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A design is a concept of or proposal for an object, a process, or a system. Design refers to something that is or has been intentionally created by a thinking agent, though it is sometimes used to refer to the nature of something – its design. The verb to design expresses the process of developing a design. In some cases, the direct construction of an object without an explicit prior plan may also be considered to be a design. A design is expected to have a purpose within a certain context, usually has to satisfy certain goals and constraints, and to take into account aesthetic, functional, economic, environmental or socio-political considerations. Typical examples of designs include architectural and engineering drawings, circuit diagrams, sewing patterns and less tangible artefacts such as business process models.
Feminism is a range of socio-political movements and ideologies that aim to define and establish the political, economic, personal, and social equality of the sexes. Feminism holds the position that societies prioritize the male point of view and that women are treated unjustly in these societies. Efforts to change this include fighting against gender stereotypes and improving educational, professional, and interpersonal opportunities and outcomes for women.
Postcolonial feminism is a form of feminism that developed as a response to feminism focusing solely on the experiences of women in Western cultures and former colonies. Postcolonial feminism seeks to account for the way that racism and the long-lasting political, economic, and cultural effects of colonialism affect non-white, non-Western women in the postcolonial world. Postcolonial feminism originated in the 1980s as a critique of feminist theorists in developed countries pointing out the universalizing tendencies of mainstream feminist ideas and argues that women living in non-Western countries are misrepresented.
Mary Daly was an American radical feminist philosopher and theologian. Daly, who described herself as a "radical lesbian feminist", taught at the Jesuit-run Boston College for 33 years. Once a practicing Roman Catholic, she had disavowed Christianity by the early 1970s. Daly retired from Boston College in 1999, after violating university policy by refusing to allow male students in her advanced women's studies classes. She allowed male students in her introductory class and privately tutored those who wanted to take advanced classes.
Feminist history refers to the re-reading of history from a woman's perspective. It is not the same as the history of feminism, which outlines the origins and evolution of the feminist movement. It also differs from women's history, which focuses on the role of women in historical events. The goal of feminist history is to explore and illuminate the female viewpoint of history through rediscovery of female writers, artists, philosophers, etc., in order to recover and demonstrate the significance of women's voices and choices in the past. Feminist History seeks to change the nature of history to include gender into all aspects of historical analysis, while also looking through a critical feminist lens. Jill Matthews states "the purpose of that change is political: to challenge the practices of the historical discipline that have belittled and oppressed women, and to create practices that allow women an autonomy and space for self-definition"
Socialist feminism rose in the 1960s and 1970s as an offshoot of the feminist movement and New Left that focuses upon the interconnectivity of the patriarchy and capitalism. However, the ways in which women's private, domestic, and public roles in society has been conceptualized, or thought about, can be traced back to Mary Wollstonecraft's A Vindication of the Rights of Woman (1792) and William Thompson's utopian socialist work in the 1800s. Ideas about overcoming the patriarchy by coming together in female groups to talk about personal problems stem from Carol Hanisch. This was done in an essay in 1969 which later coined the term 'the personal is political.' This was also the time that second wave feminism started to surface which is really when socialist feminism kicked off. Socialist feminists argue that liberation can only be achieved by working to end both the economic and cultural sources of women's oppression.
Materialist feminism, as a discipline, studies patriarchy in terms of material sexual and economic benefits afforded to men at the expense of women through the mechanism and construction of gender. As a movement, materalist feminism is a part of radical feminism, thus founded for the abolition of patriarchy, mainly in France and Italy.
Sexual Politics is the debut book by American writer and activist Kate Millett, based on her PhD dissertation at Columbia University. It was published in 1970 by Doubleday. It is regarded as a classic of feminism and one of radical feminism's key texts, a formative piece in shaping the intentions of the second-wave feminist movement. In Sexual Politics, an explicit focus is placed on male dominance throughout prominent 20th century art and literature. According to Millett, western literature reflects patriarchal constructions and the heteronormativity of society. She argues that men have established power over women, but that this power is the result of social constructs rather than innate or biological qualities.
