Blue for Boys, Pink for Girls

Author: Phoebe Rogers

A Review of ‘Designing Women’ – Open at the NGV until September 29th 2019

‘Designing Women’ showcases 40 years of iconic design in fashion, jewellery, furniture, product and architecture, celebrating female authorship and illustrating the contribution made to modern design culture.
Highlighting the achievements of breakthrough female designers in a male dominated field, driven by a hyper-masculine machine-focused industry. Succeeding in challenging the gender prejudice of a women’s place being in a domestic setting, incompatible with modern industry.

Figure 1: Designing Women Exhibition – NGV
Source: Author supplied, 2019

Approaching the exhibition I was unsure if I was going to encounter a display of archetypal designs from the past four decades, or a celebration of feminine design influence.
To my joy ‘Designing Women’ did not conform with traditional feminist values of a patriarchal industry, where women were placed in an unequal relationship to men through gender stereotypes. This resulted in designs which avoided feminine attributes, rather then fighting and expanding the cultural perception of gendered objects.

When viewing the exhibition in a holistic way, the works shown are consistently feminine in nature. A hue of soft, warm and natural colours, pleasant in form and creating a calm, nurturing experience. The space communicates how the iconic work of female designers reinforced the value of femininity and aided in shaping todays design culture.

The displayed pieces represent the struggle against the negative associations of feminine stereotypes in the male dominated industry of past. Presenting a wonderful commentary on how these Designs and many more like them, resulted in gendered objects that users could connect with in a different way.

The Meaningful Relationship Between Objects and People

We create relationships with objects in a very interesting way. Most importantly to communicate our social identity to ourselves and others, with gender being one of the most fundamental parts of this identity.

It is easy, but also dangerous to view the distinction of gender as male vs female, as crude as blue for boys and pink for girls. The distinction or social codes used to define the gender of something is largely conditional on the cultural context you are operating in. Blue for boys and pink for girls is a construct of western culture and has only been around since approximately the 1930s. Yet it is perceived as a non-negotiable fact and way to communicate the gender of babies and even hinting towards sexual preference (Kirkham & Attfield, 1996).

Figure 1: Look 48 – Designed by Maria Grazia Chiuri for Christian Dior
Source: Author supplied, 2019

With gender being a cornerstone of who we are, the traits an object contains is significant to our choice to possess them. With our lives becoming increasingly global, communicating gender is now more difficult, but there is far less of a concern to create such a firm distinction due to acceptance of sexuality and openness.

‘Designing Women’ shows how the pioneering work of female designers helped to break down gender stereotypes and move the design industry away from black and white distinctions, and into a spectrum.
It may be considered a crime though – to state that this was only achieved due to soft forms and warm gentle colours. Many designs are embodied with a feminine sensitivity and empathy through the representation of traditions and the memories the objects keep alive (Kirkham & Attfield, 1996).

Makiko Ryujin

A contemporary Melbourne based designer, Makiko Ryujin embodies her Shinki bowls with the widely practiced Japanese renewal tradition of burning dolls to bring good fortune. Famous to her hometown Takasaki, the Daruma doll is burnt in mass at the Shorinzan Darumaki temple.

Figure 000: Shinki – Vessels by Makiko Ryujin at the NGV
Source: Author supplied, 2019

The form of her bowls is decadently industrial and could arguably be seen as a very masculine object, hand turned on a lathe and then torched to result in natural cracking, and surface finished to highlight the charred timber texture.  Yet in Japanese culture it represents a very feminine tradition (Ryujin, 2019). It is the inclusion of these objects embodied with gender through cultural significance, that highlight the contribution of female designers to a machine-driven industry concerned primarily with mass and function.

Representing a more complex perceived feminine trait and the immense significance in which we place on objects that allow users to connect with the them on as deep a level as childhood traditions.
Feminine traits in design works are now more widely accepted and have contributed to a less binary view of the male and female. Challenging gender stereotypes, but most importantly celebrating the differences. TF

Images:

Figure 1: Author Supplied, 2019

Figure 2: Author Supplied, 2019

Figure 3: Author Supplied, 2019

Written Sources:

Kirkham, P & Attfield, J. 1996. The Gendered Object. Introduction in Kirkham, P (ed) (1996). Manchester. Manchester University Press

Ryujin, Makiko. 2019. “Home Page”. Makiko Ryujin. https://www.makikoryujin.com/.

It’s a bird, it’s a plane, it’s.. May Morris, The Forgotten Superhero

Author: Phoebe Rogers

The Arts & Crafts Movement is often considered one of the most influential design movements of history. We saw a reactionary protest in response to the working conditions of the Industrial Revolution, we saw art communities come together, and we saw intricate and innovative textile design. What we didn’t see, is recognition for some the movement’s most influential female designers.

May Morris, youngest daughter of iconic 19^th Century British designer and socialist William Morris, was without doubt one of these influential female designers, perhaps even the most.  
While working at her fathers firm ‘Morris & Co.’ May designed and produced various wallpapers, textiles, and jewellery, with her embroidery being the most significant skill. Demand for her work was present all over the world, and yet despite this, her extensive achievements have often been credited to her father (William Morris Gallery, 2018)

Figure 1: May Morris (1862-1938)
Source: Cheltenham Museum, 2019

May studied at the National Art Training School (Royal College of Art), and later partnered in her father’s firm as head of the embroidery department as young as 23 years old.
Her textile and wallpaper design ‘Honeysuckle’, is considered one of the firm’s most popular designs, however is far too often assumed to be a design of her fathers.  The Honeysuckle print can still be purchased today and has become synonymous with archetypal designs of the Arts & Crafts movement.
Is this not an obvious example of sexual stereotyping? In ‘Women Designers: Is there a gender trap?’ Bruce & Lewis describe it as assuming authorship based off sex. For example, women work in the domestic context, and men in the paid public domain (Bruce and Lewis, 1990).

Figure 2: ‘Honeysuckle’ by May Morris c.1883
Source: William Morris Gallery, London

Another of May’s more commendable accomplishments is a pair of silk tapestries. Titled ‘Spring & Summer’ and ‘Autumn & Winter’, designed and embroidered by May in 1895 while working as chief embroider for Morris & Co. The designs were commissioned for over 150 pounds, making them the most profitable sale for Morris & Co through 1895-1900 (Thames & Hudson, 2017).

