of Art in
important ideal. Its largely abstract,
combining, a variety of historical the 1890s and early 1900s resultec
"sculptural" works were assembled
sources. This practice was prevalent in a linear, less ornamental style.
rather than painted or carved, between 1900 and 1950, and later
influencing design in the West. reemerged in postmodernism. graphic design
A generic term for photography,
cubism ergonomic design drawing, typography, and printing
Developed in France in 1907 A scientific approach to the
by Pablo Picasso and Georges relationship between humans and high-tech
Braque. cubism was a reaction their environment. Products are An architectural and design style
against the optical realism of designed to suit the human form. that rejects decorative elements
Impressionism. Images were in favor of industrial equipment.
depicted in geometrical form Favrile glass
from multiple viewpoints but The trade name registered in 1894 International Style
displayed on one plane on the for a high-quality glass produced An architectural style adopted

Though short-lived, the

canvas. bv Louis Comfort Tiffany. worldwide that epitomized the

movement had a major influence sun file, functional approach of

Festival of Britain, 1951 modernism. Leading exponents
on 20th-century art and design.
This festival reflected a new, were Walter Gropius, Mies van
De Stijl postwar British approach to der Rohe, and Le Corbusier; and
A multidisciplinary Dutch architecture and industrial design, it was characterized by new
modernist movement founded characterized by light metal materials such as steel, reinforced
in 1 9 1 7 by Theo van Doesburg. structures and modern materials. concrete, and plate glass windows.

493
GLOSSARY

Jugendstil motif Paris Expo, 1925

Meaning "young style," a term A distinctive feature or dominant This exhibition, also known as
used in Austria, Germany, and idea. Also an ornament Exposition Internationale des Arts
Scandinavian countries for a style identifying a maker or model. Decoratifs et Industriels Modernes,
closely related to Art Nouveau. focused on the decorative arts and
Nancy School first introduced the Art Deco style.
kinetic art The school of craftsmen set up
A form of art that depends on in Nancy, France, by Art Nouveau Pop Art
movement for its effect. exponent Emile Galle in 1890 An abbreviation of Popular Art.
to promote naturalism in design. The movement grew in the 1950s
kitsch
and '60s, drawing its inspiration
A critical term used to describe New York World's from aspects of commercial culture
pretentious, cheap, ugly, or Fair, 1939 such as packaging, advertising,
sentimental work. The style has The theme of this exhibition
and comics. Its irreverent images
flourished since the rejection of was "Building the World of
were based on consumerism, and
modernism by some designers in Tomorrow." It was dominated its exponents, such as Andy Warhol,
the 1960s. Gillo Dorfles' 1969 by the American concept of
were opposed to contemporary
Kitsch: An Anthology of Bad streamlining, revealed in the cars,
aesthetic standards.
Taste is the definitive book model buildings, and futuristic
on the subject. products on show. For the first postmodernism
time, the decorative arts were In rejecting modernism, with
machine aesthetic
overshadowed by industrial designs its innovations that alienated the
A term describing the
strongly influenced by modernism. masses, the postmodernists relied
appearance of an object that
on historical references. The
has been determined by its Op Art movement became increasingly
manufacturing process. An abstract movement that
influential through the late 1960s,
developed in the 1960s and
Milan Triennale and can be characterized by
exploited various optical effects.
An art exhibition held every a rejection of the logic and
Illusions of movement were simplicity of the modernists.
three years in Milan, it is a
produced by graphic processes Instead, designers used an eclectic
showcase for modern designs,
or by overlapping patterns.
generally Italian. range of references, styles, and eras.

organic design psychedelia

modernism
A style of design that echoes the An influential 1960s' style that
Not representative of one group,
curvilinearity of natural forms. In sought inspiration from mind-
but a general reaction in art,
recent years, it has been aided by altering hallucinogenic drugs
design, technology, and society
the improvements in plastics and for its bright, bold, often
in the 20th century against
computer technology in production. abstract designs.
traditional styles. Emphasizing
the simple, functional aspect of pate-de-verre punk
forms without decoration, its aim A glassmaking technique that A British street culture movement
was to produce high-quality involves grinding down glass that developed in the 1970s,
designs for a mass population. and reforming it in a mold. following a style of popular music.

494
 GLOSSA

rationalism streamlining 1897 when a group of artists and

An Italian movement rejecting Aerodynamic experiments designers seceded from the Vienn.

futurism that made efficient to reduce wind resistance Academy. It utilized natural

use of resources, space, and on aircraft in America were images and curving forms, but
visual impact. subsequently applied to cars its designs were more geometric
and other design work in the than those of French and Belgian
romanticism 1930s and '40s, giving objects Art Nouveau.
Containing the distinctive
gentle curves free of projections.
qualities or spirit of the romantic vitreous china
Equated with functional
movement. Considered a state A type of china so fine, hard,
excellence, the style was also
of mind rather than a style, it
and transparent it is almost
used for purely visual effects,
glasslike.
encompassed diverse artists,
and by the 1950s often appeared
whose use of grandeur and the
in a highly exaggerated form. vorticism
picturesque aimed to invoke a
An aggressive movement
powerful emotional response. suprematism
between 1912 and 1915 that
Developed by Kazimir Malevich in
sgraffito attacked sentimentality in
Russia, this concept was concerned
A ceramic decorative technique favor of violence, energy,
with the reduction of forms to
in which a different, underlying and machinery. Bold and
a simple geometric arrangement
color is revealed by scratching abstract, it drew from cubism
in pure colors to represent the
through the surface of a material. and futurism, often creating
"supremacy of pure emotion."
angular machinelike objects.
signage
surrealism
The arrangement or design of Wiener Werkstatte
Surrealists sought to go beyond
graphic images, often involving A cooperative group of
the accepted conventions of reality
text, in a sign that is intended to workshops that grew out of
and explore the subconscious
convey information to the public. the Vienna Secession in 1903.
mind. Representations were
Incorporating artists, designers,
social realism presented as depictions of a
and craftsmen, it flourished as
Expressing social or political dreamworld, and objects were
a center of progressive design
deliberately constructed in strange
tendencies as part of a practical until 1932. Although initially

approach in art and design. conjunctions. The play on the

rectilinear, it later developed a
meanings of objects was picked
more curvilinear, eclectic style.
Stile Liberty (or Stile up by the Anti-design movement.
Floreale) zoomorphism
Utility
Term used in Italy for Art A style of designing objects
Furniture and textiles produced in
Nouveau. deriving its name that imitate or represent
Britain between 1941 and 1951 in
animal forms.
from the British decorative arts
response to the economies of war.
retailer. Liberty & Co.. which
sold the designs of its progressive Vienna Secession
craftsmen in Italy. The style was Considered the Austrian
revived in design as Neo-Liberty version of Art Nouveau, the
in the 1960s. movement was founded in

495
INDEX

Alessi: Glasgow, 390 magazine covers, Bakelite, 21,27, 31

INDEX cafetiere, 125

clocks, 231
architecture:
Art Deco, 2
376
posters, 390
hair dryers, 189
jewelry, 269
"Kettle with a environmental tea sets, 142 radios, 91
Bird-shaped Whistle,' concerns, 50 Artzt, Walter, 242 telephones, 224,
126, 128 modernism, 19 Ascanio, Corradino d', 225
Aalto, Aino, 452 Pito kettle, 467 postmodernism, 41 453 televisions, 94
Aalto. Alvar, 452 tea service, 148 Armani, Giorgio, 253, Vespa scooters, 30, Bakker, Gijs, 271,453
furniture, 26, 27
Alias, 456 275, 453 305, 453 Balans chair, 331
Paimio chair, 60 Alison, Filippo, 124, Armitage Shanks, 170 Ashbee, Charles Robert, Balenciaga, Cristobal,
Savoy vase, 75 452 Armstrong, Neil, 32 453 454
Aarnio, Eero, 64, 452 aluminum: Arnhem Internationale Ashley, Laura, 219, 453 Ball, Douglas, 454
ABC Skootamota, 302 candlesticks, 84 Filmweek (1961), 402 Asplund, Gunnar, 453 Ball chair, 64
Acer Aspire computer, foil, 415, 422 Art Deco, 20-2 assembly lines, 17 ballpoint pens, 338
347 Alumo watch, 261 bathrooms, 169, 172 Astral Email, 401 Balla, Giacomo, 17
acrylic, 30 Amana SRDE520TBW beds, 192 Ballets Russes, 20, 266
Atfield, Jane, 49, 220,
AD 65 radio, 459 refrigerator, 1 1 cameras, 283 223 Ballmer. Walter. 372
adding machines, Ambasz, Emilio, 452 279
candlesticks, 82, 83 Atlantic Records, 387 balls, footballs,
354-57 Amea Twin Jacuzzi, ceramics, 144 Atom Wall Clock, 230 Balmain, Pierre, 454
Adidas, 245, 279 171 clocks, 229 Atomium, Brussels Expo Bandolero desk fan,
Adolph, Peter, 208 American Modern desks, 329 (1958), 230 334
advertising, 36
cutlery, 138 drinks accessories, Auburn 851 Speedster, Bang & Olufsen. 100
packaging, 410—49 American Modern 158, 161 313 Barbie doll, 210, 213
AEG (Allgerneme dinner service, 150, jewelry, 268—69 Audi Quattro Sport, 324 Barcelona chair, 59
Elektricitats-
151 lighting, 86 austerity designs, 28—29 Barcelona International
Gesellschaft), 18-19
American Telephone magazine covers, 379 Austin, 207 Exhibition (1929), 59
corporate identity,
and Telegraph, 224 packaging, 418, 420, Austin Mini Cooper, Barcelona Olympic
368, 369
American Thermos, 421,424 317 Games (1992), 375
fan, 332
159 radios, 90 Austria: Barnack, Oskar, 282,
hairdryer, 188
AMi Continental watches, 258 Art Nouveau, 15 454
AEG Telefunken, 104
jukebox, 295 Art Nouveau, 13, 14-15, Vienna Secession, baseball cap, 244
aerodynamics. 24
AmstradPC1512 16, 38 14, 16, 18, 38 Basie, Count, 22
aerosols, 48
computer, 346 bathrooms, 169 Autoped scooter, 302 basins, 15, 169-71
Aertex, 241
Anderson, Gunner beds, 192 Avakian, Amran, 386 Bass, Saul, 400, 454
Vesthetic movement,
Aagaard, 36 cupboards, 220 bassinets, 198
14
Andreasen, Henning, drinks accessories, bathing 274
suits,
Africa, 48
African art. 20
337 158
furniture, 58, 162
B bathrooms, 167-91
razors, 180-83
Anglepoise lamp, 86, B3 chair, 59
Aga. 1 1

87 glassware, 154 toothbrushes,

Baby Born, 213
Richer, (HI. 34. 452 lighting, 86 176-79
"Air Clip" clippers,
Ant chair, 63 Baby Daisy vacuum
magazine covers, 376 baths, 168
Antelope chair, 34, 62 cleaner, 232
190
packaging, 410, 414, Battaglin bicycle. 298
Air France, 139 anthropometrics, 26 baby dolls, 210, 213
417 Bauhaus. 17. 19. 25.
aircraft, 51
Apelli& Varesio, 164 Babygro, 242
perfume bottles, 184 34. 221
aerodynamics, 24 Apple Macintosh: Baccarat, 184
posters, 390, 404 magazine covers, 379
Bleriot, 15 computers, 44, 344 Back to the Future,
prams, 196 posters, 394
Concorde. 36, 52 corporate identity, 322
vases. 72 tvpefaces, 360, 361,
superjets. 52 373 Baekeland, Leo. 27
L'Art Nouveau, Paris, 366
Wright brothers, Aqualisa, 174 Bag Radio, 93
14 Bayer, Herbert, 361,
12-13 Arad. Ron. 45. 453 Bahnsen. Uwe, 453
Artemide, 35. 88 379. 454
alarm clocks, 228. 231 Rover Chair, 1-52 Arts and Crafts Baier, Fred, 453 BayGen Freeplay radio,
Albers, Arun. 452 Three Thirds of movement, 13, 14, Baillodin, Claude, 259 48,93
Albers, Josef, 19. 452 a Table. 7 15, 16. 28 La Baionnelte, 377 Baylis, Trevor. 48. 95
Alchimia see Studio Arai, Junii candlesticks, 82 Baird, John Logie, 31, bead shoes. 25 V
Alchimia Arcadian Tea Rooms, furniture. 195 94 Beatles, 252, 387

