The DHS is seeking nominations for the Teaching and Learning Officer position. More
To celebrate the opening of the V&A's new Dr. Susan Weber Gallery of Furniture, the V&A are holding a one-day symposium on the 17th of May to investigate furniture materials, making and design. More
Postmodern theory might have finally killed off the utopian ideal of history as an objective science, but it has arguably left a vacuum, with no comprehensive debate on the role of subjectivity and its potential challenges and benefits...
Submissions are invited for the Design History Society Essay Prize, established in 1997 in order to maintain high standards in design history in higher education. Two prizes are awarded annually; one to an undergraduate student and the other to a postgraduate (MA or PhD).
In order to obtain the highest standards for the Design History Society Essay Prize, each submission must be nominated by a professional in the field.
Consideration should be given to the following selection criteria:1. Initial selection criteria should reflect the internal assessment requirements of the nominating institution: for example, an essay graded First Class Honours, or of MA or PhD standard.
2. The following attributes should be present in every essay selected for submission, both at undergraduate and postgraduate level.
The essay should demonstrate a mature and novel approach to issues, themes, and discourses currently relevant in the field of design history.
The essay should demonstrate excellence in terms of breadth of research and should combine a good balance of primary and secondary sources.
Methods of research and delivery should reflect good practice in design history. For example, an ideal essay would demonstrate one or more of the following:
3. Finally, the essay should:
Mark O'Brien, Institute of Art, Design and Technology, Dun Laoghaire
'Rock, Paper, Scissors: the DIY punk zine and its influence in contemporary visual culture'
Teresa Reilly, National College of Art and Design, Dublin
'The Design History and Material Culture of Blood Donation in Ireland 1950-75'
Mark Kobine, Edinburgh College of Art
'In praise of Lesser Things'
Vera Sacchetti, School of Visual Arts, New York
'Design Crusades: a critical reflection on social design'
Ness Wood BA (Hons) History of Design, Culture and Society, University of Brighton:
‘It’s so New-Fashioned’: Hille, from tradition to modernity’
Alice Dolan MA History of Design V&A/Royal College of Art:
‘The Adorned Print: print culture, female leisure and the dissemination of fashion in France and England c.1660-1779’
Anna Kealey, BA (Hons) Visual Communication, Institute of Art, Design and Technology, Dun Laoghaire
‘Innovation and Exploitation: a Critique of American Apparel’
Ann Christie, MA History of Design, V&A/Royal College of Art, London.
‘A Taste for Seaweed: an 18th century cotton dress printed with a design by William Kilburn'
Miranda Iossifides, BA (Hons) Graphic and Media Design, London College of Communication, University of the Arts London.
‘A study of the gecekondu in Instanbu, Turkey: Innovative Urbanism for the West and the Global Urban Poor’
Elizabeth Bisley, MA History of Design, V&A/Royal College of Art, London.
‘Design Change in American Motels, 1945-1970'
Marcus Swan, BA (Hons) Design in Visual Communications, The Institute of Art, Design & Technology, Dun Laoghaire, County Dublin, Eire.
The Medium is the Text Message:The Social and Aesthetic Effect of Text Messages.
Lauren Porter, History of Design MA, V&A/Royal College of Art, London.
The Cardinal's Hammer.
John Patrick Hartnett, BA (Hons) Design for Interactive Media, the Institute of Art, Design & Technology, Dun Laoghaire, County Dublin, Eire.
Derrida by Default: Wolfgang Weingart and the (Accidental) Deconstruction of Swiss Typography
Chris Campbell, MA Communication Design, Central St Martins, University of the Arts London.
Authority, Obedience and the Naked Street: The British Road Signage System After World War II
Sian Ball, BA (Hons) Textile Design, Loughborough University.
Children's Clothing in the 1960s: A Period of Transition
Katherine Feo, MA History of Design, V&A/RCA.
(In)visibility: Memory, Masks and Masculinities in the Great War
Eleanor Marsden, BA English and the History of Art and Design, Winchester School of Art (University of Southampton).
Where Art and Fashion Meet: Unravelling the Significance of an Edwardian Dress
Di Taylor, MA History of Design RCA/V&A Joint Course
Powder to Go: The Supremacy of the Powder Comapct in the Interwar Years.
Martin Cahill, BA (Hons) Visual Communications, Dublin Institute of Technology
Universalism vs. National Identity: The Evolution of the Olympic Pictogram.
Hannah Smith, BA (Hons) History of Design, Culture & Society/University of Brighton
Mirrors of Society? Bankside Power Station & Baltic Flour Mill.
Jennifer Lock, Fashion and Textile Design, John Moores
A Discussion of the Role of the Photograph, the Viewer and the Viewed in Faashion Photography of the 1990s.
Alice McEwen, MA History of Design RCA/V&A Joint Course
Wanted Dead or Alive! The Role of the British Bathroom Tap in Constructing (and Reflecting) Idealized Visions and Lived Realities.
Pugin's Albury Chimneys - Pots of cash or stacks of style?
Kate Forde, MA History of Design RCA/V&A Joint Course
Celluloid Dreams: The marketing of Cutex in America 1916-1935.
Laura Molson, Design Studies A at the Nottingham Trent University.
The Make Do and Mend Campaign, a Successful Strategy?
Mole Leigh, 3D Craft graduate of the University of Brighton
The Chronomanual Concept: human labour and relative time-consumption in the production of craft.
Guy Turner, MA History of Design Joint, V&A/RCA.
"Allume Catina" and the Aesthetics of Venetian "Cristallo".