This tenth volume of ABHB (Annual bibliography of the history of the printed book and libraries) contains 3275 records, selected from some 2000 periodicals, the list of which follows this introduction. They have been compiled by the National Committees of the following countries: Australia Italy Austria Luxembourg Belgium The Netherlands Bulgaria Poland Canada Portugal Denmark Rumania Finland South Africa France Spain German Democratic Republic Switzerland German Federal Republic USA Great Britain USSR Hungary Yugoslavia Ireland (Republic of) Spain and Latin America have partially been covered through the good of fices of an American colleague. Benevolent readers are requested to signal the names of bibliographers and historians from countries not mentioned above, who would be willing to co-operate to this scheme of international bibliographic collaboration. The editor will greatly appreciate any communication on this matter. Subject As has been said in the introduction to the previous volumes, this bibliography aims at recording aH books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural VIII INTRODUCTION environment, involved in its production, distribution, conservation, and description. Of course, the ideal of a complete coverage is nearly impossible to attain. However, it is the policy of this publication to include missing items as much as possible in the forthcoming volumes. The same applies to countries newly added to the bibliography."

The time when "fashion" was defined by French designers whose clothes could be afforded only by elite has ended. Now designers take their cues from mainstream consumers and creativity is channeled more into mass-marketing clothes than into designing them. Indeed, one need look no further than the Gap to see proof of this. In The End of Fashion, Wall Street Journal, reporter Teri Agins astutely explores this seminal change, laying bare all aspects of the fashion industry from manufacturing, retailing, anmd licensing to image making and financing. Here as well are fascinating insider vignettes that show Donna Karan fighting with financiers,the rivalry between Ralph Lauren and Tommy Hilfiger, and the commitment to haute conture that sent Isaac Mizrahi's business spiraling.

This book pays homage to an iconic fashion duo, Ossie Clark and Celia Birtwell, two English creatives whose short but very intense artistic and personal partnership gave rise to an unmistakable style that left its mark in London during the period between Mary Quant’s miniskirt and the subversive punk movement of Malcolm MacLaren and Vivienne Westwood, from 1965 to 1974. Ossie and Celia is the story of a special alchemy, one of the first artistic couples in which a designer and a fabric designer worked together to complete each other in total harmony, up until their separation in 1973. Celia created wonderful prints inspired by nature and the different artistic currents that Ossie, with his skill in cutting and modelling, transformed into sensual and feminine clothes. This also thanks to the lightness of the fabrics such as crepes, silks and chiffons that conquered the international jet-set and the music scene of the time. From Brigitte Bardot to Liz Taylor, up to Verushka, everyone was fascinated by their fashion. Mick Jagger, Brian Jones, Keith Richards, Jimi Hendrix, Marianne Faithfull, Anita Pallenberg, Eric Clapton, George Harrison, Bianca Jagger and Marisa Berenson are just some of the people that Ossie Clark dressed. Starting with a first important nucleus of clothes from the archive of Massimo Cantini Parrini, then enriched with further loans from the American collection of Lauren Lepire and from the London archives of the Clark family and Celia Birtwell herself, the exhibition recounts the context and evolution of the two artists with clothes, fabrics, unseen sketches, videos, photos and vintage editorials. Text in English and Italian.

One of the last surviving members of the futurist generation, Bruno Munari's Design as Art is an illustrated journey into the artistic possibilities of modern design translated by Patrick Creagh published as part of the 'Penguin on Design' series in Penguin Modern Classics. 'The designer of today re-establishes the long-lost contact between art and the public, between living people and art as a living thing' Bruno Munari was among the most inspirational designers of all time, described by Picasso as 'the new Leonardo'. Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze. How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever. Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field. If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics. 'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness' International Herald Tribune