496
 7

ND

Beau Brownie camera. BertOXte, Flaminio. Bocasile. Gino, 595. SK 25 radio, 92 Burrows, Mike. 500
514, 4Vi 455 Braun, Axtur, 92, 457 Burylin, Sergei
Beck. Henry C 26. 454 Bertone, Giuseppe. 455 Boda, 84, 157 Breer, Carl, 24, 457 Petrovich, 458
Bedin. Martme. 45. 454 Bezzera. Luigi. 125 Body Shop. V I
1'
Breuer, Marcel, 457 buses, 25
beds, I9£ Bialetti. Alberto. 122 Boeing 247. 24 Edelstahl container, Bush, 51
Behrens. Peter. 454—55 Bialetti, Alfonso. 122 Boeri. Cini, 455—66 221 Rush TV 12, 94
\EG corporate Bianconi, Fulvio, 76 Boffi, 112 plywood furniture. Butterfly chair, 61
identity. 18-!- 38 Bibendum. Monsieur. bone china, tea sets. 27
- 569 569 146 Wassily chair, 19, 59
copper kettle. 126 Bibliotheque Nationale. Bonet. Antonio. 61 Breville Sandwich
desk fan. 552 Paris - Bonetto. Rodolfo. 456 Toaster, 133 Cabbage Patch Kids,
Bel Geddes. Norman. Bic Biro. 59. 558 boots. 255. 257 Brionvega, 35 212
26. 161. 455 Bicentennial Exhibition football. 279 Ls 502 radio. 92 Cadillac, 312
Belgium. Art Nouveau. for "The Human and Booty. Donald Jr., 357, Britain: Eldorado
15 The Citizens" Bights." 456 Art Deco, 21 convertible, 32, 317
Bell. Alexander 408 Bordeaux lamp. 462 Arts and Crafts cafetieres, 125
Graham. 224 Bich. Baron. 185. 184. Borgfeldt, George, 210, movement. 13 calculators, 43, 354—57
Bell 5<XI telephone. 26 558 211 punk, 45 calendar, everlasting,
bell-bottom trousers. bicycles, 298-301 Borsani. Osvaldo, 456 Utility scheme, 28, 339
245 bikmis. 274. 277 Bortzells. A.. 593 195 Calici Xatale goblets,
Bell Centennial Bill. Max. 54 Botta, Mario, 165. 456 Broadhead. Caroline. 157
typeface. 366 Binder. Josef, 395 bottle openers, 160 457 California Peach Cup,
Bell Directories. 566 Bing. 200 bottles: Brodovitch. Alexey, 46
Bell Telephone Bing. Samuel. 14 Coca-Cola. 17, 370 457 Calvo. Miguel. 77
Laboratories. 54—55 Biomorphic table. 70 packaging, 443 Pm>tlv. Neville, 44, 567. camcorders. 287
Bellini. Mario. 455 Biro. Lazlo. 558 perfume bottles,
384, 457
cameras. 23, 282—87
Class shower. 1 74 biros. 59 184-87 digital. 50-51
bronze vase, 75
Cupola dinner Birth of the Cool. 386 Boue, Michel. 456 brooches, 268. 269
Campbell, Sarah, 458
service. 155 Bjork. 589 Boulanger. Pierre, 456 Campbell's soup, 38
Brooks, Tina, 586
Olivetti Divisumma Black. Misha. 455 bowls, 78-81, 468 Candlestick telephone,
"brothel creepers,"
18 calculator. 45. 556 "black box syndrome." boxes. 469 224
255
Yamaha TC8' >D Bradshaw. Granville. candlesticks, 82-85
><
54 Brown, Julian, 251
cassette recorder. Black Magic chocolates. 302 cane furniture. 60
Brown, P.. 587
425. 425. 445 branded goods, Canon PC- 3 portable
5
Browned. Frank, 282
Belvedere suite. 7< packaging, 413 copier, 552
1 i
Blahnik. Manolo. 455 Brownie camera, 23,
Brandt. Marianne. 456 cans, drinks, 437. 445
Benetton. 409 Blake. Peter. 587. 455 282. 285
Branzi. Andrea. 45. Capitol Records. 586
Benito. Eduardo. 22 Blanco v Xegro. 579 Bruna. Dick, 438
456-57 Captain Beefheart, 404
Benktzon. Maria. 46 Bleriot. Louis. 15 Brussels Expo (1958),
Braque, Georges. 20 Capucci. Boberto,
Bennett, Ward. 455 block-printed wallpaper. 251
brass: 458
Benson and Hedges. 216 BT videophone. 227
candlesticks. 82 carafes. 400
Blomberg. Hugo. 225. Bubble candlesticks, 83 cardboard furniture.
tea sets. 1 42
Bentley B-type 455 buckles, 268
brassieres, 246. 248 67
Continental. 514 Blossom Garden Budapest Gasworks,
Brauri. 34. I 33 Carder, Frederick, 458
bentwood furniture. 20. wallpaper. 2 1 398
"black box Card in. Pierre, 458
57. 162. 164 blotting paper. 538 buggies, 196, 199 Beatles jackets, 252
syndrome," 34
Beogram 4000 Blow Armchair. 39 Buick Boadmaster, 516 "Space age" clothes,
fan heater, 482
gramophone. 100. 102 Blue Lines. 589 Buitoni, 596 37
hairdryer, 190
Beosound 9000. 105 Blue Note Becords. Bulova Accutron watch, Carlson, Chester, 351
Multipractic. 137
Berliner. Emiu- 386 259 Carlton sideboard. 40,
Multi press MP60
Bennuda Dansette. 101 BMW. 570 477
juicer, Biilow- Hiibe, Vivianna 222
Bernard. Pierre. 406 BMW B32 motorcycle. Phonosuper record Torun, 270, 457 Carlu, Jean, 458
Bernhardt. Sarah. 390 306 player. 100. 102 bunkbeds, 194 Carnaby Street, 252
Bertoia. Harry. 34. 65. board gai Phonosuper SK55. 34 bureau, mahogany, Carothers. Wallace II

455 Boby trolley. 535 razors. 181 528 247

497
NDEX

Carpenter Electric Co.. chairs, 56-67 145, 459 clothing, 236-57 Compagnie d'Esthetique
126 3107 chair, 34-35,63 Cheret, Jules, 390 childrenswear, Industnelle (CIE).
carriages, 196-99 Antelope chair, 62 Chermayeff, Ivan, 459 238-45 139
cars, 312-25 Arts and Crafts Chestnut Hill House, menswear, 250—53 Compasso d'Oro, 80
aerodynamics, 24 movement, 12 Pennsylvania, 40 "New Look," 29, computers, 44—45,
electric, 49, 53 Ball chair, 64 Chevrolet Impala, 248, 276 46-47, 49, 50-51,
mass production, 1 Barcelona chair, 59 318 1920s, 22 344-49
1950s, 32, 33 Butterfly chair, 61 Chia, Sandro, 221 1960s, 37 calculators, 354
pedal car, 207 DAR chair, 31 Chicago, 22 punk, 45 games, 206, 209
pollution, 53 DCW dining chair, childrenswear, 238—45 shoes,254-57 mouse mat, 339
solar, 49 463 chlorofluorocarbons swimwear, 274—77 "CONA" coffee maker,
sports cars, 42 Diamond chair, (CFCs), 48 womenswear, 123
toy, 202 34,63 chocolates, 416, 423, 246-49 Concorde, 36. 52
Carter, Howard, 20 dining chairs, 424,428,431,432, Cluedo, 208 confectionery wrappers,
Carter, Matthew, 366, 162-65 436, 444, 445, 448 CND (Campaign 420
458 Little Beaver Christiansen, Ole and for Nuclear Conklin Cresent filler

Cartier, 229 armchair, 67 Godtfred Kirk, 203 Disarmament), 371 pen, 263
458
Cartier, Louis, Lloyd Loom, 60 Chronopak clocks, 230 Coates, Nigel, 459 Conran, Terence,
Cartman, 205 Mart Stam, 485 Chrysler Airflow, 24 Coates, Wells, 354, 459 460
Carwardine, George, office chairs, 328-31 Chrysler building, New radios, 21, 91 Consolidated Lamp and
86, 87, 458 Paimio Chair, 60 York, 21 coats, children's, 240 Glass Company, 74
Casa Cataneo Agra, plastic, 31, 36 cigarette cards, 412 Coca Cola: constructional toys,
Varese, 164 Proust's armchair. cigarette packs, 25, 420, bottles, 17,370 201
Casio: 66 425, 428, 432, 436 corporate identity, constructivism, 17,
digital watch, 261 Quarta chair, 456 cinema: 368, 370 23, 158, 394, 397
pocket calculator, Red-and-blue chair, influence on fashion, drinks cans, 437, consumerism, 33, 36
356 56, 58 241 445 packaging, 431, 446
Cassandre, A.M., 458-69 Rover Chair, 452 Odeon cinemas, 21 Cockerell, Fritz, 307 convenience food, 419,
Cassina, 30 Sacco, 66 posters, 400 cocktail shakers, 161 445
Castiglioni, Achille, 35, Sitzmaschine, 57 cisterns, toilets, 168, 258
cocktail watches, convertible pushchairs,
64, 459 stacking chairs, 65, 170 coffeemakers, 122—25 198
Castiglioni, Pier 531,464 Citroen: coffee sets, 142 cookers, 1 10—13
Giacomo, 35, 64 steel, 34 2CV, 314 coffee tables, 68-71 Cooper, Susie, 460
Castleton China, Inc., DeStijl, 17 DS, 318 Colani, Luigi, 147, copper:
151 Superleggera Chair, Traction Avant, 313 460 kettles, 126
Cat's eye candlestick, 480 Citroen, Andre, 313 cold war, 32, 52 lighting, 87
84 Thonet, 20, 57 City bath, 1 68 Coldspot Super Six Cordero, Toni, 192.
CD-ROMs, 44-45, 346 Umbrella Chair, 479 City of Salina train, refrigerator, 25, 115 195,460
CDs (compact discs), 'vik-ter chair, 67 24 Cole, E.K. Ltd, 94 corkscrews, 160
44, 50, 102-03 Wassily Chair, 19, 59 The Clash, 388 Coles, Peter, 330 Corning Glass Company,
Cedar Tree wallpaper, Womb Chair, 62 Class shower, 174 collapsible bicycles, 153, 154
217 chambersticks, 82 Class taps, 454 299 corporate identitv.
Cellophane film, 415, Chanel, Gabrielle Clavel, Gerard-Paris, Collett Dickenson 18-19,368-75
422 (Coco), 22, 185,459 406 Pearce, 407 correspondent shoes,
cellular telephones, 45 Chanel No 5 perfume, Clemente, Francesco, Collier, Susan, 460 255
celluloid dolls, 211 184 221 Colliers, 376 corsets, 246, 412
Celtic art, 15 swimwear, 274 Colombo, Joe, 38, 39, cosmetics, 266-67
Cliff, Clarice. 150,459
ceramics: Chantal, 295 clippers, electric, 190 460 Cosmopolitan, 383
bowls, 78-79 Chariot bath, 168 clocks, 228-31 Boby stroller, 335 costume jewelry,
dinner services, Charleston (dance), clockwork: compact kitchen, 268
150-53 21-22 robots, 203 112 cots. 195
postmodernism, 46 Chase Brass and Copper ships, 200 Optic alarm clock, Coubertin, Pierre de.
suprematist, 22 Company, 83, 160 trains, 202 231 575
tea sets, 143-49 Chashmk. Ilia Close to the Edge, compact discs (CDs), Courreges, Andre,
vases, 72—73 Grigorevich, 22. 460 44, 50, 102-03 37, 460

