One of very few books to bring together business and design, this collection features essays sourced from the Design for Business: Research conference presented by agideas, on topics ranging from branding and sustainability to business-driven design education.
Taking the concept of 'seamlessness' as her starting point, Yeseung Lee offers an innovative practice-based investigation into the meaning of the handmade in the age of technological revolution and globalized production and consumption.
Taking the concept of 'seamlessness' as her starting point, Yeseung Lee offers an innovative practice-based investigation into the meaning of the handmade in the age of technological revolution and globalized production and consumption.
In the early days of the digital revolution in graphic design, many designers and teachers of design were convinced that the era of drawing on paper was over - that there would soon no longer be a place for craft-based drawing at any stage of the design process.
In the early days of the digital revolution in graphic design, many designers and teachers of design were convinced that the era of drawing on paper was over - that there would soon no longer be a place for craft-based drawing at any stage of the design process.
This book brings together contributors from a wide range of disciplines to explore the importance of cotton as a major resource for US fashion businesses.
This book brings together contributors from a wide range of disciplines to explore the importance of cotton as a major resource for US fashion businesses.
The Emergence of Video Processing Tools presents stories of the development of early video tools and systems designed and built by artists and technologists during the late 1960s and 70s.
The Emergence of Video Processing Tools presents stories of the development of early video tools and systems designed and built by artists and technologists during the late 1960s and 70s.
Style is predominantly an individual matter - the way people put themselves together creates a sense of individual identity - but collectively it creates a sense of common culture in a community, a city or a country.
Worin liegt der Nutzen der Dessous, die heutzutage sowohl in denMagazinen als auch auf großen Litfass-Säulen oder Plakatwändebeherrschenden Postern zu finden sind und die Körperformgerechter Models umhüllen?
Quelle est l’utilité des dessous féminins qui s’affichent aujourd’huitant sur les affiches que dans les magazines, enveloppant des corps defemmes parfaites ?
El abanico es un objeto cultural que combina la utilidad práctica con la moda, lo que ha contribuido a su prolongada historia, caracterizada por multitud de formas, materiales y colores diferentes.
The history of the Ancient Near East covers a huge chronological frame, from the first pictographic texts of the late 4th millennium to the conquest of Alexander the Great in 333 BC.
The history of the Ancient Near East covers a huge chronological frame, from the first pictographic texts of the late 4th millennium to the conquest of Alexander the Great in 333 BC.
The point of departure here is three significant textiles and clothing cultures: China, India and Europe, and the common thread is how fashions and traditions have travelled through space and time.
Twenty chapters present the range of current research into the study of textiles and dress in classical antiquity, stressing the need for cross and inter-disciplinarity study in order to gain the fullest picture of surviving material.
Twenty chapters present the range of current research into the study of textiles and dress in classical antiquity, stressing the need for cross and inter-disciplinarity study in order to gain the fullest picture of surviving material.
Minoan ladies, Scythian warriors, Roman and Sarmatian merchants, prehistoric weavers, gold sheet figures, Vikings, Medieval saints and sinners, Renaissance noblemen, Danish peasants, dressmakers and Hollywood stars appear in the pages of this anthology.
Minoan ladies, Scythian warriors, Roman and Sarmatian merchants, prehistoric weavers, gold sheet figures, Vikings, Medieval saints and sinners, Renaissance noblemen, Danish peasants, dressmakers and Hollywood stars appear in the pages of this anthology.
Archaeologists and textile historians bring together 16 papers to investigate the production, trade and consumption of textiles in Scandinavia and across parts of northern and Mediterranean Europe throughout the medieval period.
Archaeologists and textile historians bring together 16 papers to investigate the production, trade and consumption of textiles in Scandinavia and across parts of northern and Mediterranean Europe throughout the medieval period.
The analysis of silk is a fascinating topic for research in itself but here, focusing on the 9th and 10th centuries, Marianne Vedeler takes a closer look at the trade routes and the organization of production, trade and consumption of silk during the Viking Age.
The analysis of silk is a fascinating topic for research in itself but here, focusing on the 9th and 10th centuries, Marianne Vedeler takes a closer look at the trade routes and the organization of production, trade and consumption of silk during the Viking Age.
At the heart of this anthology lies the world of fashion: a concept that pervades the realm of clothes and dress; appearances and fashionable manners; interior design; ideas and attitudes.
At the heart of this anthology lies the world of fashion: a concept that pervades the realm of clothes and dress; appearances and fashionable manners; interior design; ideas and attitudes.
A TIMES BEST BUSINESS BOOK OF 2022SHORTLISTED FOR A BUSINESS BOOK AWARD 'A gripping story about a great British brand' Jeremy VineLightweight, compact, and now, electric: the cityscape has been forever changed by the addition of the Brompton bike, with its distinctive style and clever folding design.
"e;Luxury Fashion and Culture"e; focuses on the study of how humans use high quality, highly pleasurable, and frequently rare products, services, and experiences to distinguish to themselves and others who they are as well as whom they are not - both within and across cultures.
How do designers navigate the ethical discursive territories of design thinking and practice when the same common terms they consistently use across the different design ethics paradigms-like fair, right, good-convey different meanings?