Figure 3: ‘Spring and Summer’ Tapestry c. 1895
Source: William Morris Gallery, London

May did not become a suffragette, but was however highly active in both the women’s movement, and the socialist movement. Ironically, she valued social equality more than gender equality (William Morris Gallery, 2018).
In 1907, in partnership with fellow designer Mary Elizabeth Turner, the Women’s Guild of Arts was established. Other significant members included painter Evelyn DeMorgan, bookbinder Katherine Adams, and jeweler Mabel White.
The guild was formed in order to support fellow females practicing art and design. This was at a point where women were intentionally excluded from comparable unions, for example the ‘Art Workers Guild’, which until 1972 refused to accept female members.

Just two years before her death in 1938, in a letter to former lover George Bernard Shaw, May declares
”I’m a remarkable woman – Always was, though none of you seemed to think so” (William Morris Gallery, 2018)
The point of her message is obvious, is it not in reflection of a life filled with hard work and no recognition, and an even more powerful determination to step out of her father’s shadow? This self-assessment of May’s own life encapsulates my own frustrations regarding her marginalisation.

Obscured by the achievements of her father, May died in 1938, and her influential role in history all but buried.
More recently, thanks to the immense portfolio of work left by her, accompanied by letters, photos, and personal accounts of family, her creative life can be pieced back together so that we might see that May was infact without doubt “Remarkable”. Not just as a designer, but as a prominent female source of inspiration for many, including myself.

Images:

Figure 1: Cheltenham Museum. 2018. May Morris Playing Guitar. Image. https://www.cheltenhammuseum.org.uk/collection/arts-and-crafts-designers-may-morris/.

Figure 2: William Morris Gallery. 2019. ‘Honeysuckle’ by May Morris. Image. http://maymorrisartandlife.co.uk/the-exhibition/.

Figure 3: William Morris Gallery. 2019. ‘Spring And Summer’ Tapestry May Morris. Image. http://maymorrisartandlife.co.uk/the-exhibition/.

Written Sources:

Bruce, Margaret and Jenny Lewis. 1990. Women designers – is there a gender trap? Butterworth & Co (Publishers) Ltd.

William Morris Gallery. 2019. “May Morris: Art & Life – 7 October – 28 January, William Morris Gallery”. Maymorrisartandlife.Co.Uk. http://maymorrisartandlife.co.uk/.

Thames & Hudson. 2019. “May Morris Exhibition At The William Morris Gallery – May Morris: Art & Life”. Thamesandhudson.Com. https://thamesandhudson.com/news/may-morris-a-remarkable-woman/.

Forgotten female designer – Lily Reich

Modernism refers to the art movement in society and culture during the late nineteenth century to the mid-twentieth century, and people seek a new combination with the experience and values of modern industrial life (Tate). Nevertheless, gender discrimination is a big problem during that period. There are few designers, and their works ignored due to gender. 

Hsitory about gender

As the increasing number of art school appears, which closely related to industrial demand in the 1870s, such as providing opportunities to designers for the pottery industry even though there are a lot of opportunities for people involved in art. The chance for women to get professional work still limited. At that time, many women work at home or join the individual workshops and studios for women. Once they participate in the male-dominated design such as furniture design, they are only allowed to do some decorations on the furniture (Bruce an Lewis 1990, 116), which reflects the odd situation for women at work. 

Have Bauhaus changed the situation?

In the year of 1919, Walter Gropius established Bauhaus art school, is famous for the supporting of quality rights, especially gender equality. Women can join Bauhaus and treated equality. Hence, there were a lot of women applied to this school. However, gender equality not successfully achieved. The division of subjects creates different groups. For example, the male arranged in architecture, and sculptures, while the female can only attend a class like weaving. (Bruce an Lewis 1990, 116). The existence of gender inequality makes some designers ignored at that time.

Lily Reich

Lily Reich was born in Berlin, German. She was a Modernist designer who made great contributions to furniture, interior, and fashion design. She established her studio and held an exhibition in 1920, which established her reputation in the field of Germany design. And she has been accepted and represented by architectural historians. Until she met Mies van der Rohe, who was one of the most well-known architects in the twentieth century, everything has changed. Reich and Mies got married. And their collaborations for furniture, exhibition, and interior design became famous. However, Reich became well know after her death, because of her relationship with Mies, not famous for her work. The scholar Christiane Lange says (Veit 2016 )“ Not surprisingly, however, Reich never became as well known as her famous male collaborator (Veit 2016 )”. Reich and Mies both participate in their design creation, but Mies as a male designer who obtained more achievement from their collaboration work. In contrast, Reich as a female designer who ignored in history. The situation of the female ignored reflects the concept of gender equality.

Figure 1. Lily Reich, “Garden Table (LR 500)”, 1931, Tubular steel and beech veneer over brick plywood.

Reich was keen on using materials and technique of new industrial production. She is regarded as the only female to design the series of furniture through the construction of the tubular steel at that time. As seen in the image (fig. 1), she uses the combination of wood and tubular to create the table named Garden Table, and there are only three pillars under the table. And this design keeps the idea of simplicity that gives people a sense of relaxing. The design highlights the function of the table, which used in the garden. Reich as a female designer who did a lot of great works in furniture design. 

Figure 2. Ludwig Mies Van Der Rohe, “Barcelona Chair”, 1960s.Medium
leather, stainless steel.

The Barcelona Chair (fig. 2) was designed for the 1929 Barcelona International Exhibition (NGV). The chair looks very modern and simplistic, but the methods for manufacture were very traditional, and it was hard to make. The chair based on the cantilever principle to stress its lightness. The black leather cushion with the curve legs appeals to the viewer’s eyes. It seems a very comfortable and stable chair. The chair achieved a successful result in society, and it has produced for nearly eight years. However, most people didn’t know this chair was a collaboration work by Mies and Reich. Mies didn’t credit to Reich, which erasing Reichs’s details, and thoughts about the chair. erasing her name is not fair for Reich, because she participates in the process of designing. According to Howard Dearstyne, “ We simply accepted Lilly Rech as being Mies’s ‘Right-hand man.” However, Reich is more like a hidden woman who standing behind Mies and provides thoughts, share inspirations to Mies.