498
 IND

Crane candlestick, 84 I )e Pas. d'l rhino. glassware, 154—57 Diinand. Jean, 462-65 Edward, Prince, 258
Crapper taps. 1 72 1 omazzi. 59. 461 tea and coffee sets, Dunk ley pram, 196 Egyptian art, 20, 38
Craj N -MP computer, De Pas. Jonathan. 46 1 142-49 duplicators, 24—25, l.i. hi, t. Fritz, 92, 457,
345 de Quirm, Rebecca, 81 Dinky cars. 202 550 465
Cream De Souza. Catherine, dinner services, 1 50-55 d'l rhino, Donato, 461 Eisenloeffel, Jan W.,
Cavari razor. 146 Dior, Christian, 462 DVD (Digital Versatile 142,465-64
182 deYille. Nicholas. 588 "New Look," 29, Disc), 99 Ekco:
crepe stile shoes. 255 Dean. James. 55. 255 248, 276 Dylan, Bob, 56 Model AD 65
crisps. 419. 448 Dean. Roger. 587. 461 disabled people, 46—47 Dyson Dual Cyclone radio, 91
crystal sets. 90 decanters. 155, 157, 470 Diskin, Steve, 251 vacuum cleaner, 235 Type 11122 radio,
cubism: Deck. Barry. 567.461 disposable cutlery, 140 91
influence on Art deconstructs ism. 141 disposable razors, 183 electric appliances:
Deeo, 20, 74 Deganello, Paolo. 461 Disraeli Gears, 387 clippers, 190
posters. 594 Delaunay, Sonia, 461 Ditzel, Nanna, 329 K 1027 adjustable table, clocks, 228
cupboards. 220 Delirium watch, 261 diver's watches, 260 68 computers, 544—49
Cupola "Strada" dinner DeLorean, John. 522 DNA perfume bottle, E-Type Jaguar, 512, cookers, 110, 112-15
service, 155 DeLorean DMC12. 522 187 519 fax machines,
Cushman Auto Glide Delphon. Jacob, 169 Dr. Martens shoes, 257 Eames, Charles, 56, 65, 550-52
scooter. 502. 505 denim jeans. 244 Doesburg, Theo van, 463
68, food processors,
cutlery. 46. 158 — Denmark, 35 407 chairs, 30, 31 154-57
cycles. 298-301 Denon Stacking System 210-15 lounge chair and 288-91
dolls, guitars,
Cylinder line ice bucket. D 90. 102 Donegam, Dante, 182 foot stool, 64 hairdryers, 188-91
471 Depression. 247 Donghia. 219 Lames, Ray, 56, 465 kettles, 126
Design Council. 1 59 Dopyera brothers, 289 chairs, 30, 31 photocopiers,
Design Ideas, 84 Dorn, Marion Victoria, lounge chair and 350-53
Design Panel (Britain), 462 foot stool, 64 razors, 180, 181
Dahlia necklace. 2 , 1 28, 195 Douglas DCI, 24 Earl, Harley, 32, 35. refrigerators,
Dalen. Gustav. 1 1 designers. 452-91 Dragonfly bowl, 78 518,465
106, 114-17
Dali. Salvador. 185 desk accessories, 556—59 Dragonfly lamp, 86 Cadillac Eldorado toasters, 130-3
Dan Dare. 52 desk lamps, 87 drape suit, 251 Convertible, 34, 317 toothbrushes, 179
dance. Charleston, Deskey. Donald. 23, 68, dresses. 246—49 earthenware: typewriters, 345
21-22 69. 461 Dreyfuss, Henry, 26, bowls, 79 vacuum cleaners,
Danese. 559 Deskey-Vollmer, 69 462 dinner services, 150 252-55
DAR chair. 51 desks, 528-50 "Air Clip," 190 Eastman Kodak, 282 washing machines,
Dark Side of the \ltxjn. Dessau Bauhaus, 19 Kenmore Toperator. Eat/Drink cutlery, 46 118-21
588 Detroit. 79 119 Ebendorf, Robert, 463 electricity, 18
Darrow. Charles B.. 207 Diaghilev. Sergei. 20. telephone, 25, 224 Ebihara, Daniel, 160 solar panels, 50
-
266 drinks accessories, Eckmann, Otto, 560, Llectrolux vacuum
Davis. Miles. 586 Diam, 140 158-61 463 cleaners, 254
Day. Lucienne. 460 Diamond chair, 54, 65 drinks cans, 457, 445 Eckmann Schmuck electronic mail
Day. Robin. 460 dictaphones, 554 Dnscoll, Clara, 86 typeface, 360 (e-mail), 45
DCW dining chair. dictation machines, 555 Drop tea set, 147 Eclisse lamp, 88 electronics, 45
465 Diehl. 554 Du Maurier cigarettes, Ecole de Nancy, 1 92 transistors, 34—35
De Bretteville. Sheila digital cameras. 287 420 ecology, 48-49 Elffers, Dick, 402
Levant. 460 digital watches. 258. Du Pasquier, Natalie, Edelstahl containers, Ellermeier, Konrad,
De Dion Bouton 260 462 221 354
Model Q. 512 dining rooms, 158—65 Du Pont, 247 Edir hair dryer, 188 Embassy glasses, 155
de Lucchi. Michele. cutlery. 158-41 Dualit toaster, 152 Edison, Thomas Alva, KM J Records, 588
460-61 dining furniture, Duchamp, Marcel, 64 463 State Building,
chairs. 461 162-65 Duty, RaOuL 462 Graphophone, 100 New York, 21
Kristall side table. dinner ser\ Dumas. Kena. 530. light bulbs, 82 energy efficiency, 50
1 50-55 462 Protechnic Ediphone. English Electric
and Memphis. 45 drinks ; Dumbar, Gert, 407, 555 Liberator washing
prototypes. 40-41 158-61 462 Voicewnter. 354 machine. 120

499
INDEX

ENIAC (Electronic fashion see clothes Foley, Kevin, 177 Bauhaus, 19 G.I. Joe, 212
Numerical Integrator FatChance "Yo Folle APS, 337 beds, 192-95 Giacosa, Dante, 466
and Calculator), 544 Eddy" off-road Folle stapler, 337 bentwood, 20 Gibson, Orville, 288
environmental concerns, racer bicycle, 300 Folon, Jean-Michel, chairs, 56-67 Gibson Double- 12
50 Fath, Jacques, 464 464-5 coffee tables, 68-71 guitar, 290
Ergonomi Design Favrile glass, 72, 154, food processors, dining, 162—65 Gibson Les Paul Gold
( rruppen, 46 487 134-37 plastic, 31, 36 lop guitar, 289
ergonomics, 26, 46 fax machines, 45, 351, football, 281 postmodernism, 40 Gibson Mandolin-
Encofon, 224, 225 352 football boots, 279 recycling, 46 Guitar Manufacturing
Ericsson, L.M., 45, Felt Toy Company, 201 footballs, 279 side tables, 68-71 Co., 288
224 Fender, Leo, 288, 290 Ford, Henry, 17, 465 sofas, 470 Gibson Style O
Erte, 464 Fender Stratocaster Ford: steel, 34 guitar, 288
espresso coffee guitar. 288, 290 Ka, 325 Utility scheme, 28, G.I. Joe, 210. 212
machines, 122, 125 Ferguson Videostar, 98 mass production, 1
195 Gill, Eric, 363, 466
Esslinger, Hartmut, Ferragamo, Salvatore, Model T, 17, 512, Futura typeface, 362 Gill, Ruth. 432
464 254. 255, 464 465 futurists, 17,394, 396 Gill Sans typeface,
Estridge, Philip, 545 Ferrari, 42 Mustang, 321 362, 363
Estro silver saucehoat, 365 GT4 Berlinetta forks,138-41 Gillette, King Camp,
483 Boxer, 43 Fornasetti, Piero, 465 181
everlasting calendar, Dino 246GT, 322 Forte dei Marmi, 395 Gillette Safety Razor
Gagarin, Yuri, 32
359 Ferrari, Alfredino, 322 Fortuny y Madrazo, Company, 181, 183
Gaggia, Achille, 125
Every Week, 377 Ferrari, Enzo, 319 Mariano, 465 Gitanes, 425
Galle, Emile, 14
Excelsior 20R Foster, John, 79 Giugiaro, Giorgio,
Ferrari- Hardoy, Jorge, Galliano, John, 466
motorcycle, 306 61, 464 Foster, Norman, 530. 322, 466-67
Gameboy, 209
Excelsior Autocycle, 16 Ferneri, Anna Castelli,
465 Givenchy, Hubert Taffin
games, 206-09
Exposition 464 fountain pens, 262—65 de, 467
Games, Abram, 123,
Internationale des Ferry, Bryan, 388 4AD, 589 Glaser, Milton, 36,
399, 466
Arts Decoralifs et Festival of Britain four-wheel drive cars, 383, 467
gas stoves, 110, 111
Industrieh Modernes, (1951), 62
324 Glasgow School. 1 5.
Gate, Simon, 75
Pans (1925), Fiat, 30 France, Art Nouveau, 590
20, 21.
Gatti, Paolini, Teodoro,
379 15 glasses, sunglasses. 275
Fiat 500, 312, 316 466
39,
Francis, Fred, 202 glassware, 154—57
eye makeup, 266 fibre tip pens, 338
Gatti, Piero, 66, 466
fibreglass chairs, 62, 64 Franck, Kaj, 26, 465 bottles, 443
Gaultier, Jean-Paul,
Fields, W.C., 387 Frank, Josef, 465 bowls, 78, 80
Freeplay radio, 48, 93 186, 466
Figaro Rlustre, 376 candlesticks, 83, 84
freezers,
Gecophone, 90
Faberge, 142 film posters, 400 1 1
85
fridges, 25, 48,
Gehry, Frank O., 67,
Filumena 2 coffee goblets, 487
Fabian, Walter, 339 466
maker, 122, 124 114—17 lighting, 86
fabrics see textiles Geismar, Thomas, 466
Finel coffee pot, 1 24 Friz, Max, 506 perfume bottles,
The Face, 44, 367, 384 General Motors, 35, 518
Fink, Peter, 186 frock coats, 250 184-87
factories, mass Pontiac GTO, 322
Finland, 35, 154 frogdesign, 344 Pyrex. 155
production. 17 George VI, King of
Fisher, Gary, 300 Frutiger, Adrian, 364, vases, 30. 47. 72-77
12 desk tool, England, 269
Fishtail tennis racket, 465 "global village," 45
339 Germany:
278 fuel-cell engines, 53 Globe taps, 1 72
Factory Records, 386, Bauhaus,
Flagg, J.M., 393 Fuerst, Edwin, 155 17, 19, goblets. 487
388 "flappers," 22 Fujiko, 40 23,34 Goblin Teasmade, 128
Fair Isle pullover, 240
flared trousers, 243, Fukuda, Shigeo, 465 International Style, gold watches, 260
fan heaters, 482 252 Fuller, Paul, 292, 295 34 Goldman, Jonathan,
fans, desk, 332, 334 Flash ''Love Storv," Fuller, Richard Jugendstil, 14 89, 467
. atour, Henri, 149 Buckminster, 466 Schonheit der Arbeit GoldmanArts, 89
588 Flexi vase, 77 Funck. 257 "Colfball" typewriters,
Dr., program, 28
Farina. Battista, 464 flocked wallpaper. 216 furniture, 17 Gestetner duplicating 340, 343
Farina Pinin, 35 Fluocaril toothbrush, Art Deco, 21 Goodman, Benny, 22
machine, 24—25, 350
II Faro Finestra dinner 176, 178 Arts and Crafts Goofy Foot
ghetto blasters, 106
service, 153 flush toilets, 168, 170 movement. 15 skateboard, 280
Ghost, 295

500
 1 7 4

NC

Gould. CH 557 Hemingway, Wayne 700 vacuum Ingram Street Tea

Goult. Andre. 509
l.ucientes.
H
Hafner. Dorothy, 149.
and Gerardine. 257
Henningsen, Poul, 87,
cleaner.
Hoover, William, 232
255 Rooms, Glasgow. 134

J 162
Francisco Jose. 571 468 469 Hoover Suction Sweeper ink, fountain pens.
Graham. Martha, 269 Hagen-Pathe. 595 Hermes. 550 Company. 255 262-65
gramophones. 1 00-01 hairdryers. 188-91 Hershey bars. 420 Hornby, Frank, 200, International Arts and
grandfather clocks. Hald. Edvard. 75. 78, Hetzel. Max, 259 201,202 Crafts Exhibition.
468 L'heure bleue perfume. House Tornado, 389 Turin (1902), 142
g» Kenneth. Halev. Reuben. 74 184 How High the Moon. International Style,
156. 185. 467 halogen lamps. 89 Hijikata. Hirokatsu, 475 34,56
graphics. 559-449 Haloid. 551 404 Hubble telescope. 52 Internet. 49-50. 5 1

corporate identity. Hamley Bros.. 206 Hilton, Matthew, 84, Hulanicki, Barbara, "invisible shoe." 255
-

Hammond tvpewriters. 469 470 Iosa Ghini, Massimo,

magazine covers. 541 Hipgnosis, 588 Hunter. R.F Ltd, 283 470
I •
Hamnett. Katharine. hippie movement. Husqvarna TC610 Iroquois carafe, 490
packaging. 410-49 468 242. 249, 402 motorcycle, 3 1 Island Records, 588
posters. 590-409 Handkerchief vase, Hisa Gloria De Luxe hydrodynamics. 24 Issigonis. Alec. 517,
punk. 45 50. 76 pram, 197 470
record covers. Handler. Laura, 84, Hitachi KH-454E Italy:
58 S 468-69 radio, 95 futurists. 1

typefaces. 560-67 Hansen. Fritz. 165 Hitler, Adolf, 90. 514, i-D magazine, 45, 584 Memphis, 45—46
graphite tennis rackets. Hardie. George, 588 406 Ibanez guitar, 291 postmodernism.
278 Harley-Davidson, 506 HMY HDI hair dryer, IBM, 44 40
Graphophone. 100 Evolution FLTC 189 computers, 545, 546 postwar design,
Grapus. 406 Tour Glide Classic hobs, 115 typewriters, 540, 30, 35, 38-39
Graves. Michael. 45. motorcycle, 510 Hochschule fiir 545 sports cars. 42
98 +67 Knucklehead 61EL, Gestaltung, Ulm. 54 ice buckets, 161, 471 Stile Liberty. 1

