This is the essential student's guide to Design - its practice, its theory and its history. Drawing from a wide range of international examples, respected design writer Catherine McDermott explores key topics including:

• 
  
• international design - from Europe to Africa
• 
  
• design history - from Art Nouveau to punk
• 
  
• sustainable design, recycling and green design
• 
  
• design theory - from semiotics to gender, to postcolonialism
• 
  
• design technology, graphic design and the web.

Fully cross-referenced, with up-to-date guides for further reading, Design: The Key Concepts is an indispensable reference for students of design, design history, fashion, art and visual culture.

This is the essential student's guide to Design - its practice, its theory and its history. Drawing from a wide range of international examples, respected design writer Catherine McDermott explores key topics including:

• 
  
• international design - from Europe to Africa
• 
  
• design history - from Art Nouveau to punk
• 
  
• sustainable design, recycling and green design
• 
  
• design theory - from semiotics to gender, to postcolonialism
• 
  
• design technology, graphic design and the web.

Fully cross-referenced, with up-to-date guides for further reading, Design: The Key Concepts is an indispensable reference for students of design, design history, fashion, art and visual culture.

In Feel-Bad Postfeminism, Catherine McDermott provides crucial insight into what growing up during empowerment postfeminism feels like, and outlines the continuing postfeminist legacy of resilience in girlhood coming-of-age narratives. McDermott's analysis of Gone Girl (2012), Girls (2012–2017) and Appropriate Behaviour (2012) illuminates a major cultural turn in which the pleasures of postfeminist empowerment curdle into a profound sense of rage and resentment. By contrast, close examination of The Hunger Games (2008–2010), Girlhood (2014) and Catch Me Daddy (2014) reveals that contemporary genres are increasingly constructing girls as uniquely capable of resiliently overcoming and adapting to unforgiving social conditions. She develops an affective vocabulary to better understand contemporary modes of defiant, transformative and relational resilience, as well as a framework through which to expand on further modes that are specific to the genres they emerge within. Overall, the book suggests that exploration of the affective dimensions of girls’ and women’s culture can offer new insights into how coming-of-age, girlhood and femininity are culturally produced in the aftermath of postfeminism.