Lily Reich as a female designer made significant contributions to the design world. However, her contributions were ignored in history. Reich indicates the social status of women designers at that time. They might not be treated equally, and their work might be overlooked due to gender problems.

Bibliography

“Barcelona Chair”. National Gallery of Victoria, 12 April, 2019. https://www.ngv.vic.gov.au/Spanish_Ed/artwork_files/pdfs/artsheet_miesvanderrohe_LR_FINAL.pdf

Bruce, Margaret and Lewis, Jenny. “ Women designers – Is there a gender trap?” 115- 116. Manchester and Milton Keynes: Butterworth & Co. 1990.

Matthewson, Gill. ” Picture of Lily: Lily Reich and the Role of Victim” 4- 8. Wellington Institute of Technology 2002.

“Modernism”. Tate, 9 April, 2019. https://www.tate.org.uk/art/art-terms/m/modernism

Veit, Rebecca. 2016. “Lilly Reich Was More Than Mies’s Collaborator :Five things you probably didn’t know about the German modernist designer.” Core77, 11 April, 2019. https://www.core77.com/posts/55200/Lilly-Reich-Was-More-Than-Miess-Collaborator

Forgotten Marginalised Female Design Superheroes

Born and raised within Dubai, Zeinab Al Hashemi has only recently placed herself as one of the most well-known designers within the United Emirates. The conceptual artist and designer specialises in installation and spatial art, inspired by the world around her, Al Hashemi’s work revolves around the past and history of her country. In attempt to understand her identity as an Emirati woman, her installations reflect the connection between nature and the modern industrial world that we are evolving into. (Zeinab Al Hashemi, 2019) 

Our world as we know it today, has evidently advanced and is developing rapidly in comparison to one hundred years ago with cities growing higher, wider and leaving natural landscapes behind as industrialism increases to cater for growing societies. Al Hashemi claims “it is her responsibility as an artist to draw awareness not only on art and design, but how it can inspire society” through her extensive research of the United Emirates past natural forms and its connection to what could be. (Zeinab Al Hashemi, 2019)

The modernist theory descends from the idea to depart from traditional art forms, placing Al Hashemi as a marginalised designer as she corresponds with traditional theories. Although the artist uses some modern materials, her work is not noted as a ‘modernist’ approach and can relate with the concepts and work of Aboriginal artists. Within Australia, Indigenous artwork like Al Hashemi, is formatted through an inspiration of landscapes and honour of tradition. Though creating differentiated art forms through multi-disciplinary design methods, a sense of culture can be found through both Indigenous art and the Emirati designer. Drawing from Onafuwa, Dimeji’s text ‘Allies And Decoloniality: A Review Of The Intersectional Perspectives On Design, Politics, And Power Symposium,’ the author touches on the marginal community that has developed within the Art and Design industry. It touches on colonialism, imperialism and the exclusion in which Indigenous art has from the modernist sector due to its historical context. Stating “exclusions may be covert, or even unconscious, and they are embedded in cultural practice and designed into everyday life.” (Onafuwa Dimeji, 2018) This implies the theories of modernism, have formed a segregation between design practices of those who participate in traditional ideas and forms.

Aboriginal artists Emily Murray, Eileen Tep and Nephi Denham display the correlation between traditional cultural art forms, represented in a contemporary manner. Exhibited in Sabbia Gallery, their work stands beside each other to represent Indigenous artwork that tells a rich story of their culture and history with the land. The exhibition is called ‘Clay Stories’ and displays contemporary ceramics, however to art critics – does not fit into the category of modernism. (The Design Files, 2019) The cannon of modernism still subsides Indigenous artwork into a marginal sector due to their techniques and the cultural context of their work, the same can be said for Al Hashemi. 

Figure 1: Emily Murray, Eileen Top and Nephew Denham’s Clay Stories exhibition, The Sabbia Gallery.

Al Hashemi also works to overcome the new standard of design and continues to highlight her work inspired with traditionalism, with the intention to remind “humans have contributed in our landscape; the maps that we now know today we might not know in the future.” (Al Hashemi, 2018) Her approach to her work and design itself implies her understanding of how broadened design history and how rapidly it can change. In Victor Margolin’s text ‘ Design Studies: Tasks and Challenges’ he discusses this and “how we arrived at this moment and can project how to carry it forward it into the future.” (Victor Margolin, 2015) In a piece called ‘Metamorphic’ designed within 2018, an installation created from eight layers of stained glass representing land and water, the metal mesh and scattered squares of stained glass promotes a sense of traditionalism through her concept and design. At a glance, the piece can be viewed as contemporary, yet whether her work however meet the requirements to a modernist approach to design is another question.

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Figure 2: Al Hashemi’s ‘Metamorphic,’ 2018.

Majority of her designs uses raw overlooked materials to display a rebirth of new landscape and cultural complexities. In an explanation of an installation created in 2016 called ‘Within the Grid,’ the designer explains that her work is essentially a representation of our movements in the world, essentially all within a grid. “I like to show the endless possibilities of map reforming and rebirth of new landscape, while technically documenting the country’s topography.” (Zeinab Al Hashemi, 2016) This correlation between history and a new essence of our world that Al Hashemi brings to Visual Culture, although not typical approach to modern design is a poetic assortment of history, present and future with a mix of contemporary approach to design.