Design history is the study of objects of design in their historical and stylistic contexts. With a broad definition, the contexts of design history include the social, the cultural, the economic, the political, the technical and the aesthetic. Design history has as its objects of study all designed objects including those of architecture, fashion, crafts, interiors, textiles, graphic design, industrial design and product design. Design theorists revamp historical techniques and they use these aspects to create more sophisticated techniques of design. It acts as a tool to better future aspects of design.
Emilie Bach(née Kohn) was an artist and journalist. In 1873, she co-founded the Imperial and Royal Vocational School of Art Embroidery with fellow needleworker Therese Mirani in Vienna, Austria, where she also filled the role of director. She also established schools in Graz, Laibach, Prague, Brünn, and Agram. She published several works on the subject of embroidery, including Muster Stilvoller Handarbeiten für Schule und Haus in two volumes (1883), and Neue Muster im Alten Stil (1887), which was later published in English as New Patterns in Old Styles. She contributed to many daily papers, such as the Neue Freie Presse, Heimat, and Wiener Allgemeine Zeitung Wiener_Allgemeine_Zeitung and delivered many lectures on arts and handicrafts, most of which were published.
Patriarchy is a social system in which positions of dominance and privilege are held by men. The term patriarchy is used both in anthropology to describe a family or clan controlled by the father or eldest male or group of males, and in feminist theory to describe a broader social structure in which men as a group dominate women and children.
Feminist views on BDSM vary widely from acceptance to rejection. BDSM refers to bondage and discipline, dominance and submission, and Sado-Masochism. In order to evaluate its perception, two polarizing frameworks are compared. Some feminists, such as Gayle Rubin and Patrick Califia, perceive BDSM as a valid form of expression of female sexuality, while other feminists, such as Andrea Dworkin and Susan Griffin, have stated that they regard BDSM as a form of woman-hating violence. Some lesbian feminists practice BDSM and regard it as part of their sexual identity.
Ada Louise Powell, née Lessore, was a British designer. Her illustrious family included her grandfather Émile Lessore, a free hand designer for Wedgwood, and her sister Thérèse Lessore. Her father, Jules Lessore, also decorated pottery but was primarily a marine painter, he had exhibitions at the Royal Academy and Paris Salon. Powell studied calligraphy at the Central School of Arts and Crafts. "She became highly skilled and well known, illuminating some of William Morris’ incomplete work, and extending her interests to decorative designs and the painting of furniture for Ernest Grimson". Ada's artistic interests were therefore very much encouraged by her family and she had many roots to the pottery company Wedgwood. Moreover, her sister, Thérèse Lessore, was a painter and founder member of the London Group and then also designed for Wedgwood in the 1920s and her brother Frederick was a portrait sculptor who opened the Beaux Arts Gallery. She married Alfred Hoare Powell on Thursday, 6 September 1906 who then became her artistic partner within her career also.
Thérèse Lessore was a British artist who worked in oil and watercolour. She was a founder member of the London Group, and the third wife of Walter Sickert.
Bernard Moore (1850–1935) was an English pottery manufacturer and ceramic chemist known for the innovative production of art pottery, especially his flambé glazes and pottery with reduced lustre pigments. After forty years running his family's pottery business, he set up his own pottery studio in Stoke-on-Trent in 1905 where he made art pottery with the help of a few assistants. After closing the studio in 1915, he worked as a ceramic consultant.