This book looks at causative reasons behind creative acts and stylistic expressions. It explores how creativity is initiated by design cognition and explains relationships between style and creativity. The book establishes a new cognitive theory of style and creativity in design and provides designers with insights into their own cognitive processes and styles of thinking, supporting a better understanding of the qualities present in their own design. An explanation of the nature of design cognition begins this work, with a look at how design knowledge is formulated, developed, structured and utilized, and how this utilization triggers style and creativity. The author goes on to review historical studies of style, considering a series of psychological experiments relating to the operational definition, degree, measurement, and creation of style. The work conceptually summarizes the recognition of individual style in products, as well as the creation of such styles as a process before reviewing studies on creativity from various disciplines, presenting case studies and reviewing works by master architects. Readers will discover how creativity is initiated by design cognition. A summary of the correlations between creativity and style, expressed as a conceptual formula describing the cognitive phenomenon of style and creativity concludes the work. The ideas presented here are applicable to all design fields, allowing designers to comprehend and improve their design processes to produce creative, stylistically unique products.

This book proposes a novel approach to the design of accessible and inclusive sailing yachts, inspired by the principles of "Design for All." The goal is to allow anyone, including users with disabilities and individuals belonging to the weaker segments, to sail without barriers. Starting from an analysis of existing pleasure boats, the author identifies a series of factors limiting the accessibility or usability of external and internal spaces. In turn, he discusses the most suitable solutions to each. By proposing an extensive set of design solutions applicable to the confined spaces on yachts, and which comply with the relevant anthropometric and dimensional rules, the book offers a timely snapshot of the potential benefits and applicability of an inclusive approach to yacht design, setting a new reference standard for inclusive and accessible nautical design.

Environmentalists, whether engaged in direct action or creating new models of sustainable industry and settlement, propose radical changes in the values and organization of society. "Urban Avant-Gardes" explores whether new practices in the arts and architecture can reshape values and in turn create a new consciousness, from which a more sustainable society can emerge. The first section contextualises the practices of art and architecture through reference to cultural and environmentalist debates in the late 20th century. It specifically considers past notions of an avant-garde in art and architecture; the politics and cultures of environmentalism in the late 20th century; the question of locality in a context of globalization; and the problem of how a new society or consciousness comes into being. Section II illustrates these frameworks by providing examples from the US, Europe and Australia, mainly in cities with initiatives between art, architecture, ecology and movements for democratic change, which might constitute a green avant-garde. The final section draws together the commonalities and differences between the examples and looks to the future, asking how patterns of settlem

In an Influential Fashion profiles 164 fashion designers and retailers from many countries who have had the most impact on American dress and culture from the late 19th century to the year 2000. Each entry introduces a fashion personality or retailer whose influence on the industry reflected societal, political, and/or economic change. The commercial side of fashion, neglected in most fashion encyclopedias, is explored here, with details of licensing agreements and marketing innovations not easily found elsewhere. Students and professionals in fashion design, retailing, costume research, and social history will all find this book a valuable addition to their libraries. Each entry includes the birth and death dates of designers, their education and training, career highlights and accomplishments, and awards they have won. The entry describes the designer or retailer's signature styles, with a keen emphasis on the designer's contributions to American fashion design and culture. As appropriate, the entry summarizes any licensing agreements and influential marketing innovations. Web sites, lists of museums and fashion design schools, and numerous appendices make In an Influential Fashion a complete resource on American fashion history for the late 19th and 20th centuries.

The Fashioned Body provides a wide-ranging and original overview of fashion and dress from an historical and sociological perspective. Where once fashion was seen as marginal, it has now entered into core economic discourse focused around ideas about 'cultural' and 'creative' work as a major driver of developed economies.   This third edition of The Fashioned Body, the most comprehensive revision to date, revisits the classic works on fashion, dress and the body, and introduces contemporary issues and debates in the area. With new sections and revisions to all chapters, the major updates pick up on recent debates on fashion from the perspective of decolonising the curriculum, diversity, queer studies, sustainability, the environment, and digital fashion. A newly expanded bibliography of contemporary studies of fashion and dress is also included. The book continues to show how an understanding of fashion and dress requires analysing the meanings and practices of the dressed body in culture. Moreover, its central premise – that fashion is a 'situated practice' articulated through everyday dressed bodies – has become established orthodoxy within fashion studies since publication of the first edition in 2000.   Remaining a seminal text in the field, this book will be essential reading for anyone interested in the social role of fashion and dress in modern culture.