Bibliography

1. “About Artist — Z|H”. Z|H, Last modified 2019. http://zeinabalhashemi.com/about-forte.
2. Onafuwa, Dimeji. “Allies And Decoloniality: A Review Of The Intersectional Perspectives On Design, Politics, And Power Symposium”. The Journal Of The Design Studies Forum, 2018, 8 – 13. https://doi.org/10.1080/17547075.2018.1430995.
3. “Previewing ‘Clay Stories’ An Exhibition Of Contemporary Indigenous Ceramics From Remote Australia”. The Design Files | Australia’s Most Popular Design Blog., Last modified 2019. https://thedesignfiles.net/2017/11/clay-stories/.
4. “Metamorphic | Colab- Contemporary Art & Savoir Faire – Louvre Abu Dhabi — Z|H”. Z|H, Last modified 2019. http://zeinabalhashemi.com/metamorphic-.
5. Margolin, Victor. “Design Studies: Tasks And Challenges”. The Design Journal 16, no. 4 (2015): 405 – 407. doi:10.2752/175630613×13746645186043.
6. “Within The Grid | Maraya Art Center | 2016 — Z|H”. Z|H, Last modified 2019. http://zeinabalhashemi.com/new-gallery-2.

Designing Women

Exhibiting at the National Gallery of Victoria, ‘Designing Women’ provides an extensive and innovative display of international female design. The united front of female influence upon contemporary design culture is seen through more than sixty exceptional works varying from lighting, furniture, object, architecture and fashion design.(NGV, 2019) The exhibition is made up by over fifty influential females both within Australia and Internationally, allowing viewers the opportunity to see works created under the cloud of an industry that has been dominated by men until the end of the second wave of feminism, making way for female influence from the 1980’s until now. It has been questioned whether within this day and age it is necessary for an all-female exhibition, however the NGV has provided an outlet for women’s professional contribution to the realm of visual culture to be acknowledged for their influence towards not only the industry, but society.(Khan Academy, 2019)

Figure 1: National Gallery of Victoria’s exhibition, Designing Women.

The role of design ventures further than whether objects are functional or beautiful to look at, but rather how design has shaped our current society. The history of design is one which scopes into various broad avenues, but what is consistent across all aspects is the lack of understanding society has of a designer’s role. Through history the predominate design methods consisted of roles such as product design, graphic or fashion design, yet now venture into universal, social or feminist design methods, just to name a few. Hosting designers such as Aljoud Lootah, Carlotta de Bevilaqua and Elliat Rich for example provides an understanding for the exhibitions audience, to view multi-disciplinary designers and how their role has influenced the current world to date. (NGV, 2019)

Figure 2: Carlotta de Bevilaqua’s ‘Yang Matamorphosis 2000’ for Artemide, Italy.

The women’s liberation movement set an alternative influence and feminist approach among female designers, steering away from the traditionalism of what design history previously was. This pivotal moment, or ‘decades’ from the 1960’s to 1980’s made way for a new era of design and is exceptionally important when looking at female designers and their position within design history.(Khan Academy, 2019) Drawing from Victor Margolin’s text ‘Design Studies: Tasks and Challenges,’ the dilemma of the multi-faceted disciplinarians of design and the role of the designer within a modern world is discussed. Margolin highlights the lack of awareness within the industry and design history stating “…we lack a design world that can not only coherently account for the diversity and complexity of design in the present but can also demonstrate through a broadened design history how we arrived at this moment and can project how to carry it forward into the future. We need a framework that can most effectively integrate multiple voices, theories, arguments and claims that have design as their subject into a course of action that can make the most productive use of them.” (Rick Poyner, 2013) This statement corresponds with the ‘Designing Women’ exhibitions true essence of displaying works by female artists and designers, to display their contributing fragments into Design Culture.

Uniting women internationally, the National Gallery of Victoria exhibition for ‘Designing Women’ holds the work of Aljoud Lootah, all the way from her studio located in Dubai, United Arab Emirates. Similarly, to Australian design studio Inkahoots, her practice has always been visible yet with little exposure due to the International scale of Design. (Aljoud Lootah, 2019) However is now infamously known for her distinct influence of Emirati culture, contemporary design and traditional craftsmanship, Lootah is a female designer which corresponds the language of design to functional modern interpretations, influenced by ancient art forms. (Aljoud Lootah, 2019) Recognition to the designer is dearly noted as she was the first Emirati designer to have her work acquired by an international galley. This adds to the history of design for the female category, makes way for marginalised cultures and allows the oppressed gender to become a welcomed addition to modernism.

Figure 3: Aljoud Lootah

Her work of the ‘Oru Chair’ is a major piece within the exhibition and is highlighted through text and images on the NGV’s website, showcasing her innovative influence on female design. Being a multi-disciplinary designer, her work provides a sense of unity to the history and role of design within the current world. The design exhibited is cleverly orchestrated with its name originating from the Japanese language meaning “To Fold,” whilst portraying a sophisticated model of functional design that conveys an inspiration of geometrical forms drawing upon differentiated avenues held within design, including both product and furniture design all within the one object. She is an innovative creator that has situated herself in an iconic element of female design history. However, although the suppression of female design is a matter of the past within our current society, it also is not the only oppressive role designers have adopted over the years of social norms and practices. (Dimeji Onafuwa, 2018)

Figure 3: Aljoud Lootah’s ‘Our Chair’ exhibited in the National Gallery of Victoria.

Within the article Allies and Decolonality: A review of the intersectional perspectives on design, politics and power symposium; written by Dimeji Onafuwa, the author touches on the implication of suppression regarding racism, sexism, colonialism and imperialism. It highlights the privileged experience of the stereotypical designer, and how this experience is not one that requires consideration of how race, class, ethnicity or gender impacts the role of the designer. (Dimeji Onafuwa, 2018) It is important to make note of this when viewing this exhibition, as the role of female influence within the Design realm has not only had to undergo sexism barriers, but has fought to break through the additional walls that halted their artistic influence. It is evident Lootah is an epitome for breaking free from marginalism within the design industry, weighed down by multiple effects of oppression and it is utterly significant that her work is exhibited in a multi-cultural and open society such as Australia. 

The National Gallery of Victoria has curated an exhibition full of innovative, engaging and successful designs, created by leading female designers internationally. Focusing on the role of women within the design industry, the exhibition works to educate spectators on the role in which their influence has within society and the context of which female designers is placed within the modern culture of design. It is an exhibition not to be missed.

Bibliography

“Designing Women | NGV”. Ngv.Vic.Gov.Au, Last modified 2019. https://www.ngv.vic.gov.au/exhibition/designing-women/.

