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Last month, I experienced one of the most exciting days in my academic life when Tanishka Kachru, a senior faculty member at National Institute of Design (NID) in Ahmedabad, India, invited me to be a part of a history of design workshop.
Features
In February 2016 I was delighted to hear that my application for a Design History Society Research Publication Grant towards the preparation of my book 'The Factory in a Garden: A History of Corporate Landscapes from the Industrial Digital Age' was successful.
Reports
On International Women's Day 2017, I was given the great privilege of presenting my research on gender disparities in graphic design history to graphics students at Central Saint Martins. My talk was part of a debate entitled 'Do we need graphic design history?' between myself and Dr Paul Rennie.
Features
Thanks to a 2016 Research Travel Grant from the Design History Society, I was able to conduct crucial primary research for the completion of my monograph, which is provisionally titled From House to Home: Gender, Identity & Emotion in British Interior Design, 1750-1840.
ReportsHistories of Italian fashion have often highlighted the lives and careers of couturiers and individual stilisti, or the relevance of centres of Italian fashion at particular moments; however, the investigation of the actual material that constructs fashion - that is, textiles and their fibres - are overlooked.
Reports
I would like to express my gratitude to the Design History Society for awarding me the 2016 Research Publication Grant. This funding will go towards covering the costs of clearing image rights for my forthcoming book Designing for Socialist Need: Industrial Design Practice in the German Democratic Republic (Routledge, 2017).
Reports
Unmaking Things is a blog run by students of the MA History of Design course, jointly run by the Royal College of Art and the Victoria and Albert Museum. Established in 2011 as a microsite under the full name 'Unmaking Things: a Design History Studio', it was conceived as 'an online studio within which students of the course could practice their craft'.
Features
Over the last five years there has been a shift within design history away from the preoccupation with national studies in design, towards interrogating the constructedness of culture and national identity as such (eg Engelke & Hochscherf, 2015; Gimeno-Martinez, 2016) and furthermore with rethinking design within a complex set of global or transnational networks and contexts (eg Adamson, Riello & Teasley, 2011; Kirkham & Weber, 2013; Huppatz, 2015; Margolin, 2015; Edwards, 2015; Fallan & Lees-Maffei, 2016; El Maasri, PhD 2016; et al). This scholarly shift is also tangible in the re-cataloguing and re-display of design objects in museums, as was apparent in curatorial presentations at the Taipei-based International Conference on Design History and Design Studies on ‘Building Trans/national Contemporary Design History’ held in October, for example.
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