Gray. Eileen. 68. 467 507 Hoffmann, Josef, 2 1 7, ICI, 374

Greenwich House. 75 Harmony Company 469 Ideal-Standard, 170,
Greteman. Sonia. 409 of Chicago. 289 Purkersdorf chair, 1 74, 454
Greyhound buses. 25 Harrods, 197 162 Idillio "Bokara" dinner Jabot perfume, 186
Gnllo telephone. 59. Harvey Nichols, 448 silver bowls, 18, 78 service, 152
jackets, 250, 251
.-•
Hasbro. 204. 212 Sitzmaschine, 57 Ie, Kho Liang, 192,
Jackson. Dakota. 67.
Gropius. Walter. 19. Hassall. John. 592 470
Wiener Werkstatte. 194,
470
146. 467-68 Hasselblad. Victor. 285 Iittala glassworks,
16.75 Jacobs, Mary Phelps,
Gruau. Rene. 267. 468 Hasselblad 500 camera. 154. 157
Hoglund, Erik, 84. 157,
246
Gueridon en palissandre 285 iMac computer.
469-70 51.
table. 68 Jacobsen, Arne,
hats: Hohlwein, Ludwig, 548-49
Guerlain. Pierre. 184 470-71
children's. 258 596, 470 Imaizumi, Yoshihisa
Gugelot. Hans. 54. Ant chair. 63
men's. 250 Holdcroft, Harold, 146 and Kohji, 559
- 468 bottle opener, 160
Haustein. Paul. 82. Holtom. Gerald. 571 Immediate Becords,
Guild. Lurelle Van 469 Cylinder line ice
Homemaker dinner 587
Arsdale. 12^ Hawking. Stephen. 47 Imperial Hotel, Tokyo, bucket, 471
service. 151
Guild. Tricia. 52 Hawkins. 152 3107 chair, 34
1
Hommage a Madonna 150
guilds. Arts and Hawkins. L.G & Co.. cutlery, 158. 140 Impressionism, 66 Jacques, 206
Crafts movement. 189 Hommes, 584 Indian Chief Jacuzzi, Roy, 171
15. 16 Haworth, Jann. 587 Honda, 42 motorcycle, 508 Jacuzzis, 171
Guimard. Hector. 468 Heiberg. Jean, 224, 554, 50 Super Cub Indian Papoose scooter, Jaguar, 42
ceramic vas»- '
2 469 motorcycle, 509 504 E-type, 512, 519
Pans Metro. 15 Heim. Jacques, 277 CB750 motorcycle, Indiana, Robert, 38, Japan:
side c: Heinz. 415. 429 510 270, 470 austerity designs,
gui tars. 288-91 Helix clock. 251 Hoover: Indore, Maharajah 28-29
Gulf OiL 574 Heller Designs. 80 Dustette, 255 of. 193 cars, 42
Gutenberg. Johannes. Helsinki Savoy Hotel, Model 0507 washing Information motorcycles, 42
565 75 machine, 119 Superhighway, 49—50 tea sets, 144

501
INDEX

jazz, 22-25 Kawakubo. Rei. 472 Knoll, Florence Leibo% r

itz, Annie, 26 machine, 24—25.
Jazz bowl. 79 Kawasaki. 42 Schust. 222, 473 Leica, 23, 282, 284 350
Jazz lamp. 89 ZZ-R1100 Knoll, Hans, 222 leisure,273—95 Lucky Strike
Jeanneret. Pierre, 471 motorcycle, 311 Ko-Yoshiya, 203 cameras, 282—87 cigarettes, 25, 428
jeans. 243. 244. 252 Kayser, Engelberg. Kobe Workers' Music guitars, 288-91 refrigerator, 1 1 4,

Jensen, Jakob, 102, 158 Council, 402 jukeboxes, 292—95 115

471 Kelly, Charlie, 300 Kobylestskaya, sports equipment, logos, 368-75
Jensen. Georg. 471 Kempe. Margot. 75 Zinaida, 143 278-81 Lomazzi, Paolo, 461
decanter. 155 Kenmore Toperator Kodak, 23. 282 swimwear, 274—77 London Calling, 388
hot water kettle, washing machine, Komenda, Erwin, 473 Leitz. 282 London taxis. 55
126 119 Konecsni, Georg, 398 Lelong, Lucien, 186 London Transport,
jewelry, 268 Kent. Ronald, 81 Kono, Takashi, 401 Lenica, Jan, 403, 474 392
jewelry. 268-71 Kenwood Chef. 1 54. Koppel, Henning. 473 Lettera type writer, 341 London Lnderground.
Art Nouveau, 14 136 Kristall side table, 71 Leupin, Herbert, 400 26, 361
Pop Art, 38 Kenwood Coolwall Kruse. Kathe. 211 Lever Company, 424 Look. 381, 383
Jobs, Steve. 544. 575 toaster, 135 Kubus storage set, 489 lever faucets, 1 72 L'Oreal, 188
Jogging Buggy, 199 Kenzo (Kenzo Takada), Kuramata, Shiro, 40, Libbey Glass Co., 155 Louis 20 sucking
Johns. Jasper. 58 472 473 Lichtenstein, Roy, 38 chairs, 47. 351
Johnson. Clarence. "Kettle with a Bird- Kurchan, Juan, 6 light bulbs. 425 lounge chair, 64
517 shaped Whistle." Kuwait Petroleum. 86-89 lounge suits, 250
lighting,
Johnson, Wavne, 98 126, 128 374 candlesticks, 82—85 LOVE ring, 38, 270
Johnston. Edward. 361, Lowry, Ray, 388
kettles. 18, 126-29, Lindstrand, Vicke, 75
565. 471
467 liners, ocean. 25
Lucky Strike cigarettes,
Jones, Terry. 45, 584.
Kewpiedoll. 210.211 25, 428
lipstick. 266, 267
471 La Pietra. Lgo. 221 Ludin, 400
Kiesler. Frederick, 472 El Lissitzky, 23, 394,
jug kettles. 129 Ladies' H umber Luftwaffe. 370
King. Jessie M., 590, 474
Jugendstil. 14 bicycle, 298 Lycra, 249, 277
472 Little Beaver
Juhlin. Sven-Eric, 46 Ladybird, 245 Lysell, Ralph. 225.
King. Perrv A.. 542. armchair, 67
Juicy Salif, 486 Lagerfeld. Karl, 473 474
472 living rooms, 55-107
jukeboxes. 292—95 Lalique, Rene, 473
Kirby Jack, 43 bowls, 78-81
Juwel Elastic
556
JVC. 59. 96
Stapler.
Kitchen Tree. 112
Kitchener, Lord, 595
kitchens. 109-37
glassware, 2
jewelry, 14
Lamborghini. 42
candlesticks,
chairs, 56—67
82—85

coffee tables, 68—71

M
Maaru glasses. 157
Jvldis. 595 McConnico. Hilton,
coffeemakers. 122-25 Countach, 42 lighting, 86-89
Miura. 312. 319 80
cookers, 110-13 music systems,
McDonalds
K food processors,
154-57
Lamborghini.
Ferrucio, 319
100-03
radios, 90-93
restaurants, 572
machine aesthetic.
Kage. Algot Wilhelm. Lambretta, 302, 303
kettles. 126-29 side tables, 68-7
26,471 16-17
refrigerators, 114-17 LD 150, 304 tape machines,
Kahane. Kitty. 149 Mackintosh. Charles
toasters, 130-33 lamps, 86, 462 104-07
Kallus. Joseph. 211 Renme. 15. 18, 162,
washing machines, Lamy pens, 339 televisions. 94—97
590. 474
Kamali. Norma. 471 Lancia. 42 72—77
118-21 vases.
beds, 192
Kan. Shui-Kay Land, Edwin, 286,
KitKat, 405 Lloyd. Marshall B.,
cutlery. 138
471-72 Kjaerholm, Poul, 472 473 474
60, high-backed chair.
Kandinsky. Wassilv, Klee. Paul, 19 Larkin, Anya, 219 Lloyd Loom furniture, 56. 162
19.25 Klein, Calvin. 472 Lasser digital watch, 60 mahoganv bureau,
Kansai International Klimt, Gustav. 18, 260 Lobmeyr, 74 528
Airport. 51 472-75 Lauren, Ralph, 473-74 Loewv. Raymond, 26. Maclaren. Owen
Karhula Glassworks. Klingpor, 360 Lawson Time Inc., 229 354, 474 Finlav. 199
75 Knapp. W.A.. 354 Le Corbusier, 19, 474 cameras, 283 Maclaren buggies.
Kartell. 555. 464 knee boots. 255 L'Esprit Nouveau Coca-Cola dispenser, 196. 199
Kauffer,Edward knickers. 250 pavilion. 20 370 McMillen, Louis, 146
McKmght. 594. 597. knives. 46. 138-41 Leete. Alfred. 395 cutlery, 139 McNutt. Mildred
472 Knoll, 164. 222 Lego. 200, 203 Gestetner duplicating Coughhn. 218

502
 7 2 1 1 1

IND

Mad Circle Melior typeface, 56 5 Minidisc players, 107 Moon tea set, 149 jazz, 22-25
skateboard, 280 Mellor. David. 158, miniskirts, 248 Moore, Roger, 520 jukeboxes, 292-95
Made of Waste 150.475 Ministry of Information Moretti (Carlo) music systems,
shelving, 220, 223 Memphis, 46-46, 68 (Britain). 405 Studio, 157 100-05
covers, 22. chairs. 46 1 Miro. Joan. 75 Morison, Stanley, record covers,
!
"
S Kristall side table, 71 Mitchell. Bill. 518 565, 564, 476 586-89
magazines, 51 lamps. 462 mixer faucets, 1 75, 1 75 morning suits, 250 record players, 54
magic lanterns. 200 storage. 220. 222 Miyake, Issey 476 Moroso, 470 rock 'n' roll, 292
Magimix, 157 Mendmi. Alessandro. "Mobile Infinito." 221 Morris, William, 15, 17, Muthesius, rkkart, 195
Magistretti, Vh 475 mobile telephones, 45, 228. 590 My Dream Baby, 211
! "Mobile Infinito," 52.227 Morns and Co., 15
Dphon, 104 221 Mock, Elmer, 26 Morns Mini Minor, 517

Mainbocher. 475
ssen, F.nk. 475 Proust's armchair. 66
menswear. 250—55
Model T Ford, 17. 512.
465
Morrison, Jasper, 149,
476
N
Napier, 161
Majorelle. Louis. 192. Mercedes-Benz 500SL models. 200-05 Moser, Koloman, 476
NASA (National
475 ("Gullwmg"). 515 modems, 45, 49, 51 Wiener Werkstatte,
Aeronautics and Spac
makeup. 266-67 Metlicovitz. Leopoldo. modernism, 15, 16, 16, 75
Administration), 45,
Malevieh. Kaziimr. 25. 591 58,59 motocross, 51
259
} Metro. Paris. 15 architecture, 19 motorcycles, 16, 42,
Nash Manufacturing
ceramics. 22. 142. Metropolitan gas and British Design 506-1
Inc., 280
145 stove. 1 10 Panel, 28 Mouhon, Alex, 299,
Nash (Michael)
The Man uith the Mezzadro stool. 64 Exposition 517,476-77
Associates, 589
Golden Arm. 44 i I
Michelin Man. 569 Internationale des Mount, Reginald, 405
mangle- Mickey Mouse. 406 Arts Decoratifs et mountain bikes, 500
National Style O
mantel 229 guitar, 289
clocks. Mickey Mouse Indus triels Modernes, Mourgue, Olivier, 477
maps. London necklaces, 269—71
telephone. 226 20 mouse mat, 559
L nderground. 26 microchips. 45. 547. 554 International Style, movable type, 565 Needle shower, 1 72
Marburger. 218 microprocessors. 50 54 Mucha, Alphonse, Neff B1441 oven and
Man. Lnzo. 475 microwave ovens. 1 1 lighting, 86 590,415,477 stove, 115

everlasting Miehe. Francois, 406 and postmodernism, Muir, Jean, 477 Nehru collar, 255
calendar. 559 Miele Novotronic 40,41 Mullard television, 95 Nelson, George, 250,
Pago Pago vase. 72. washing machine. posters, 598 Muller, Gerd Alfred, 477
1 121 rejection of, 56 477 Nenuphar bed, 192
Mannetti. Filippo. 17 Mies van der Rohe, "Mods." 502, 505 Muller, Jacques, 261 Neophone, 225
ManscaL Javier. 45 Ludwig. 19. 59. Moholy-Nagy, Laszlo. Muller Brockmann, Netherlands, De Stijl,

Marloth. Herb- 475-76 476 Josef, 405, 477 16-17,25

Marseille. Armand. Milan Furniture Fair Moka Express coffee Mullin. John, 98 Neudstadter, Arnold,
211 (1981). 45 maker, 122 Multiplex typewriter, 556
Marx. Hmd. 475 Milan International Mollino, Carlo, 68, 476 541
Neue Grafik, 405
mass consumerism. 56 Exhibition (1906), beds, 192. 194 Multipress MP50 die neue linie, 579
mass production. 1 591 bentwood chair, juicer, 477
Nevada bowl, 80
Massive Attack. 589 Miles. Reid, 586 162, 164 Munari, Bruno, 477
"New I>ook," 29, 248,
matchboxes. 424 Miller. Glenn. 22 Mondnan, Piet, 58 Munch, Edvard, 405
276
452 Miller(Herman) Monopoly. 20 7 Murano, 76, 154, 157
Matisse. Her. ri Furniture Company. Musee de l'Affiche, New Order, 588
Monotype Corporation,
Matsui STR525 tape 50. 51. 70 565. 564 Pans, 406
New Orleans, 22

recorder. 1U6 Miller (Howard) Monroe, Marilyn, Museum dinner New tone sofa, 470
Matsushita. 98 Clock Company. 250 184, 587 set. 151 New World stove,

-2.215 Million Montblanc, 149 Museum of Modern 111

Mazda P. Mini cars. 56 Masterpiece pen, 265 Art, New York, 151
New York, 21

201, Mini Cooper, 517 Montreal Protocol music: New York World's
- - mini kitchen, 112 (1987), 48 compact discs, 44, Fair (1959), 155
Racing ModeL Mini Minor. 517 Moon landings. 52. 56. 50. 102-05 Nielsen, Harald, 155,
"
1 mini skirts. 56. 57 259 guitars. 288 91 478

