By Liz Moor
The increase of manufacturers -- the emblem in background -- manufacturers, tradition and economic system -- Branded areas -- highbrow and different kinds of estate -- nationwide manufacturers and worldwide manufacturers -- end
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Example text
Design, Branding and the Service Sector A further significant development at this time, related to the wider economic context set up by the Conservative government in Britain and the Republican government in the United States, was the now well-documented decline in the manufacturing sector, and growth of the service sector. The implications of this in design terms were that although design for manufacturing did not actually decrease, there was considerable growth in design for the service sector, including retail design, packaging, events and exhibition design, and annual report design (Julier 2000: 17).
Industrial design, then, would have to be about more than simple styling. American Influence in Product Design The impact of the Second World War on national economies meant that America was well placed to exert a considerable influence on the direction of industrial development in a range of countries during the post-war period. Many countries were receiving financial aid from the United States through the Marshall plan, and some German companies were controlled by American capital. Major Japanese industrialists – including Soichiro Honda, employees from Matsushita, and the chairman of Hitachi – visited America to study its industrial organization and management techniques, and many American designers (including Raymond Loewy) were invited to spend periods of time in Japan (Woodham 1997).
While the clean lines and smooth surfaces of these new objects seemed to be consistent with a general modernist aesthetic of futurity and progress, the application of aerodynamic styling to products like refrigerators and waffle irons that were so far removed from the aviation industry clashed violently with the most fundamental modernist design principle, that form should follow function. As Dick Hebdige notes, streamlined objects were seen by the European design establishment as bordering on blasphemy, since they represented ‘the intrusion of an expressive design vocabulary which bore no intrinsic relation to the commodities it shaped’ and ‘introduced the possibility of an intertextuality of industrial design – of the unrestricted passage of signifiers across the surfaces of a whole range of unrelated products without any reference whatsoever to “essential” qualities such as “function”’ (Hebdige 1988: 60, emphasis in original).