Feminist rhetoric emphasizes the narratives of all demographics, including women and other marginalized groups, into the consideration or practice of rhetoric. Feminist rhetoric does not focus exclusively on the rhetoric of women or feminists, but instead prioritizes the feminist principles of inclusivity, community, and equality over the classic, patriarchal model of persuasion that ultimately separates people from their own experience. Seen as the act of producing or the study of feminist discourses, feminist rhetoric emphasizes and supports the lived experiences and histories of all human beings in all manner of experiences. It also redefines traditional delivery sites to include non-traditional locations such as demonstrations, letter writing, and digital processes, and alternative practices such as rhetorical listening and productive silence. According to author and rhetorical feminist Cheryl Glenn in her book Rhetorical Feminism and This Thing Called Hope (2018), "rhetorical feminism is a set of tactics that multiplies rhetorical opportunities in terms of who counts as a rhetor, who can inhabit an audience, and what those audiences can do." Rhetorical feminism is a strategy that counters traditional forms of rhetoric, favoring dialogue over monologue and seeking to redefine the way audiences view rhetorical appeals.
Judith (Judy) Attfield was a British design historian who specialized in the feminist approach towards design and design history as well as the cultural values of everyday design. An obituary describes her as "one of the pioneers of contemporary material culture studies who did so much to demonstrate the value of this approach".
Millicent (Millie) Jane Taplin (1902–1980) was a British designer and painter of ceramics who spent most of her career at Josiah Wedgwood and Sons (1917–1962). She was trained in painting by Alfred and Louise Powell, and supervised Wedgwood's ceramics painters. She became a designer of decorative patterns in 1929 and by the mid-to-late 1930s was one of the company's main designers, although she did not design pottery shapes. She was one of only two working-class women to become a successful ceramics designer before the Second World War. Her tableware designs were exhibited by Wedgwood at Grafton Galleries in London in 1936, and several of her designs are now on display at the V&A Museum. Her design "Strawberry Hill", with Victor Skellern, was awarded the Council of Industrial Design's Design of the Year Award in 1957.
Victor G. Skellern (1909–1966) was a British ceramics designer and stained glass producer who was the art director at Wedgwood from 1934 to 1965. He helped to modernise Wedgwood, and his design work was a factor in the company's resurgence after 1935. He was also known for employing well-known designers from outside the company. Skellern's ceramics designs were exhibited at Grafton Galleries (1936) and the Britain Can Make It exhibition (1946) in London. Some of his designs are now on display at the V&A Museum, Yale Center for British Art, Museum of Applied Arts & Sciences and the Wedgwood Museum. His design "Strawberry Hill", with Millicent Taplin, was awarded the Council of Industrial Design's Design of the Year Award in 1957.
Feminist design refers to connections between feminist perspectives and design. Feminist design can include feminist perspectives applied to design disciplines like industrial design, graphic design and fashion design, and parallels work like feminist urbanism, feminist HCI and feminist technoscience. Feminist perspectives can touch any aspect of the design project including processes, artifacts and practitioners.
References
- 1 2 3 Buckley, Cheryl 1956–, WorldCat , retrieved 12 January 2021
- 1 2 Cheryl Buckley, ORCID , retrieved 12 January 2021
- 1 2 "Notes on contributors", Journal of Design History , 23: 122, 2010, doi:10.1093/jdh/epq001, JSTOR 25653169
- 1 2 3 4 Cheryl Buckley, University of Brighton , retrieved 12 January 2021
- 1 2 "Contributors", Design Issues , 36: 102–103, 2020, doi:10.1162/desi_x_00580
- 1 2 Victor Margolin (2009), "Design in History", Design Issues , 25 (2): 94–105, doi:10.1162/desi.2009.25.2.94, JSTOR 20627808
- ↑ Cheryl Buckley (1986), "Made in Patriarchy: Toward a Feminist Analysis of Women and Design", Design Issues , 3 (2): 3–14, doi:10.2307/1511480, JSTOR 1511480, S2CID 145562599
- ↑ Grace Lees-Maffei, "Judith Attfield", in The Bloomsbury Encyclopedia of Design, Vol. 1 (Clive Edwards, ed.) (Bloomsbury Academic; 2016), pp. 96–97 ( ISBN 978-1-4725-2157-6) (Downloaded from ; 25 November 2020)