“Inkahoots And Socially Concerned Design: Part 1”. Design Observer, Last modified 2013. http://designobserver.com/feature/inkahoots-and-socially-concerned-design-part-1/37948.

Lootah, Aljoud. “Aljoud Lootah”. Aljoudlootah.Com, Last modified 2019. http://aljoudlootah.com/products/.

Lootah, Aljoud. “Aljoud Lootah”. Aljoudlootah.Com, Last modified 2019. http://aljoudlootah.com/.

Onafuwa, Dimeji. “Allies And Decoloniality: A Review Of The Intersectional Perspectives On Design, Politics, And Power Symposium”. The Journal Of The Design Studies Forum, 2018, 8 – 13. https://doi.org/10.1080/17547075.2018.1430995.

“Second-Wave Feminism”. Khan Academy, Last modified 2019. https://www.khanacademy.org/humanities/us-history/postwarera/1960s-america/a/second-wave-feminism.

Is It Right to Make Design SIMPLE?

It is a controversial question and I guess someone is going to say that it is no right or wrong about it. However, as I am studying in University, most of my Industrial Design tutors said that “Make the design as simple and clean as possible”. Therefore, most designs that got high marks are “simple and clean”. That gives me a sense that I am doing wrong if I don’t make my design simple.

The main ideas of my designs

Earlier design

The Modern Kitchen Knife

Unique Forms of Continuity in Space by
Umberto Boccioni

One of my early designs is the “Modern Kitchen Knife”. The idea is coming out from one of the Futurism artworks — Unique Forms of Continuity in Space (Umberto Boccioni, 1913).

Futurism was an Italian avant-garde art movement founded in 1909. Umberto Boccioni (1882–1916), who was an influential Italian painter and sculptor, was one of the leading artists of Italian Futurism. He is skilled in capturing the color and dynamism in modern life. During his short life, one of his famous works is Unique Forms of Continuity in Space which is a bronze Futurist sculpture created in 1913. All parts of the sculpture are intending to keep every trace of movement. The bronze cast surface on this striding figure is more like a fluttering robe leg, a soft fabric. It fully demonstrates Boccioni’s idea of dynamic expression in static plastic arts.

Compared with my designModern Kitchen Knife, there are some similarities between. They both use a lot of curves; each curve related to each other and create a sense of movement.

In Manifesto del Futurismo (“Manifesto of Futurism“), Boccioni claims that one of the ideas of Futurism is rejecting all static forms and advocating the use of rotating circles, ellipses. Which is still my main idea in designing.

It was not the only idea of this design. I am a gamer and I tried to add game elements into this everyday item when I first design product in the Studio. I like the exaggerated shapes and colors. It would be “cool” if I use these characteristics in the design. With the development of society, entertainment becomes more popular, especially video games. Customers are starting to pay attention to the appearance of products. Who does not want a “cool” looking product design display at home?

However, my tutor said the sharp shapes on the edge was unnecessary. But I insisted on not changing anything in this design.

Recent design

The Kitchen Scissors

Roundish by
Naoto Fukasawa

After two years of study at the university, my idea and perception of industrial design have been changed. I start to simplify my design style unconsciously.

In the theme design for Kitchen Scissors, here comes another design for Kitchen products from my design collection. As can be seen, I still keep the idea from Futurism which is the use of rotating circles, ellipses. The curves on the handles are not only just pattern, they also communicate with each other and the outline of the whole shape of scissors. One of the other ideas came from MUJI product — Roundish.

MUJI is one of my favorite brands. It is famous for having minimal aesthetic in design, the brand’s design philosophy is about elevating simple materials and processes. An armchair named Roundish is designed by Designer Naoto Fukasawa who is one of the designers for MUJI, will debut in the market. This armchair is simply made from a single piece of laminated plywood. Its fluid shape interprets its name.

It is paradox, but I think both of these designs are “good” to me. I couldn’t help asking myself what is “good”?

Good design or Good taste

In the article Good Taste vs. Good Design: A Tug of War in the Light of Bling (University of Borås, 2012), authors said that “we must remember that what is considered good taste is socially constructed.” If something is socially constructed, it means that there is a process or system of people creating criteria to determine what is good taste. Teddy Brunius (Estetik: En inledande discussion, 1961) claims that a person is considered having exhibiting good taste if he or she is refined in dealing with others, in choosing clothes, in choosing the home environment, in his or her views on art, etc.

For design theorists and design historians, good design is necessary to consolidate the ideas expressed about design. Dieter Rams believes that good design is as little design as possible. He says: “Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity. (Dieter Rams: 10 Timeless Commandments for Good Design, 2019)” Apparently, simplicity is one of the important principles to designers nowadays.

Is it right to make design simple? I’m still not sure what the answer is. Maybe you can answer it or maybe you question yourself like me first — What design is good?

Keywords: Futurism, Product Design, Minimalism, Good design, Taste.

Search for HER Name

Last month, in Melbourne Design Week, over 200 exhibitions, tours, and workshops explored how design can shape the future. As a design student, for broadening my knowledge, I visited the National Gallery of Victoria (NGV) last week. The exhibition Designing Women caught my attention.

Women in Design World

“Our world is enhanced by the creativity and innovation of women, from fashion design and contemporary jewellery to product design and architecture.” (Designing Women, NGV, 2019)

There is a detail should be noticed in this seemingly simple sentence. In my understanding, it says, in other words, women are important to the design word not only in fashion design and contemporary jewellery, but also in product design and architecture.

I make this point on purpose because, according to Margaret Bruce and Jenny Lewis (Women Designers — Is There a Gender Trap, 1990), the design industry perpetuates the passive female stereotypes which is women designers do sedentary work on textiles, fashion and “pretty pictures” (graphics), while men do “rougher” and “more practical” work on consumer and industrial products.

The Bloom Game

Bloom, the structure spreads out in the space likes a pink plant blooming. It is one of the most conspicuous artworks in the Exhibition.

The artwork is made up of many plastic pieces that connect together. The idea of this art is to work with other people to create experimental furniture and structures. In the video which is shown below, the creators of Bloom are mostly audience by using an urban toy. That implies the artwork is not necessarily must be created by artists. Some interactive art installations achieve this by letting the observer or visitor “walk” in, on, and around them, according to R. Ascott. (Art & Telematics: toward the Construction of New Aesthetics, 1998).