503
INDEX

Nike, 245, 375 Ofen Ludin, 400 opener, 160 Paris, 14, 29 Peugeot, 299
Nikon, 42, 282, 284 offices, 327-57 Optic clock, 231 Paris Match, 383 pewter candlesticks. X2.
Nintendo, 209 adding machines, Optima typeface, 365, Paris Metro, 15 83
Nippon Design 354-57 491 Parker, George S., 264 Peynet, Raymond, 436
Center, 402 computers, 344—49 Original Appalachian Parker Pen Company, Pezetta. Roberto, 480
Nippon Kogaku, 284 desk accessories, Artworks Inc., 212 262, 264 Philips:

Nircosta metal, 21 336-39 Oris Big Crown 51 pen, 263 cassette recorders,
Nixon, Richard, 436 desks and chairs, watch, 258 61 pen, 264 104, 106
Nizzoli, Marcello, 35, 328-31 Orrefors Glasbruk, 75, 180 pen, 265 CD-ROMs. 44, 546
478 equipment, 332—35 78, 154 Duofold pen, 265 compact disc players,

calculators, 356 fax machines, Otto, Carl, 334 Lucky Curve pen, 103
Olivetti Divisumma 350-52 outdoor clothing, 262, 264 N-1500 video, 98
8,43 photocopiers, 350—53 240
children's, Pearly Vacumatic Philips Dictation
Olivetti typewriters, typewriters, 340-43 outdoor toys, 206-09 pen, 263 Systems, 534
341, 343 Offset, 361 Outram, John, 41 Parlophone, 387 Philips Ladyshave
Noah's ark, 200 O'Galop, Mr, 369 ovens, 110-13 partners' desk, 329 Aqua razor, 182

Nobel, 374 Ogdens Nut Gone

' Oyster watch, 259 Pasold family, 245 Philips Philishave.
Noguchi, Isamu, 68, Flake, 387 OZ magazine, 383 patchwork, 243 180
478 O'Halloran, James, ozone layer, 48 Pathe gramophone, photocopiers. 350-53
biomorphic table, 177 101 photograph v. 25. 282-87
70 Pathfinder pedal car,
digital cameras.
oil crisis (1973), 42
Radio Nurse, 27, Olbrich, Josef Maria, 207 50-51
478 82, 478 P H Artichoke lamp. Patou, Jean, 479
Piaggio. 50
Noh drama, 406 87 Peacock vase, 72
Old Country Roses Piano, Renzo. 51
packaging, 48, 184, Peche, Dagobert, 73.
Nokia, 52, 227 tea set, 142, Picasso, Pablo. 20
410-49 479
Nomos desk, 330 146 Picture Post, 376. 380
PAF, 89 Pedestal chair, 164
Non Plus Ultra razor, Olins, Wally, 478 Ping Pong. 206
Pago Pago vase, 76 pencil sharpeners, 336
181 Oliver, Vaughan, 389, Pink Floyd, 388
pencils, 53
Noritake, 150 478 Paimio chair, 60 Pippa folding desk
Penfield, Edward, 376
Novarese, Aldo, 365 Olivetti, 30, 35 paintings: and chair, 330
pens:
Now land and corporate identity, cubism, 20 Pirate collection, 45
ballpoint, 338
Schladermundt, 372 Pop Art. 38 pitchers, 158-60, 491
fibretip, 338
159 Divisumma 18 Vienna Secession, Pito kettle, 467
fountain, 262-65
Noyes, Eliot Fette, calculator, 43, 356 18 Plank. Ernst. 200
Lamy, 339
343, 478 Divisumma 24 Palatino typeface, 365 planned obsolescence,
Pentel, 338
NSM Nostalgia Gold calculator, 356 palmcorders, 287
percolators, 122
33-54
jukebox, 295 office chair, 330 palmtop computers. plastics, 30—31
Peret (Pere Torrent),
Niirmesmemi, Antti, typewriters, 341, 347 Bakelite. 27
408, 479
124, 478 Panama hats, 239 bowls. 80
perfume bottles,
nurseries: Olympic Games: Panasonic: 184-87 cutlery. 1 W
dolls, 210-13 Barcelona, 575 DVD-L10, 99 furniture, 65
Perpetua typeface, 363
games and outdoor Stockholm, 593 ghetto blaster, 06 packaging, 446
1
Perriand, Charlotte, 479
toys, 206-09 Winter Olympics, NV-HD650 video, 446
Perrier, 413, toothbrushes,
carriages, 196—99 396 176-78
98 personal computers
toysand models, Olympus cameras, vases, 76
Panton, Verner, 478-79 (PCs), 44, 50
200-05 42, 286 platform shoes, 256
Black-and-white personal stereos, 105
nylon, 30, 247 Omega watches. 260 Playmobil, 204
textile, 37 Perugina, 396
Omo, 428 stacking chair, 56, 65 Pesce, Gaetano. Plessey. 220
One Little Indian. Paolini, Cesare, 66, 479-80 Plexiglass. 50
389 466 Peter Rabbit's Race Plus Corporation. 559
Oakley Jackets, 275 Oneas, 168 Papanek, 479 plywood rurnitui
Victor, Game, 206
obsolescence, 33-34, 36, O'Neill. Rose, 211 Paper Dress Show 480 61, 62, 63, 64, 164
Peters, Michael,
49 Op Art. 37. 38. 242 (1967), 404 Petersen, Arne, 160, pocket calculators.
Odeon cinemas, 21 Open Two bottle paperclips, 336 480 356

504
 1 1 1 1

IND

Pocket Memo Procter and Gamble, Radio in the Hag. 95 Rentier, Paul, 362 Rose, Nigel, M)7
dictaphone. 555 + 15 Radio City Mush reptile skin shoes. 2 5+ Rosenthal, l + l. L46,
Poiret. Paul. 480 propaganda posters. Hall. New York, Rexite. 251 1+7, 1+9, 152, 155
Polaro.d >\ 1
-
22-25 Rheinische rummi- ( Rossi, Aldo, 125. 150.
camera. 386 Protos washtub, 1
Q Radio Nurse. 27. 478 und Celluloid-Fabrik, 153,483
Poll. Fla\ to, 9 - Proust's armchair. 66 Radius toothbrush. 177 211 Roundabout
pollution Prouve. Jean. +80-81 railways: Rhodes. Zandra, 482 punchbowl, 468
Polydo: - Psion Series 5 corporate identity, Rickenbacker. Adolph. Rover Chair. 452
polyethylene. 50 computer. 5+7 572 289 Rowenta Express
Polyphon music psychedelia. 56. 58 streamlining. 2+ Rickenbacker Electro kettle. 129

machine. 292 packaging. +59 tram sets. 202 Spanish guitar. 289 Rowntree, 421. 424.
Ponti. Ciio. 55. 170, posters. +02 Ramazzotti. 396 Ridgeway Potteries, 151 +44
-
record sleeves. 387 Rainbow. Gunter. 408, Rie. Lucie. 182 Roxv Music, 388
Pontiac till). 522 Pucci. Emilio. +8 +81-82 Rieben, John. 405 Le Roy Soleil
Ponty. Max. +2 5 Puiforcat. Jean. 1++. Rams. Dieter, 482 Riemerschmid. perfume, 185
Pop Ait - +81 "black box Richard, 482 Royal Bar-Lock
pop culture. 252 pullovers, 2+0 syndrome." 5+ Rietveld, Gerrit, 483 typewriter, 340
Popova. l.vubov. 25 Punch. 585 Braun Phonosuper Red-and-blue chair. Royal Copenhagen
porcelain: Punk. +5. 584 SK55. 102 17. 56,58 Porcelain Factory,
bowi- ra purism. 1+9 Super RT 20 radio. 92 Ritz-Italora. 231 78
dinner sets. Purkersdorf chair. Ramshaw. Wendy, +82 Rix. Felice, 217 Royal Doulton. 1+2. 1+1

150-55 162 Rand. Paul. 571. +82 Robby the Robot. 205 Royal Festival Hall.
tea sets. 1+6-47 Purma Special camera. Rank Xerox. 351 Roberts, Xavier, 212 London, 62
285 Robin starch, 41 Rovale Newport
Porsche. +2 rationing, World War II.

Porsche 911. 520 pushchairs. 196. Robinson. Frank, 370 carriage, 197
+27
Porsche. Ferdinand. 198-99 Rav Bans. 275 robots. 45 Ruba Rombic vase.

24,89,514,52 PVC. 50 toy, 205. 204 74

-
Ravgun. 58+
Pve radio. 90 rock 'n roll music, Ruby vase, 77
5fi
ravon clothes. 246
postmodernism. 59. Pye Toaster. 52 1 292 Rudhard Foundary,
razors. 180-83
+<>—+1 Pvrex. 155 Rock-Ola Regis 360
RCA, 386
cutlerv. 158. l+O 1495 jukebox, 294 Ruhlmann, Jacques-
Reard. Louis, 277
Rock-Ola Tempo Emile, 21,68, 483
Memphis. +5—+6
posters. 25. 28. 56.
•
267,590-409
Q S.574
Rebel Without a
Cause. 255
record covers. 56,
1475 jukebox, 294
"Rockers. " 505
Russell,
195,
Gordon.
483
28.

Potter. Beatrix 2 QuadMark PassPort Rockwell. Norman, 380 Russell Hobbs. 129
386-89. 460 Rococo style. Russia:
pottery see ceramics portable copier. 555 1 5

Poulsen. Louis record players. 34, Rodchenko, ceramics, 145

&. Co.. Quant. Mary, 57. 267.
17 - 100-02 Aleksandr. 23, 483 cold war. 52. 52
Poulsen. Yaldemar. Quarta chair. 456 Recta typeface. 365 Rolex, 259 constructivists. 1 7,

•
quartz clocks. 228 recycling, 47. 49 Rolleiflex 2.8F 25. 158
Power Corruption quartz watches. 259. 261 Red-and-blue chair. camera. 285 posters. 594, 398
andl. Quinta chair. 165 56. 58 Rollerblades. 281 social realism. 158
Power Rangers. 2o5 Quistgaard. Jens. Red Army, 594 Rolling Stones, 387 suprernatism, 22. 25.
Pracas. Victor M. 215 1 6 1 . +8 Red or Dead. 257 Rolls Duo Matic 145
Pratt. Anthorr. 2 »
Quod Design Company. Reed and Barton. 83 washing machine, Rynite. 231
Premiriger. Otto. ¥«i 575 reel-to-reel tape 118. 120
Presley. Elvis. 55, 58 Qwip 1200 fax machines, 104 Rolls Royce 40 50
586.588 machine. 351 Reeves. Ruth. 482 ("Silver Ghost"),
Prestcold refrigerators. refrigerators. 25. 48. 515 Saab, 54
115 114-17 Rolodex. 356 Saarinen. Eero, 31.
Price. Anthony. 588. Reich. libor. 482 Rookwood, 75
-•
Rabanne. Paco. +81 Reid, Jamie, 45 Roosevelt. Theodore. Tulip Group
Pride cutlery, Race. Ernest. 5 I
Remington, 340 201 164
printing, typefaces. radio. 51 Renault Espace, 312. Root < >lass Com] Womb chair. 62
! 90-95. +57 525 570 Sabattini, Lino. 141 482

505
NDEX

Sabattini coffee- Schilling, Stephan. Shiravamadani. Kataro, social realism, 158 Stahl. Louis. 217

maker, 122. 124 210 73 Societa Nebiolo, 365 Stam. Mart. 485
Sabon typeface, 366 Schindler. Jim. 372 Shire, Peter, 45. 46. soda siphons, 158, 161 staplers. 556. 557
Sacco chair, 39, 56, 66 Schnackenberg, 485 sofas, 470 Star Trek. 205
sailor suits, 239 Walter, 395 shirts, 255 Sognot, Louis, 192. 195, Star vacuum cleaner.
The Saint, 520 Schonheit der Arbeit shoes, 254—57 485 255
Saint Laurent, Yves, program, 28 children's. 259, 241, Sol Dainty pram, 196 Starck, Philippe,
484 Schreckengost, Viktor. 245 solar cars, 49 485-86
St Roch, Jean Louis. 27, 79, 485 trainers, 244, 245 solar panels, 50 bathroom suites. 1 7