Design for Wellbeing charts the development and application of design research to improve the personal and societal wellbeing and happiness of people. It draws together contributions from internationally leading academics and designers to demonstrate the latest thinking and research on the design of products, technologies, environments, services and experiences for wellbeing. Part I starts by conceptualising wellbeing and takes an in-depth look at the rise of the design for wellbeing movement. Part II then goes on to demonstrate design for wellbeing in practice through a broad range of domains from products and environments to services. Among others, we see emerging trends in the design of interiors and urban spaces to support wellbeing, designing to enable and support connectedness and social interaction, and designing for behaviour change to tackle unhealthy eating behaviour in children. Significantly, the body of work on subjective wellbeing, design for happiness, is increasing, and several case studies are provided on this, demonstrating how design can contribute to support the wellbeing of people. Part III provides practical guidance for designing for wellbeing through a range of examples of tools, methods and approaches, which are highly user-centric, participatory, critical and speculative. Finally, the book concludes in Part IV with a look at future challenges for design for wellbeing. This book provides students, researchers and practitioners with a detailed assessment of design for wellbeing, taking a distinctive global approach to design practice and theory in context. Design for Wellbeing concerns designers and organisations but also defines its broader contribution to society, culture and economy.

Creating African Fashion Histories examines the stark disjuncture between African self-fashioning and museum practices. Conventionally, African clothing, textiles, and body adornments were classified by museums as examples of trade goods, art, and ethnographic materials—never as "fashion." Counterposing the dynamism of African fashion with museums' historic holdings thus provides a unique way of confronting ways in which coloniality persists in knowledge and institutions today. This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history. The editors of this volume seek to answer questions such as: How can researchers use museum collections to reveal traces of past self-fashioning that are obscured by racialized forms of knowledge and institutional practice? How can archival, visual, oral, ethnographic, and online sources be deployed to capture the diversity of African sartorial pasts? How can scholars and curators decolonize the Eurocentric frames of thinking encapsulated in historic collections and current curricula? Can new collections of African fashion decolonize museum practice? From Moroccan fashion bloggers to upmarket Lagos designers, the voices in this ground-breaking collection reveal fascinating histories and geographies of circulation within and beyond the continent and its diasporic communities.

This sixteenth volume of ABHB (Annual bibliography oj the history oj the printed book and libraries) contains 3858 records, selected from some 2000 periodicals, the list of which follows this introduction. They have been compiled by the National Committees of the following countries: Arab countries Latin America Australia Luxembourg Austria The Netherlands Belgium Norway Bulgaria Poland Canada Portugal Denmark Rumania Finland South Africa France Spain German Democratic Republic Sweden German Federal Republic Switzerland Great Britain USA Hungary USSR Ireland (Republic of) Yugoslavia Italy Latin America and the Arab countries are being covered through the good offices of American colleagues. Benevolent readers are requested to signal the names of bibliographers and historians from countries not mentioned above, who would be willing to co-operate to this scheme of international bibliographic collaboration. The editor will greatly appreciate any communication on this matter. Subject As has been said in the introduction to the previous volumes, this bibliography aims at recording all books and articles of scholarly value which relate to the history of the printed book, to the history of the arts, crafts, techniques and equipment, and of the economic, social and cultural VIII INTRODUCTION environment, involved in its production, distribution, conservation, and description. Of course, the ideal of a complete coverage is nearly impossible to attain. However, it is the policy of this publication to include missing items as much as possible in the forthcoming volumes. The same applies to countries newly added to the bibliography.

A creative explosion in design made the 1950s one of the most exciting periods of the twentieth century. New materials and manufacturing methods meant that form, color, and function were all reconsidered, innovations that shook the traditional ways of thinking and awoke the imagination of the public. Here is a look at the fabulous 50s designs, from furniture and lighting to glass and pottery. The work of major designers, both international and American, are represented, including Franco Albini, Charles Eames, Paul Frankl, Alexander Girard, Arne Jacobsen, Carlo Mollino, George Nelson, GiA(3) Ponti, Jean ProuvA (c), Eero Saarinen, and Ettore Sottsass. The historical information along will informative captions and rich color photographs make this a valuable resource for those who appreciate 50s design.