Alisa Andrasek, a Croatian female architect and digital researcher, who is a professor of design innovation at RMIT University in Melbourne, in collaboration with Chilean architect Jose Sanchez, Bloom was commissioned by the Greater London Authority to participate in a series of events during the 2012 Olympics and Paralympics. This is an open crowdsourcing game designed to encourage people to interact in public Spaces. The game consists of interconnected “cells” that players can use to visually design and build buildings on an urban scale. Andrasek and Sanchez came up with the idea while teaching at the Bartlett School of Architecture in London.

Posted in School Life by Sue Barr ,
March 4, 2009

Search for HER Name

Before seeing the label of the artwork, I did not know who the designers are. It was interesting noticing a detail when I was doing research about this artwork by simply using google which I guess other people would also do for getting the information. Except the first website that came out is from NGV and RMIT university mention both Andrasek and Sanchez, the most links are about Sanchez. The only book (Pavilions, Pop Ups and Parasols, 2015) that has c’ s name in it is written by Leon van Schaik who is Professor of Architecture (Innovation Chair) at RMIT, which makes a lot of sense that Andrasek is a professor of design innovation at RMIT too.

In consideration of the fact that I found from the Bloom, we notice the issue of Female designers.

The Issues of Female Designer

Back to the Exhibition, in the article “Designing Women”, author questions the exhibition itself that “In the age of gender diversity and equal opportunity, is it still necessary to stage an all-female design exhibition?”. The answer has been given following, by highlighting the work of contemporary female designers in this exhibition, they can draw attention to the history of design and its role in shaping today’s society. However, it seems not a proper answer to us. I believe there are some issues are the main reasons that NGV holds Designing Women exhibitions in recent years. Some of the issues I will mention are a lack of pay of female designers, the anonymity of female designers, and a lack of women in visible leadership positions.

These issues not only exist in Australia, but also in other countries. In America, according to the data from the article Investigating Design’s Gender Pay Gap (Archie Bagnall, 2016), American women earn 80 percent of what men earn. Most design graduates are women, but only 11 percent of design leaders are women (Tom Banks, The Most Important Issues for Female Designers in 2018…).

Since the rise of the women’s liberation movement in the late 1960s, the western design history and design circles have been open to the criticism of feminism. At a time when gender equity is being discussed on the national political and social agenda, people may ask why always women? It is not how those events make women special, it is the social reality makes women “stand out”.

Keywords: woman designers, designing women, Alisa Andrasek, Jose Sanchez.

“MODERNISM’S POLARISING FIGURE: How Andy Warhol expressed his enigmatic nature to the critics”

Artist and filmmaker Andy Warhol (Jack Mitchell)

Modernism. A section of the ever growing and spanning design catalogue within history which embraced ‘a diverse range of the decorative, applied and graphic arts’ (Duncan, 1998). A pioneer in transforming the identity and view of modernism at its time, was of course Andy Warhol. Known for his ‘fascinating new form of artistic expression’ (Brown, 2018), Warhol became a prolific figure in the design world through his pieces of work which were namely dubbed ‘Pop Art’. However, Warhol’s work was undoubtedly accompanied with cultural criticism and scepticism. Meeting between the space of modernism and post modernism, Warhol created works which had ‘a sense of timing in relation to subject matter which was acute and significant’ (Lancaster, 1989). Through his appropriation of images relating to advertising and publishing them with austerity, Warhol created a reputation for himself which marginalised his work to that of his peers within the modernist era.

Figure 1. Campbell’s Soup Cans. Andy Warhol. (1962)

In theory, much of Warhol’s work ultimately came down to ‘good taste versus good design’ (Christoforidou, 2012). Work produced by Warhol, such as the “Campbell’s Soup Cans’ (See Fig.1) piece, can be broken up into the relevant classifications; good taste ‘rooted in a subjective context of inherent values’ and good design arising from ‘competence and is based on professional skill’ (Christoforidou, 2012). The critics of Warhol became the people ‘creating the criteria for determining what is to be considered as good taste’ (Christoforidou, 2012). At the time of Warhol’s era, critics branded him as ‘a fraud surrounded by adoring but amoral fans while offering, at best, second-rate art work’ (Pratt, 1998). Yet in contrast, his work was also portrayed as ‘an accurate reflection of the commercial, mass-produced and somewhat sleazy nature of modern American society’ (Pratt, 1998). This duality towards the perception of Warhol and his work can be linked to how good taste is variable, and the criterion behind it is dependent on the individual’s perceptions and views. Warhol’s production of ‘Pop Art’ design began just as ‘large numbers of art critics and curators were becoming bored with the high-minded seriousness of Abstract Expressionism’ (Pratt, 1998), therefore often putting Warhol’s work in the spotlight for critique and commentary.

The ‘Campbell’s Soup Cans’ piece is one which has been produced using the simple repetition of a soup can, almost questioning the idea of what ‘good design and taste’ really is. With the soup cans, it is as if Warhol has created this piece with the intention to focus on the simple aspect of ‘what you see is what you get.’ The simple method of re-stylising an object that is uncomplicated in order to make it your own, became a signature method for Warhol. By using this method, Warhol was able to showcase the popular culture at the time in an altered form. To many critics, this appeared to be a form of appropriation through the transformation of such ready-made objects into a new and stylised context. For Warhol, this became his way of adding his own social commentary and thought into the eclectic and unexplainable nature of his work, paving the way for the postmodernist era. It allowed the audience to question the theme at hand, for the ‘Campbell’ s Soup Cans’, being related to the ‘modern 1960s industrial culture’ (Revolver, 2018). The simplicity that Warhol was able to convey through the transformation of objects into art, opened up further interpretation and a prodigious perspective into the way we question things in society.