37 Schubert adding showers, 168, 172, 175, Sonv. 35. 42. 14 Louis 20 stacking
salad servers, 475 machine, 555 174 CD-ROMs, 346 chair, 47, 351
Sampe. Astrid, 484 Schueller, Eugene, 188 side tables, 68-71 compact disc toothbrushes, 176, 178
Samsung SQ-3000 sconces, 85 sideboards, 40. 222 players, 103 vase. 47
typewriter, 343 scooters, 30, 302-05 Siemens, 225 corporate identity. State Porcelain Factorv
sandals, 241 Scotland, Glasgow- Siemens- 372, 373 (Russia), 22, 143
Sanderson & Sons, School, 15 Schuckertwerke AG, Minidisc players. 107 steel furniture, 54. 59.
217 Sculptura cutlery, 141 188 Playstation, 209 61
sandwich toasters, 133 Seamaster watch, 260 silicon chips, 43 radios, 90 Steiff teddy bear, 201
sans serif typefaces, Sears. 119, 554 silver: televisions, 96, 97 Steinberger. Ned. 291
360, 561 Sears Roebuck, 1 14 Steinberger Bass guitar,
bowls, 18, 78,81 video recorders, 98
Secession see Vienna 291
Santachiara, Denis, cutlery, 138 Walkman, 43, 105
Secession Stelton, 471
221 jewelry, 268-70 Sospirbed, 192, 195
Sedgwick County- Stepanova. Varvara.
Sapper, Richard, 484 kettles. 126 Sottsass, Ettore. 55.
Zoo, 409
Brionvega Ls 502 tea sets, 144, 148 38, 485 25
Seeburg KD200
radio, 92 vases, 73 Carlton sideboard, stereos, 105
jukebox, 293
Grillo telephone, Silversides Greyhound 40, 222 Steubenville Pottery,
Seenev, Enid, 151
59. 226 151
Seiko Kinetic watch, 261 buses. 25 Memphis, 45, 46
Tizio lamp, 88 Simplex Scooter, 304 Stickley, Gustav. 12. 15.
Selecta portable office chair, 330
Sarpaneva. Timo, 484 Simplon Tunnel, 391 Studio Alchimid. 221 486
gramophone, 101
Sason. Si.xten. 285, Sticky Fingers, 387
Seneca, Federico, 396 Sinclair, Clive, 356. Valentine
484 DeStijl, 16-17.25. 58
Sergeant Pepper's Lonely 485 typewriter, 59. 542
Sassoon, Vidal, 191 Singer, 334 Soule. Louis H.. 432 posters, 394, 407
Hearts Club Band,
satellites. 45 Union see Russia Stile Liberty. 14
387 Sipek, Bofek, 485 Soviet
Sato, Kazuko, 221 cutlery, 141 Sowden, George, 45 stiletto heels. 254. 255.
serif typefaces, 360
Saturday Evening Serrurier-Bovy, Gustave, Ruby vase, 77 space exploration. 52 257
Post, 380 220. 228, 485 wardrobe, 221 Space Hopper, 208 Stockholm Olympic
sauceboats, 483
Settimanale, 225 Sitzmaschine, 57 space program. 52 Games (1912), 595
Savignac, Raymond, 7up, 599 SK 25 radio, 457 Spangler, Murray 252 stockings, 246
338, 401,484 Sevres. 72 skateboards, 280 Spanish Civil War. Stoecker, Karl. 388
Saville, Peter, 384, 388 The Sex Pistols, 45 Skegness is so 379, 394. 397 Stokke, 331
Savoy vase, 75 Shagriarskiy, 417 Speedmaster watch. 259 Stolwerck. 420
S., Bracing, 592
Sawaya & Moroni, Shanks, 168 Skeleton telephone, Spencer. Percy Stolzl. Gunta, 486
195 Sharp, 42 LeBaron. 12 stools, 64
224 1

Sayer, Malcolm, 319 Sharp. Martin, 583, 387 SLR (single lens reflex) Spicciolato, Ernesto, storage. 220-23. 489
Scalextric cars, 202 Shaw. Artie. 22 cameras, 282, 284-86 182 office. 555
Scandinavia, 26, 35 Sheaffer, 262, 264 Small Faces, The. 387 spoons, 138—41 Stowaway bicycle. 299
Scharfenberg, Sheaffer Pen for Men, SmegSP16 sports cars, 42 Stratocaster guitar.
George, 131 264 refrigerator. 1 1 7 sports equipment, 166, 288. 290
Schawinsky, X., 372 Shell Oil, 25. 368. 397 Smith, Penny, 388 278-81 Straub, Marianne,
Schiaparelli, Elsa, Shenango Company, S.XCF 572 Sputnik 1. 52 486
484-85 151 sneakers, 244, 245 Squeezit bottle opener, streamlining, 24—26
perfume, 185, 186 ships: snowboards, 280 160 Strife, Charles. 150
Schick Colonel clockwork, 200 soccer shoes, 279 stacking chairs. 65. Strummer, Joe, 388
Jacob, 180 ocean liners, 25 Sociable Tandem. 501 163 Studio Alchimia, 45

506
 1 1 54 1 1 1 1 5

IND

"Mobile Infinite,* t. ileum powder. 41 7. Thonet Brothers, 162 transportation. 297-325 Imerica:
221 457. 450 1 honke. Krnst. 261 aircraft. 52 Arts and Crafts
Proust's armchair, l\i!i s tivm Topographic Three Thirds of a bicycles, 298-301 movement, 1

66 Oceans, 587 Table. 7 cars, 312—25 austerity designs,

Subbuteo. JOS Tallon. Roger. 572. 486 Throwing Muses. 389 motorcycles, 306-1 28-29
Sugar. Alan. 546 Tamagotchi. 204 Than. Matteo. 486 scooters, 302—05 cold war. 32. 52
suns. mens. 250. 251. Tanaka. lkko. 406, 486 Hommage a taxis, 53 streamlining, 24—26
2S3 tandems. 501 Madonna cutlery. travel toothbrushes, Univers typeface, 364
Summers. Gerald. 61. tape machines. 104—07 138, 140 179 universal design,

«86 taps. 172-75. 175 Memphis. 45 Tn-ang 202 46-47

Sunbeam: taxis. 55 Settimanale cabinet, Trias, Jose M., 575 Universal toaster, 130
\Ii\master. 155 tea makers. 1 2.S 225 Trip the Light Universal typeface,
Model T-9 toaster. tea sets. 1 42 49 Thunderbirds. 205 Fantastic (TLF4) 361

151 Teague. Walter Dorwin. Tiffany, Louis wallpaper, 219 universe, 52

sunglasses. 275 25. 26.486 Comfort, 486-87 Triumph cars, 42 UPS (United Parcel
sunrise motif. 425 cameras, 283 glass, 14, 154 Triumph Speed Twin Service), 371

Super RT 20 radio. 92 Embassy glasses. 155 lamps, 86 motorcycle, 508 Urchin IL36 lamp, 89
supenets. 52 Teamline 1 100s Peacock vase. 72 Trivial Pursuit. 206, Utility scheme
Superleggera Chair. bicycle. 299 'Tiffany Studios. 86 209 (Britain), 28
480 Teeno. 550. 40 tights, 248 trolleys. 555 clothes, 248
furniture, 195
Superman. 459 Tecta. 112 Time, 383 trousers, 243, 250,
supermarkets, "own teddy bears. 201 The Times, 364 251
brand " packs. 44 Teddy bovs. 251 Times bath, 168 True Blue, 386
Suprematism. 22. 25. Telegraphone. 104 Times New Roman trunks, swimming, 276,
145 telephones. 25. 26. 59. typeface, 364 277 v23, 389
Supreme hair drver. 224-27 Tinguely. Jean. 218 Tshichold, Jan, 366, Vaaler, Johann, 336
189 fax machines. 550-52 Tizio lamp, 88 487 vacuum cleaners.
Suzuki. 42 mobile phones. 45. Toast-O-Lator, 151 tubular steel furniture, 252-55
Swatch. 261 52. 227 toasters, 41, 150-55 59,61 vacuum pitchers, 159
Snowbuck. 275 Teletubbies. 205 Tobralco dress. 241 Tulip Group chair, 164 Val Saint Lambert, 154
Twinphone. 227 television. 51. 55. 59. toiletries. 449 Tupper, Earl, 30 Valentine typewriter.
Swayze. Patrick. 295 94-97 toilets, 168, 170 Tupperware, 30 39, 342
sweatshirts. 244 toys. 205 Tokyo International Turner, Edward, 308 Valentino, 487
Sweden. 55. 46. 154 Television wallpaper, Trade Fair (1956). Turner. Fred, 372 Van Alen, William. 21
Swedish Modern. 26 218 401 Tusquets Blanca. Van de Yelde. Henry.
sweets. 420. 425 Televisor, 94 Tokyo Telecommuni- Oscar. 148,487 14
Swid Powell. 148 Template Gothic cations Engineering Tutankhamun, 20 Vanity Fair, 378, 383
swim wear. 274-77 typeface. 567 Corporation. 55 23 Envelope, 389 vases. 30, 47. 72-77
swivel chair. 528 Temple. Shirley. 241 toothbrushes. 176-79 twin tub washing Velcro. 244
Sykes. Charles. 515 tennis rackets. 278 toothpaste, 416, 436, machines, 118. 120 Venetian glass, 154,
Synthesis 45 office Teodoro. Franco, 66, 444 Typeface Six, 367 157
chair. 55- 466 Toscani. Oliviero, 409 typefaces, 44,360-07 Venini, Paolo. 30, 76.
Tesi table. 165 Toulouse-Lautrec, typewriters, 39, 540—43 487
"Tetrapak." 458. 443 Henri de. 590, 592 Tyrolean dolls. 2 1
Venturi, Robert. 40.
Texas Instruments, 45 toys, 52. 200-05 148,487
T-bar shoes. 254 textiles see clothing outdoor. 206-09 Veridata, laptop, 348
T-shirts.
tables:
255 Theme Formal
goblets. 156
TPX
556
Bias company. u
Lmbrella Chair, 479
Ver Sacrum, 16
Vercingetorige alarm
coffee tables. 68-71 Thermos, 462. 474 train sets. 202 Umeda, Masanon. 487 clock. 251

dining tables. 165 Thompson. Walter. 594 trains see railways underwear, women's, Versace. Gianni, 487
side tables. 68-71 Thomson-Houston transformer robots, 247. 249 Marcel. 185

I ne Architects Company. 1 1 204 I ndcrwood, Vespa, 30 502. 503.

Collaborative) tea Thonet. Michael. 57. transistors. 54—55. Clarence, 394 304, 453
sec 146 344 States of III 2 scooter, 305

507
INDEX

Grand Sport 160 Waltham watch, 258 Wilder, Billy, 64 Wright, Russel, 490 Zelco "Double Plus''

scooter, 305 wardrobes, 22 Wilkinson Sword American Modern calculator, 357

Vest Pocket Warhol, Andy, 488 Protector Razor, cutlery, 138 Zenobia, 184, 185

Autographic paintings, 38 185 American Modern Zephyr clock, 229

camera. 25 Wilson, Wes, 36, 404. dinner set, 150, Zuber et Cie. 216
Sticky Fingers record
Victor adding cover, 387 490 151

machine, 354 206 Wilson, Scott. 271 glassware, 156

Warne, F. and Co.,
video recorders, 98 Wartsila. 124 Windcheetah Weight brothers.
videocameras, 287 Monocoque 12-15
wash basins. 15,
videophones, 227 169-71 bicycle, 300 wristwatches, 258—61
videos, 50 washing machines, wine, 440 Wunderlich, Paul,
Yideosphere, 39, 96 118-21 wine glasses, 154—57 152
Vienna Secession, 14, 16, winklepickers. 256 Wurhtzer jukeboxes,
washing powder,
18,38 424, 428, 437. 441
Winter Olympics, 396 292-95. 295
posters, 390, 404 washtubs, 1 19
Wirkkala, Tapio. 157. Wurstlin, Michael, 209
Vigeland, Tone. 271, Wassily chair, 19, 59 490
488 watches, 258-61 WMF. 140
Vignelli, Leila, 78, 80, Waterman, 262 Wolff Olms. 574
488 Eve dropper pen. Woman and Beauty, Xerox 914 photocopi
Vignelli, Massimo, 78, 262 585 351
80 waterproof watches, Womb chair, 51. 62
Vignelli Associates, 488 260 women's journals, 377,
vik-ter chair. 67 Watson. J.B., 394 585
Village tea set, 148 Wear- Ever coffee pot, womenswear, 246—49 Yamaha, 42
Vincent Black Shadow 122 wood, bowls, 81 Yamaha TC800D, 105
Series C motorcycle, Weber, Kern, 229, 488 work station, 465 Yamamoto, Yohji,
308 Wegner. Hans, 163, workshops. Arts and 490
Vitra. 221 488 Crafts movement, Yang, 153
Weil. Daniel. 45, 93,
Yitrac, Jean-Pierre. 140, 15 Yes, 387
488-89 World War
488 I: Yokoo, Tadanori, 402,
Weingart, Wolfgang, 490-91
Vive la Liberte children's clothing,
wallpaper, 218
489 238 The Young Man, 376
Weiss. Reinhold, 190,
VKhUTEMAS, 23, Luftwaffe, 370 youth market, 33
489 packaging, 414, 416 clothes, 241
160
Werner brothers, 306
Vogue, 22, 381,384 posters, 393 cosmetics, 267
West, Mae. 186, 387
Volksempfanger YE 501 watches, 258 psychedelia, 38
radio. 90 Westwood, Vivienne. women's clothing,
Volkswagen: 489 246
Beetle, 314 Pirate collection, World War II. 28, 31
Golf GTi, 524 45 children's clothing, Zanuso, Marco. 35.
Vollmer, Phillip, 69 watches, 261 240 491
Volvo PS 1800, 520 YVewerka, Stefan, 1 12, clothes, 248 Brionvega Ls 502
489-90

w
Waridmgtons, 208
whirlpool baths, 171
"Whir wind"
1

computer, 345
magazine covers, 580
makeup, 266
packaging, 426—27
posters, 598
radio,

