Contents
Editorial
About the DHWJ
Editorial Policy
Editorial Board and Editorial Advisory Board
Articles
The Relations of Beardsley in the Appearance of the Literary Quarterly The Yellow Book of the Vivid Image / Inoue Tomoko
The Editorial Design of Habara Shukuro: Its Idea of Modernism and Practice of the International Typographic Style / Nishimura Mika / translated by Jeremy Harley
Modern Seating, Modern Sitting: Japanese Women and the Use of the Chair / Mori Junko
Special Contributions
Gender and Modern Design: Women as Producers and Women as Consumers / Suga Yasuko
Gender and Modern Design: Women as Makers and Consumers / Penny Sparke
Kuwasawa Yoko and Modernism: from a Designer and Design Educator’s Perspective / Tunemi Mikiko / translated by Mori Junko
Modern Design and Women as Consumers / Jinno Yuki / translated by Mori Junko
Book Reviews
Nagata Kenichi, Hida Toyoron and Mori Hitoshi (eds.), Modern Japanese Design History / Reviewed by Kawano Katsuhiko / translated by Sarah Teasley
Kawamura Yuniya, The Japanese Revolution in Paris Fashion / Reviewed by Lars Bertram / translated by Sarah Teasley
Noise
30 Years old: The Design History Society / Jonathan M Woodham
Guidelines for Submission of Manuscripts
Constitution and Bylaws
Notes on Contributors
–
How to Order Your Back Issues
Editorial
About the DHWJ
Editorial Policy
Editorial Board and Editorial Advisory Board
Article 1
The Relations of Beardsley in the Appearance of the Literary Quarterly The Yellow Book of the Vivid Image
Inoue Tomoko
Keywords
The Victorian Age, The Yellow Book, Aubrey Vincent Beardsley, Oscar Wilde
Abstract
It knows that Beardsley was estimated at a Fra Angelico of Satanism by Roger Fry. After The Yellow Book was published, Beardsley and his works were considered to be immoral, and it became the target of the criticism and the ridicule by the journalism. But, it was a fact that the work of Beardsley gave The Yellow Book a charm, moved the people’s concern and provided some topics for the world. In this thesis, it clears as for the reason why The Yellow Book which had an eccentric charm was recognized as the symbolic existence of the age was a thing by the charm which Beardsley’s works had. In that process, I use writing as materials of the painters, writers, art critics and publisher, who concerned with Beardsley. I verify about (1) the details until Beardsley became the person in charge and he was dismissed of the fine arts section of The Yellow Book, (2) Beardsley’s artistic participation to The Yellow Book, (3) the influence which The Yellow Book exerted on the society in those days, (4) the transfiguration of The Yellow Book after he was dismissed.
As that result, it clear the matter that Beardsley influenced the matter that the existence meaning of The Yellow Book was enhanced strongly, besides, it came to be recognized widely through The Yellow Book socially. These are the proof of the thing that the people’s concern wasn’t being attracted only means that Beardsley was the person of satanism and immoral.
Article 2
The Editorial Design of Habara Shukuro: Its Idea of Modernism and Practice of the International Typographic Style
Nishimura Mika
translated by Jeremy Harley
Keywords
Editorial Design, Modernism, International Typographic Style, Functionality, ‘Less is More’, Super Orthodoxism
Abstract
Habara Shukuro, born in Hiroshima in 1935, is a designer who played an active part in the field of editorial design from the 1960s to the mid-1980s. His editing of SD, an architectural magazine, is well-known for the application of a style of editorial design, the International Typographic Style which originated in Switzerland, to compositions in Japanese. It was an avant-garde practice. However, Habara’s experiment in SD based on his modernistic thought was not initially favoured by others, because it was regarded as being too strict and far from public preference or suffering from limitations of technique, etc. Habara tried to realize in his design simplicity (without too much decoration), functionality with emphasis on visibility and readability, and universality out of mathematical thought. What kind of implication does Habara’s experiment have, when the meaning of function changes with technical development, and the trend changes with economic development? Mies van der Rohe’s phrase, ‘Less is More’ was the creed for Habara Shukuro.
Article 3
Modern Seating, Modern Sitting: Japanese Women and the Use of the Chair
Mori Junko
Keywords
Chair, Modernism, Women, Japan
Abstract
During the 1920s and 30s Japan started to exploit the idea of modernisation by borrowing certain aspects of western lifestyle. Since the reopening of ports to foreign trade in 1853 to an increased number of western countries, Japan realised it lacked new technology, information and skills. To catch up with the western industrial system, the Japanese government believed that the transformation of traditional Japanese living to a western lifestyle would ultimately help to rationalize the nation’s lifestyle. The government and intellectuals started to organise exhibitions for the nation to encourage this transformation. In particular, the use of the chair was the key to this transformation, being the object that the traditional Japanese house lacked. The absence of the chair in the home was considered to be the weakness that prevented modernisation, so the chair came to symbolise the modernisation and reorganisation of Japanese living.
This paper will focus on modernisation in Japan through the relationship of Japanese women and the use of the chair in the 1920s and 30s. During this period Japanese women’s lives came to express modernity through their fashions and lifestyles. They used the key object of modernisation, the chair, during significant stages in their lives, and they helped to establish the use of the chair in Japanese life. They studied the use of the chair in public spaces, such as restaurants at department stores. Their knowledge surrounding the chair was transferred to their private space, and their influence on the use of the chair in private was not insignificant.
Special Contributions
Gender and Modern Design: Women as Producers and Women as Consumers / Suga Yasuko
Gender and Modern Design: Women as Makers and Consumers / Penny Sparke
Kuwasawa Yoko and Modernism: from a Designer and Design Educator’s Perspective / Tunemi Mikiko / translated by Mori Junko
Modern Design and Women as Consumers / Jinno Yuki / translated by Mori Junko
Book Reviews
Nagata Kenichi, Hida Toyoron and Mori Hitoshi (eds.), Modern Japanese Design History / Reviewed by Kawano Katsuhiko / translated by Sarah Teasley
Kawamura Yuniya, The Japanese Revolution in Paris Fashion / Reviewed by Lars Bertram / translated by Sarah Teasley
Noise
30 Years old: The Design History Society / Jonathan M Woodham