Figure 2. Silver Car Crash (Double Disaster). Andy Warhol. (1963)

The ambiguity of Warhol’s artwork gives off an expression of almost defiance toward public criticism, as he often began giving only ‘yes or no (mostly no)’ (Pratt, 1998) answers toward questions regarding the meaning behind his work. This allowed Warhol to maintain his ‘enigmatic and inscrutable mask’ (Pratt, 1998), which he continued to prescribe within his work. More of his artworks such as the ‘Silver Car Crash (Double Disaster)’ (See Fig. 2)further make us, as the viewer, question what is exactly being portrayed in his work and why. The ‘Silver Car Crash’, being a very noisy and equivocal piece, conveys a sense of confrontation with the mangled car being presented. Such stark, curious, yet simplistic imagery was the way in which Warhol conveyed his idea of ‘good design’, ultimately leaving the perception of ‘good taste’ up to the viewer to decide upon.

For many modern art artists, the idea of utilising design became an important method in exploring social constructs, opinions and trends. The exploration of these areas opened up the opportunity for viewers to critique and commentate on such designs and works. Andy Warhol became a spotlighted target of this, furthered by his unique approach toward his appropriated yet unparalleled methods and designs. Warhol was able to question what ‘good design and taste’ was, resulting in him becoming one of the most prolific and subsequently controversial figures, without question, in the modernist era.

Bibliography

Bourdieu, Pierre. 1984. Distinction: A Social Critique of the Judgement of Taste. Harvard University Press.

Brown, Emily. 2018. Andy Warhol and his Artistic Influence. Accessed 8 April, 2019. https://theculturetrip.com/north-america/usa/articles/andy-warhol-and-his-artistic-influence/

Christoforidou, Despina. Elin Olander. Anders Warell. Good Taste vs. Good Design: A Tug of War in the Light of Bling. 15, no. 2 (2012). 185-202

Duncan, Alastair. 1998. Modernism: Modernist Design 1880-1940. The Norwest Collection, Norwest Corporation, Minneapolis.

Lancaster, Mark. Andy Warhol Remembered. 131, no. 1032. (March 1989). 198-202               

MoMA.org. 2019 Campbell’s Soup Cans. Accessed 8 April 2019. https://www.moma.org/learn/moma_learning/andy-warhol-campbells-soup-cans-1962/

Sptinespring, John A. Review of The Critical Response to Andy Warhol by Alan R. Pratt. Studies in Art Education. 40, no. 1. (Autumn, 1998). 92-96

Quille, Mike. 2014. Andy Warhol’s powerful ambiguity. Accessed 8 April 2019. https://www.counterfire.org/arts-review/17538-andy-warhol-exhibition-launched-at-tate-liverpool

Revolver Gallery. 2018. Andy Warhol and the Campbell’s Soup Can…Is It Art?. Accessed 8 April 2019. https://revolverwarholgallery.com/andy-warhol-and-the-campbells-soup-can-is-it-art-warhol-campbells/

Revolver Gallery. 2018. Andy Warhol and the Art of Appropriation. Accessed 8 April 2019. https://revolverwarholgallery.com/andy-warhol-art-appropriation/

“GRAPHIC DESIGN IS WOMAN: Highlighting the significance of female influence in graphic design”

Graphic design, the dynamic yet important visual aspect of society which has shaped how we interpret specific objects, products, services and much more. Some of the most recognisable and greatest forms of graphic design have indeed been created, shaped and influenced by women. Such universally acclaimed and recognisable brands such as Nike, Google, Coca-Cola and Microsoft have all been visually created and influenced by not only male, but also female graphic designers. This may not come as such a surprise, as the graphic design world encompasses many distinguished designers of both genders.

However, the discrepancy between women and their pivotal role in the graphic design world, regarding how they are represented and celebrated for their work, continues to linger in our modern landscape of design. This discrepancy is primarily due to the ‘struggle against the established social order and its gendered expectations’ (Connory, 2017, 2), which is very much prevalent in graphic design today. Such a struggle in this field is a result of women ‘being obscured from the historical record’ (NGV,2019) of the design landscape, as history suggests, through the existence of ‘sexual stereotyping’. The term ‘sexual stereotyping’ refers to the situation where certain types of work is perceived and classified as ‘being more appropriately carried out by one sex rather than the other’ (Bruce, 1990, 115). This perceived gender trap has forced women into becoming almost invisible in their field of design. The lack of appreciation is astounding, especially as women have consistently comprised of over ’50 per cent’ of graphic design graduates since the 1970s. Furthermore, The Australian Graphic Design Association’s (AGDA) hall of fame, in which ‘until recently, included only one woman’ (Connory, 2017, 1), clearly demonstrates the lack of appreciation for female representation within graphic design, which is appalling as women have played a key role in design throughout its course of history.

The demonstration of the changing climate toward this issue is being communicated through public platforms such as The National Gallery of Victoria (NGV), who are currently presenting an exhibition titled ‘Designing Women’. This exhibition has beencreated to ‘highlight the ongoing role of female designers as a dynamic and critical force in shaping contemporary design practice and culture’ (NGV, 2019).  The exhibition emphasizes aspects of design and its timeline in progressing into what it has become today, presented visually through the role and works of female designers. The presented works of the Designing Women exhibition explore the core ideas of leadership, community, teamwork and research; with the focus on how these have consequently allowed women to state their prevalence in the design industry today.

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  Figure 1. Installation view of Designing Women. NGV International. (2018)

One particular installation view of the Designing Women exhibition(see Fig. 1), consisting of various works designed and created by female designers, showcases the variation of design across all of the works. The significance of these pieces and the way in which they are photographed and juxtaposed against each other gives us the sense that women in graphic design have made important progress in terms of acceptance and recognition within design. The diversity within the forms presented, yet the similarities through the colour theme, reflects the different areas of work women have contributed toward design; yet displayed within the same space and landscape that originates from the feminine perspective of the designer. The gentle and warm pink/orange colour palette, juxtaposed with the stark dark blue dress, signifies the imprint of a female designer’s unique influence within the graphic design medium throughout history.

As a whole, the installation feels as if it exists in order to overcome the discrepancy of women in the design world. The connection of this installation to women within design is important, as it is a way feminine design can be manifested in a physical form. Associated with its own exhibition, it signifies the detachment of the typical stereotype of women within the industry, and instead recognise this as its own, unique facet of design as a whole.