59. 226
Zapf, 213
92
Grillo telephone,

Wagenfeld, Wilhelm, whistling kettle, 127 scheme, 28,

Utility Zapf, Hermann. 565.
488 Whitaker, Bob, 387 195, 248 491
waistcoa Wiener, Ed, 269, 490 Worth, Jean Philippe, Zapf Book
and Hall, 139 Wiener W erkstatte,
T
1
6, 490 typeface, 365
Walker Art Center. 75. 78, 32 170. J! 7 Wozniak, Steve, 344 Zapf International
Minneapolis, 407 Wightwick Manor, Wozzeck, 403 typeface, 365
Walkman. 43, 105 Wolverhampton, 15 Wright. Frank Lloyd, Zeisel, Eva, 150, 151,
wallpaper. 216-19 Wilde, Oscar, 387 150, 490 491

508
 ACKNOWLEDGMEN

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de Quin (RCA): 821: Chanel; 185c: Robert Opie Museum, Beaulieu; 303tr:
Galerie. Linz. Austria: 18 19b:
Photographie Giraudon: Collection; 186tl: ©DACS, Hulton Getty; 504tr: National
Hoffmann Foundation: 19tr:
93br: Splash Communications: 1999: 188tl; EHG Elektro- Motor Museum, Beaulieu;
\kG London: 2<)bl. 211:
94tl: Glasgow Museums; 94bc: holdingGmbH; 192/193: 305br: Piaggio Veicoli
E Knirelo Hornak; 221: Robert
Ronald Grant Archive; 96tl, Bridgeman Art Library, Europei SPA; 306cl, 308cl:
Opie Collection: 22tr: Chanel:
97t. 97b: Sony UK Ltd.; 98b: London/New Ybrk/Giraudon; Motorcycle Heritage
24b: Peter Newark's \merican
Panasonic UK Ltd.: 98tr: 192cl: Hunterian Art Gallery Museum; 312/31 3t. 312/313b,
Pictures: 25tl: Robert Opie
Philips Consumer Electronics: Universitv of Glasgow; 193tr: 312bl, 313br: National Motor
Collection: 26cr. 26tl: London
99c: Panasonic UK Ltd.; Sotheby's Transparency Museum, Beaulieu: 524tl:Roy
Transport Museum 2&
100/lOlc, lOlbr: Robert Opie Library; 194tl, 194b: Bonhams E. Craig; 324/325b: Ford
Robert Opie Collection: 28b
Collection: 102cl. 103r: Bang Auctioneers, London; 195t: Motor Company Ltd.: 328tl:
ET. Vrchive 29r: Topham
Picturepoint: 52tr: Robert
and Olufsen UK Ltd.: 103tl. Hulton Getty: 195b: Sawaya Bridgeman Art Library,

< > p i
«
• Collection: 55tr: Hulton
104bl: Interface Digital & Moroni; 209br: Sony UK London/New York /The Fine
Library Ltd.: 105br:Son\ Ik Ltd.:211br: kathe kruse; Art Society; 529t: Christie's
Getty; 55bl: \itra Design
Museum: 55lr: Science
Ltd: 106cl: Philips Ik Ltd; 212tl: Hasbro; 212r: Robert Images; 330tl: Vitra Design
1 1 ltr: Robert Opie Collection: Opie Collection; 213tr: Museum; 330bl: Tecno; 551 hi.
Museum. London 36 57:
lllbl: Aga Ray burn: 112bl: Zapf Creations; 213b: Barbie Vitra, London; 532: 1EG
Verner Panton: 56rb: Milton
Alternative Plans: 112t: photography reproduced with Firmenarchiv/©DACS, 1999
Gsaaer Inc. 57b Hulton Getty;
Smithsonian Institute: 338c Retrograph Archive
hlizabeth Whiting & kind permission of Mattel
Associates MM Courtess of
112 1 15c: Tecta; 115tr:
Toys; 220c: Christie's Images; Ltd.; 340. 345tr Science &
Neff I k Limited: 114bl:
Bonhams Society Picture Library;
the Trustees of the \ & A: 41 1: 221tc: \uctioneers,
Sears and Roebuck: 1 161. 1 16r,
\rraid: 41br. 41 bl: Michele London: 22 HI: Tecta: 22 lbr: 344bl, 544t \pple Macintosh/
117bl: Publicity Engineers:
de Lucchi: 46br: Ergonomi \itra London: 222r: ©Design Bite Communications Lid.;
H7tr: DRA Public Relations
Design Gruppen -- s ,|;^h -
(
Council: 225c: Bieffe di Bruno 345tl: Hulton Getty; 54-M
119tl: Robert Opie Collection:
<V»mmunication» ~,
I <LD<-sit{Ti Ferrarese; 224bl, 224tl, 225tl: I.B.VL 540bl Sonj Lk Ltd.:

509
ACKNOWLEDGMENTS

346t: Amstrad/Michael Joyce 3911: Retrograph Archive obc: (see 86bl); 10c: (see Copenhagen; 83cr: Gift of Julia

Communications; 347b: Ltd; 392, 393br: Robert Opie 160tcl); 25br: (see 224cr); 27bl: and Fred Haiblen; 84cl: Gift

Acer Computers; 348bl: Collection; 393tl: Swatch AG; (see 478); 27tr: (see 79tl); 301: of Design Ideas; 84t: Gift of
Apple Macintosh/Bite 394bl: Christie's Images; 394b: (see 463); 30/3 lc: (see 76bl); Harry Dennis, Jr.; 84/85: ( ,ift

Communications Ltd.; 350r: ©DACS, 1996; 394tl, 395tl: 34tl: (see 102tl); 38cl: (see of Mel Byars; 86/87: Museum
Peter Williams; 351tr: USCO Robert Opie Collection; 270cl); 43tr: (see 356/35 7ct); purchase; 86bl: Gift of .Margaret
Marketing; 361tl: London 395tl: ©DACS, 1999; 395cr, 46tl: Gift of Dennis Gallion Carnegie Miller; 87br: Gift of
Transport Museum; 36 Ibl: 395bl, 396tl, 397b: Robert and Daniel Morris; 47br: Gift Anglepoise Ltd.; 88tl: Gift of

©DACS, 1999; 368c: Shell UK; Opie Collection; 396b: AEG of Clotilde Bacri; 581: Gift of Mel Byars; 89bl: Museum
369t: Robert Opie Collection; Firmenarchiv; 396bl, 396cr, Mme. Hector Guimard; 59tr: purchase through the Eleanor
369b: EHG Elektroholding 397tl, 398bl: Retrograph Gift of Gary Laredo; 63bl: Gift G. Hewitt Fund; 89tr: Gift of
gmbH; 370tl: BMW; 370b: Archive Ltd; 398tr, 399b, 399tl: of Knoll International; 64/65: Coch & Lowy; 90cl: Gift of
The design of the Contour Robert Opie Collection; 403: Gift of Robert Blaich; 64br: Barry Friedman and Patricia
bottle is reproduced by kind ©DACS, 1999; 405bl, tr: Gift of International Contract Pastor; 92br: Gift of Barbara
permission of The Coca-Cola Robert Opie Collection; 400r: Furnishings Inc.; 66tr: Gift and Max Pine; 92tr, 92tl. I02tl
Company. "Coca Cola", Coke, Ronald Grant Archive; 400tl, of International Contract Gift of Barry Friedman and
and the design of the 401tl, 401br, 402tl, 402br, 4031, Furnishings Inc.; 67tr: Gift Patricia Pastor; 105tr: Gift of
contour bottle are registered 404bl, 404tr, 405tl: Retrograph from the collection of Zoe and John W. Fell; 122br: Gift of

trademarks of the Coca-Cola Archive Ltd; 406tl: Ikko Pierce Jackson; 69: Museum Mel Byars; 124tl: Gift of Antti
Company; 371b: CND; 371t: Tanaka Design Studios; 406br: purchase through the Nurmesniemi; 124r: Gift of
IPS; 372bl: Jean-Loup Atelier de Creation Graphique; Decorative Arts Association Maura Santoro; 126tl: Museum
Charmet; 372tr: McDonald's 407t: Studio Dumbar; 407b: Acquisition; 72/73: Gift of purchase through the Decorative
Restaurants Ltd.; 372c: Gallagher Ltd.; 408br: M. Stanley Siegel; 72bl: Gift of Arts Association Acquisition
Olivetti Lexikon Ltd.; 373b: Espeus y Peret Asociados; Mme. Hector Guimard; 73tr: Fund made possible by a gift
Bite Communications Ltd.; 408tl: Rambow & van de Museum purchase; 73br: Gift from Theodore Dell; 126/127:
373t: Sony UK Ltd.; 374b ICI; : Sand; 4091: Greteman Group; of Ely Jacques Kahn; 741: Anonymous gift; 130, 131br,
374tl: Kuwait Petroleum (GB) 409cr: Benetton/Modus Museum purchase; 74tl: 135: Museum purchase through
Ltd.; 375br: Colorsport; 375t: publicity; 452bl: Bon Arad; Museum purchase through the the Decorative Arts Association
Nike IK Ltd.; 379bl, 379tr: 454bl: Ideal Standard James Ford Fund; 74/75: Gift Acquisition Fund; 1 38br: Gift
Betrograph Archive Ltd.; Ltd.; 455c: Robert Opie ofHarmon Godstone; 75tr: of Russel Wright; 1391: Gift of
386tl: Capitol Becords/Rays Collection; 456t: Alias; 462br: Museum purchase; 75br: Gift Mel Byars; 139r: Gift of
Jazz; 386tr: Blue Note/Gilles Memphis; 464c: Kartell; 465tl: of Jefferson Patterson; 76b: Stephen and Dorothy Globus;
Peterson; 387tl: Polydor National Motor Museum, Gift of Christian Rohlfing; 140tl: Gift of J.P Vitrac Design;
Records; 387tc: Immediate Beaulieu; 465b: Tecno GB 76tr: Gift of Danese Milano; 140bl: Gift of Wurttembergische
Records/The Small Faces; Ltd.; 466c: Retrograph 771: Museum purchase with Metallwarenfabrik AG: 141r.
387br: Atlantic Records/Roger Archive Ltd, 470br. Atrium James Ford Fund; 77br: Gift 142/143: Museum purchase
Dean/Yes; 387tr: Virgin Ltd; 472: Robert Opie of Gallery 91; 78/79: Museum through the Decorative Arts
Records: 388tr: EMI Records/ Collection; 473c: Vitra Design, purchase; 78cl: Gift of Ely Association Acquisition
British Design Group London; 479b: Zero Disegno; Jacques Kahn, approved and Fund; 1 43tr: The Henry and
Hipgnosis, George Hardie/ 480tr: Mary Quant Ltd.; 481b: licensed by Josef Hoffmann; Ludmilla Shapiro Collection,
Pink Floyd; 388tl: Island Rambow & van de Sand; 486: 78tr: Gift of Denis Gallion Partial gift and purchase
Records/Roxy Music; 388bl: Alessi spa Italy/Design by and Daniel Morris; 79tl: Gift through the Decorative Arts
Ray Lowry/Penny Smith/The Philippe Starck, 1991. of Mrs Homer D. Kripke; 79cr: Association Acquisition Fund
Clash; 388br. Factory Records/ Gift of Robert and Frances and Smithsonian Collections
Roses by Henri Fantin-Latour The following were Diebboll; 80tl: Gift of the Acquisition Program; 144/145:
(1836-1904)/New Order; photographed at Italian Government; 80tr: Gift
Purchase through the
389tl: Vaughan Oliver/4AD; Cooper-Hewitt, National Decorative Arts Association
of Leila and Massimo Vignelli;
389tr: Virgin Records/Michael Design Museum, Acquisition Fund; 144tl:
80br: Gift of Mel Byars; 8 It:
Nash Associates/Massive Smithsonian Institute:
Museum purchase; 145tc:
Gift of Ronald Kent; 82c: Gift
Attack; 390bc: National (see 139r); 2c: (see 141r);
The Henry and Ludmilla
lr: of Denis Gallion and Daniel
Library of Scotland; Shapiro Collection, Partial
590tl: 2/3c:(see I6ltl); 31 (see 1391); Morris; 82tl: Gift of Vivianna
Robert Opie Collection; gift and purchase through the
4bc:(see 126tl); 5r: (see 1791); Torun Biilow Hiibe and Royal,

510
 ACKNOWLEDGMEN

Decorative Arts Association purchase; 22+cr, Museum Quadmark; 55+cl: (nit oJ Wardrobe: front jacket eta,

Acquisition Fund and purchase through the Max and Barbara Pine; 354/5, back jacket cbl, 255cr, cbr,

Smithsonian Collections Decorative Arts Association 356tl, 556/357t: Gift of Barry 256tl; Cos Prop: back jacket
Acquisition Program: 1+6 1 + 7. Acquisition Fund; 226tl: Gift of Friedman and Patricia Pastor; cbl, lcr, 2461, c, r; 2471, 2481, c;

l+7tr: Gift of Rosenthal Glas Becker. Inc.; 229t: Gift of Mr. 357r: Gift of the Arango Design Classic Restorations: 313bl;
and Porzelain AG: 150: Gift and Mrs. Arthur Wiesenberger; Foundation; 457bl: (see 92tl); Roy E. Craig: 324tl; Garry
of Roger Kennedy; 1 5 1 1: Gift 229b: Museum purchase 465: Anonymous gift; 462tl: Derby, American '50s Car
of Russel Wright: 151c: Gift of through the Decorative Arts Gift of Paul F. Walter; 468tl: Hire: 32/33, 316/317;
Paul F. Walter. 151b: Anonymous Association Acquisition Fund: Gift of Mel Byars; 468/469c: Donghia, Chelsea Harbour
S4k Gift of Justin G 250 Gift of Mel Byars: 25 ltr: Gift of Dorothy Hafner: Design Centre, London: 219r;
Schiller. 15+n Gift of Mr. and Gift of Barry Friedman and 469br: Gift of Mr. Phelps The Duffer of St. George: 280i
Mrs. Burton Tremaine and Patricia Pastor; 231c: Gift of Warren/Hoffmann Foundation; D.H.Evans: 102bl, 133tr, br,

Mrs. John McGrew; 155t: Gift Ivy Ross and Richard Ebendorf 470tl: Gift of Harry Dennis 182/183c, 191; Max & Beverly
of Mrs Jefferson Patterson: in memory of Herbert Ross: Jnr; 471c. 474: Gift of A/S Floyd: 321t; Freuds: 41, 1621;

155b: Museum purchase 251b: Gift of REXITE: 2681, Stelton; 475c: Gift of Smart Ghost: 249r; Jack Hampshire
through the Sir Arthur Brvan 268c; Museum purchase Design; 477: Gift of Barry Baby Carriage Collection:
Fund: 156 1 57t: Gift of Harry through the Decorative Arts Friedman and Patricia Pastor; 196tl, br, 197tr, bl; c/o Hendoi
Dennis Jnr: 1561: Gift of Paul Association Acquisition Fund; 478tl: Gift of Mel Byars; 483: Way Motors: 320/321; Phil
F Walten 157r: Gift of Carlo 268r: Gift of Sally Israel in Gift of Lino Sabattini; 486, Hester: 3 18/3 19b; D. Howarth
Moretti: 157c: Gift of Iittala memory of Fredricka Steibach; 487: Gift of Joseph L. Morris: back jacket cb, 322tl; Nick
Glassworks: 1581: Anonymous 269r: Gift of Michele Wiener: 488: Gift of Leila and Massimo Hughes & Tim Smith: 314tl;
gift; 1 59: Gift of Paul F 269c. 270cl: Gift of Deane Vignelli; 489: Museum Ideal Standard: 170c, cr,

Walter: I60cla. I60tr: Gift of Granoff: 270c: Gift of Vivianna purchase; 490: Gift of Dalmar 170/ 17 lb; Jenny Jordan:
Mel Byars: I60tl: Gift of Peter Torun Billow Hiimbe and Tifft; 491: Gift of Paul F Walter. 246-249, 266/267 (make-up);
Condu: I60cr: Gift of Gallery Royal. Copenhagen: 270br, The Juke Box Showroom, BS
91; 160b: The Henry and 27 ltr: Purchase through the Dorling Kindersley would Leisure, 0181-451 6124/5:
Ludmilla Shapiro Collection. Decorative Arts Association like to thank the following 293b, 294tr, tl, 295b; Austin
Partial gift and purchase Acquisition Fund: 2831: Gift of for the kind loan of Kaye & Co. Ltd.: 2r, 258c, r,

through the Decorative Arts Mr. ic Mrs. Maurice Zubatkin; props for photography: 2591, c, r, 260c, 2611; Lawleys
Association Acquisition Fund 283cr: Gift of Barry Friedman ABC Business Machines: 343bc: Ltd.: 146t; The London Toy
and Smithsonian Collections and Patricia Pastor: 327br: Simon Alderson, Twentieth and Model Museum,
Acquisition Program; I6ltl: Gift of the Arango Design Century Design: 36/37, 39br, Paddington, London: 200tc,
Gift of Rodman A. Hen-en: Foundation; 550cr: Gift of 70. 93tr. 96b, 222tl, 329b, 484; cl, br, 201tr, 202tl, c, br, 2031,
161c: Gift of Paul F Walter: Hermes. SA: 35+cl: Anonymous Algerian Coffee Stores: 122tl, cr, 204tl, 205tl, ct, tr, 206tl, tr,

16lr Gift from Dansk Design gift: 355bl: Gift of Philips 125ct, 125br, 128/129, 467tc; 207t, b, 208t; Anna Lubbock:
Ltd.; 162/165: Purchased with Dictation system USA; 336cl: Angels and Bermans: 248r. 238-245 (make-up); Graham
combined funds and Crane and Gift of Rodman A. Herren: 2491, 2501, c, r, 2511; Apple Mane:ha. Design for Modern
Co.; 1 77r: Anonymous gift: 336/337: Gift of Rolodex Computer U.K. Ltd: 51 br, Living: 59bl, 68bl, 164/165tc,
179L Gift of Julia and Fred Corporation: 337cr. 559tr: 348/349: Laura Ashley: 2191; 335r; Carlo Manzi Rentals.
Haiblen: 181 r; Gift of Barry- Gift of the Arango Design Jane Atfield,Made of Waste: 21. 111. 251c, r, 252bl, br,

Friedman and Patricia Pastor; Foundation and Steelcase 49c, 223r; The Back Shop: 253bl, r; Dr. Martens: 237,
rift of Diane and Mauro Design Partnership; 359tl: 33 ltr: BBC Costume Store: 257cr; The Robert Opie
Genneretti. Italianissimo. Inc.: Gift of Max and Barbara 2421 (boots and coat), 2431, r; Collection, The Museum of

seum purchase: 184tl: Pine; 539b: Courtesy of Plus Andrea Black. Artistic Licence: Advertising & Packaging,
Anonymous Gift; 1861. Gift of Corporation of America: 34 It: 250-253 (make-up): The Gloucester, England: front
Monique Fink in memory of Museum purchase through Business, 0181-963 0668: front jacket back jacket bl,

Peter Fink; 188b: Gift of Barry- the Decorative Arts Association jacket br. 5r. 249c Butler & c, lOr, 27br, 31 tr, 90lr, br

Friedman and Patricia Pastor: Acquisition Fund: 341b: Gift of Wilson: 5r. 249c. (jewellery); 91 cr 93tl, 94br, 95, lOOcl,
190t Gift of Henry Dreyfuss: Mel Byars: 342: Gift of Barry Joe Carroll, Rare Camera 104/ 105c, 11 Or, 11 ltr, 114tr,

190b: Anonymous gift: 216r: Friedman and Patricia Pastor; Company: 23b. 282d. 284tr, bl, 115 118tl, br. 120tl, 132tl,

Gift of Mr. Henry Spencer: 35 lb: Gift of Olentangy 2851. r. 286t. c: Francois Chabat: 134bl 158br, 176, 1771,
217L 21 7r. 2181. 2l8r: Museum Associates: 553b: Gift of 287b: The Contemporary 179ct. 180bl. 180/18ic,

51 1
ACKNOWLEDGMENTS

1851, 186/1 87c, 187r, 189bl, Cooper-Hewitt, National Legemah, Neil Lockley, Revised edition team:
r, 232, 233c, r, 234, 273, Design Museum, Smithsonian Heather McCarry, Claire Senior editor: Peter Jones;
282t, 292tl, 292/293c, 293tr, Institute is grateful to the Naylor, Julie Oughton, Claire Senior art editor: Rowena
294/295c, 333r, 332/333c, following staff for their Pegrum, Nicola Powling, Alsey; Editors: Jo Marceau,

340, 376/377, 378, 380/381, generous support on Catherine Shearman, Julie Oughton; Art editors:
382/383, 410-19; Dennie this project: Nichola Thomasson, Joanne Mitchell, Dawn
Pasion: 246-19, 266-67 Linda Dunne, Assistant Tracy Timson, and Terrey; DTP designer: Rob
(hair styling); PCC Group Director for Administration; Joanna Warwick. Campbell; Senior managing
pic: 48bl; Penfriend: front Brad Nugent, Head of Anna Kruger; Senior
editor:
jacket ctl, lcl, 262-65 (all Photo Services; Greg Additional photography: managing art editor: Steve
pens); Pentagram Design Heringshaw, Technician, Lynton Gardiner, Clive Knowlden; Additional design:
Limited, London: front Wallcoverings Department; Streeter, Gary Ombler, Carla De Abreu, Claire
8, 183br; AJ Pozner
jacket cb, Cynthia Trope, Technician, Sarah Ashun, Dean Belcher, Legemah; Picture researcher:
(Hendon Way Motors): 325tl; Department of Applied Terence Sarluis, and Mariana Sonnenberg; US
Kevin Price, Volvo Enthusiasts' Arts and Industrial Design; Jonathan Keenan. editor: Gary Werner.
Club: 320tl; Reckless Records: Todd A. Olson, Assistant,
387tl;Red or Dead: 257tr; Department of Applied Author's acknowledgments
Road Runner: 2811; Rosenthal/ Arts and Industrial Design; I particularly thank the
Waterford Wedgwood, London: Cordelia Rose, Registrar; staff at Dorling Kindersley,
1411, 148/149c, 149t, Steven Langehough, who have shown dedication,
152/153c, 153tr, cl, 476b; Associate Registrar; Larry and have encouraged and
Courtesy of Peter Rutt: Silver, art handler; Honor guided me with enthusiasm.
323b; Gad Sassower, Mosher, art handler. I am especially grateful to
Decodence, 13 The Mall, Janice Lacock, who has
359 Upper Street, Islington, Thanks are also due to: managed the project with
London Nl OPD: 3r, 7r, 911, Nell Cozens (Design Council), skill and commitment. I

131tr, 334r; 458/459c; Slam Lizanda Lucas, Alex Madina thank Carla De Abreu,
City Skates: 2801, St. Bride (NMEC), Hugo Wilson, Louise Candlish, Stephen
Printing Library: 360t, 361b; Laurent Marceau, The Croucher, Jo Marceau, Tracy
362/363, 364/365, 366; British Dental Association, Hambleton-Miles, Claire
Sunglass Hut: 275cra, crb, and VolksWorld Magazine for Pegrum, Jane Sarluis,
br;Le Tout Petit Musee/ their help and advice; Boyd Susannah Steel, Dawn
Nick Thompson, director Annison, Helen Castle, Adrian Terrey, and David Tombesi
Sussex 2CV Tom
Ltd: 314cl; Craddock, DNH Camcorder Walton for their remarkable
Turkington (Hendon Way Repairers, Victoria Elvines, Finally at DK, a
efforts.
Motors): 317tr; Irene Turner: Sasha Howard, Gloria & John special thanks to Sean Moore
323tr; The Water Monopoly, Jacobson, Tassy King, Eyal
for his support and advice.
16/18 Lonsdale Rd, London Lavi, Joanne Mitchell, Nicky
My thanks also to Deborah
NW6: 15br, 1681, cr, br, Munro, and Andrew Pucher
Sampson Shinn at Cooper-
1691, cr, be, 172/173; for the loan of props;
Hewitt Museum, New York;
"57th Heaven" Steve West's models Sarah Foster, David
Mike Ashworth and David
1957 Buick Roadmaster: Gillingwater, Emily Gorton,
Ellis at the London Transport
Janet & Roger Westcott: Thomas Green, Hayley
Museum; Peter Barnet; The
316c; Wig Specialities: Miles, Susannah Marriott,
Victoria and Albert Museum,
246/247, 2481, 2491, c, Jacqueline Phillips, David
London; Hamish MacGillivray
2661, c, 267c; Margaret Terrey,Ryan Thomas,
at the London Toy and Model
Wicks: 238/239, 2401, David Williams, and Patricia
Museum; Robert Opie; the
c, 2411, c; William Levene Wright; and Susannah Steel,
Vitra Museum; Julia Tambini;
Ltd: 125bl; Courtesy of particularly for her help
Patricia Wright; Sandra
Mr. Willern van Aalst: with the packaging section.
Millichip; Hal Haines;
314bl; Lawrence Zeegen: Additional thanks to Kirstie
Shirley Finch; and
171, 370bl (all bottles). Hills, Caroline Hunt, Claire
Stephen Le Flohic.

512
 ILLENNIUM
the Look bf thi

RTkSTCIh
centuIy VELOI .JTH-CENTURY
DESIGN AND PROFILES THE KEY DESIGNERS WHO
HAVE INFLUENCED OUR EVERYDAY LIVES

RECORDERS
REFRIGERATORS
'ASES

ICKS

FOOD PROCESSORS
COOKERS
BOWLS

WASHING
RADIO-
COFFI WOMEN'S
BEACHWEAR
WEAR
BUSINESS CLOTHED

WATCHES
MENT
AERAS
CHILDR

SHOES JL

FOUNTAIN PENS
J& DESK
ICESSORIES OFFICE EQUIPMENT
MACHINES TOASTERS TEA AND COFFEE lOMPUTERS PHOTOCOPIERS AND FAXES
DINNER SERVICES COCKTAIL WRITERS CALCULATORS AND ADDING
CCESSORIES DINING TABLES AN
COFFEE MAKERS MOTORCYCLES LOGOS
GLASSWARE PACKAGING MAGAZINE ,

EDS BABY CARRIAGES TO,

ND MODELS BOARD GAM
HONES CLOC. S A DETAILED GLOSSARY
VACUUM CLEANERS H ESIGN TERMS AND TREND
1PAPER STORAC ILLUSTRATED BIOGRAPHIES OF
THAN 300 KEY DESIGNERS
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