Continuous profiling has discouraged women from ‘publicising their work and thereby establishing a reputation’ (Meer, 2012, 388). However, the NGV have perfectly exhibited how women are able to express and showcase their work in a public domain. With a predominant focus on women and their growing impact on design as a whole going forward into the future.

Designing Women at the NGV International ends 29 September 2019.

Bibliography

Bruce, Margaret and Jenny Lewis. 1990. Women designers ­– is there a gender trap? Butterworth & Co (Publishers) Ltd.

Connory, Jane. 2017. Plotting the Historical Pipeline of Women in Graphic Design. Accessed April 7, 2019. http://dharn.org.au/plotting-the-historical-pipeline-of-women-in-graphic-design/

Fussell, Grace. 2018. The Influence of Women on Graphic Design Over the Last 100 Years. Accessed 7 April, 2019. https://design.tutsplus.com/articles/the-influence-of-women-on-graphic-design-over-the-last-100-years–cms-30617

LeAmon, Simone. 2018. Designing Women. Accessed 7 April, 2019. https://www.ngv.vic.gov.au/essay/designing-women/

Meer, Julia. 2012. He, She, It…Women and the problems of gender in the history of graphic design – Introduction to the short biographies. Accessed 5 April, 2019. https://www.academia.edu/10887738/He_she_it_Women_and_the_problems_of_gender_in_the_history_of_graphic_design

Designing Women

Women usually are under-represented in industrial design and over-represented in the fashion design. The difference indicates the stereotypical dualism that women are related to the body and decoration, while men are associated with the shaping of technology and nature. (Clegg and Mayfield 1999, 3). With the rising of feminism, more women get involved in design in society. It is important to know that historical analysis of females and their connections with the design based on feminism (Buckley 2012, 14). The situation of women is changing now that reflects in the exhibition NGV Designing Women. This blog will analyze the intentions for this exhibition and what kind of ideas the curator wants to deliver to the viewer. Also, associate the exhibition with women in design. 

About the exhibition

The National Gallery of Victoria held an exhibition Designing Women, displays different types of work about women and design. All works in the exhibition created by women designers, they have made great contributions to the contemporary design culture. Spanning from 1980 to 2018, Designing Women explore creative designers in the different field, from fashion design and industrial design to architecture. This exhibition emphasis that women designers as a dynamic and critical force play an essential role in shaping society. Exploring the ideas of leadership, research, community, and teamwork in the exhibition. The exhibition focuses on the increasing opportunities for women in the field of design, and decrease the discrimination of gender in design. Presenting an exhibition for women designers, show the various types of design such as fashion design and industrial design, delivering the idea of gender equality to viewers.

Roly Poly Armchair

Figure 1. Faye Toogood, “Roly Poly Armchair”, 2014, fibreglass.

In the late nineteen and early twentieth centuries, women defined as unsuitable for the design business in a male- dominant society. Because the position of women was in the demotic sphere at that time (Bruce an Lewis 1990, 115) However, some women challenged the existence of gender inequality through participate in design.

For instance, Faye Toogood is a British- based designer who mainly involved in product design, and she established her studio. She focuses on the materiality and experimentation that reflects on her works. All of her works made by hand. Toogood designed the Roly Poly armchair in 2014, and it has exhibited in Designing Women at NGV. The chair was made up of fiberglass and carved by hand. As seen in the photo (fig. 1), This chair is with a vivid red colour, which metaphors strength and power. The beautiful curve line with short cylindrical legs gives people a feeling of comfort, which associated with the design motivation of Toogood. She aims to create a comfortable chair for pregnant women due to her own experience of pregnancy. It encourages gendered design, culture, form, and functionality . Toogood says that she as a female in the design industry, she indented to encourage more women to participate in it. For her studio, they select people through their skills instead of gender (Kontouris and Toogood 2018). her thoughts linked to the concept of leadership in the exhibition.

The result of research – Genesy lamp

Figure 2. Zaha Hadid, “Genesy”, 2009, metal, lacquered polyurethane, light-emitting diode (LED)

As the increasing number of designers who participate in design research, the field of design research has been expanding through different perspectives, it contains various design concepts and does the design research to be more profound.

There is one work that shows the result of research named Genesy(fig. 2). It is a lamp created by Zaha Hadid. Hadid as an Iraqi- British architect who made a significant contribution to the field of architecture. She gives new meaning to her design through the research. She and her studio researched the evolutionary system of the natural world and applied the idea into her design. According to Artemide (2009), 

Echoing the growth pattern of trees in a forest, a sweeping canopy emerges through an interconnected supporting network at the lamp’s base. The components of this organic analogy are transformed from abstract diagrams into Genesy’s fluid design.

The simplicity of this design appeal to the viewer’s eyes. The organic shapes of the lamp reflect the style of Hadid. 

Roly poly armchair and Genesy both designed by female designers. They all use soft curve lines in their design, shows the similarity of their design. Two works indicate the ideas of Leadership and Research in the exhibition. These two female designers made brilliant contributions to society differently. Moreover, their design changed the place of women in the design world.

In conclusion, Designing Women displays great works from different diverse in different types of design such as industrial design and fashion design. It shows the contributions of female designers did in society and encouraged more people to participate in art.

Bibliography:

Bruce, Margaret and Lewis, Jenny. “ Women designers – I sthere a gender trap?” 115. Manchester and Milton Keynes: Butterworth & Co. 1990.

Buckley, Cheryl. “Made in Patriarchy: Toward a Feminist Analysis of Women and Design.” In Design Discourse: History/Theory/Criticism, edit by Victor Margolin, 14. Chicago and London: The University of Chicago Press. 1989.

Clegg, Sue and Mayfield, Wendy. “Gendered by Design: How Women’s Place in Design Is Still Defined by Gender.” 3. The MIT Press, 1999.

“Designing Women”. The National Gallery of Victoria, 2018.

Zaha Hadid Architects. “Genesy Lamp”. 2009, http://www.zaha-hadid.com/design/genesy-lamp/.

Kontouris, Helen and Toogood, Faye. “Women in Design: Helen Kontouris interviews Faye Toogood.” 2018.