Illustration: Textile design, 1851.
One of the seminal early influences on nineteenth century design reform, was undoubtedly The Journal of Design and Manufactures.
The journal, which was published between 1849 and 1852 by Chapman & Hall, was the brainchild of Henry Cole and Richard Redgrave. The journal was set up primarily as a guide to the formation of a good and comprehensive design strategy that could be formulated and then used throughout the manufacturing, retail and education systems across Britain. There was a relatively large proportion of textile design work shown throughout the history of the journal, but it was by no means limited to such.
The journal, which was published between 1849 and 1852 by Chapman & Hall, was the brainchild of Henry Cole and Richard Redgrave. The journal was set up primarily as a guide to the formation of a good and comprehensive design strategy that could be formulated and then used throughout the manufacturing, retail and education systems across Britain. There was a relatively large proportion of textile design work shown throughout the history of the journal, but it was by no means limited to such.
Illustration: Textile design, 1850.
The journal was not only a guide, though that was its primary aim, it was also a forum of debate. Many critics of the mid-nineteenth century were naturally judgemental concerning the poor state of the British design industry, which often placed an emphasis on profit rather than any form of design strategy. It was considered by many that the entire interiors supply industry needed a complete overhaul. Not only was it thought that an emphasis should be placed firmly on that of the designer being aware, and being in a position to implement fundamental practises regarding design, it was also considered that many designers were lacking in any formal design education, which not only ultimately let down the industry, but also the retail trade and the customers they served.
The journal tried to highlight an educational aspect to its publications, by producing a proportion of examples, sometimes as line drawings, but very often with examples of the actual textiles and wallpaper as produced by the manufacturer. These examples were often given an individual systematic dissection by the journal, as to the merits of their respective design work. However, the journal was not always complementary about design work reproduced in its pages, as often examples were used to highlight the failings of particular design work.
The journal tried to highlight an educational aspect to its publications, by producing a proportion of examples, sometimes as line drawings, but very often with examples of the actual textiles and wallpaper as produced by the manufacturer. These examples were often given an individual systematic dissection by the journal, as to the merits of their respective design work. However, the journal was not always complementary about design work reproduced in its pages, as often examples were used to highlight the failings of particular design work.
Illustration: Textile design, 1850.
As far as textiles were concerned, the journal tried to point out fundamental differences in aspects of textile construction and the approach design work should take to reflect and harmonize with those differences. For example, it was pointed out that the differences between woven and printed textiles meant that the same design work was not always appropriate for both mediums. Emphasis was also placed on the very nature of fabric and its construction as a flat medium. It was thought that 2-dimensional graphic type design work would be more appropriate and fitting to the flatness of the fabric, rather than trying to produce the illusion of 3-dimensions within a limited format.
The images shown here are all approved textile design work pieces from the journal. Compared to much of the work that was available at the time, these pieces are incredibly restrained and minimal in construction. Because the journal was using examples of already produced work, and was at the beginning of a long campaign of fighting for a systematic and logical approach to design work, they are perhaps not as revolutionary, by nineteenth century standards, as they would perhaps have hoped for. However, considering that these pieces were produced during a period of excessive use of 3-dimensional flower posies, garden features and romantic scenery, it is surprising that the journal was able to find any examples that they were able to approve of.
Although the journal lasted for such a short space of time, it did manage to galvanise early criticism of British design manufacturing, and although it took perhaps another century for the details of the design reform movement to sink in, Britain did eventually largely embrace the concept of flat design work for a flat medium.
The University of Glasgow Library has four of the six volumes of the Journal of Design and Manufactures, a feature of which can be found here.
The images shown here are all approved textile design work pieces from the journal. Compared to much of the work that was available at the time, these pieces are incredibly restrained and minimal in construction. Because the journal was using examples of already produced work, and was at the beginning of a long campaign of fighting for a systematic and logical approach to design work, they are perhaps not as revolutionary, by nineteenth century standards, as they would perhaps have hoped for. However, considering that these pieces were produced during a period of excessive use of 3-dimensional flower posies, garden features and romantic scenery, it is surprising that the journal was able to find any examples that they were able to approve of.
Although the journal lasted for such a short space of time, it did manage to galvanise early criticism of British design manufacturing, and although it took perhaps another century for the details of the design reform movement to sink in, Britain did eventually largely embrace the concept of flat design work for a flat medium.
The University of Glasgow Library has four of the six volumes of the Journal of Design and Manufactures, a feature of which can be found here.
Illustration: Textile design, 1851.
Further reading links:
University of Glasgow Library
Fifty Years of Public Work of Sir Henry Cole ... Accounted for in His Deeds, Speeches and Writings [Ed. by a S. and H.L. Cole].
King Cole: A picture portrait of Sir Henry Cole, KCB 1808-1882
A Handbook for Westminster Abbey
A Hand-Book for the Architecture, Tapestries, Paintings, Gardens,
The Great Exhibitor: The Life and Work of Henry Cole
**REPRINT** Redgrave, Richard, 1804-1888. Manual of design compiled from the writings and addresses of Richard Redgrave R.A. London. Chapman & Hall Ltd., 1882.**REPRINT**
Richard Redgrave C.b., R.a; A Memoir, Compiled From His Diary
University of Glasgow Library
Fifty Years of Public Work of Sir Henry Cole ... Accounted for in His Deeds, Speeches and Writings [Ed. by a S. and H.L. Cole].
King Cole: A picture portrait of Sir Henry Cole, KCB 1808-1882
A Handbook for Westminster Abbey
A Hand-Book for the Architecture, Tapestries, Paintings, Gardens,
The Great Exhibitor: The Life and Work of Henry Cole
**REPRINT** Redgrave, Richard, 1804-1888. Manual of design compiled from the writings and addresses of Richard Redgrave R.A. London. Chapman & Hall Ltd., 1882.**REPRINT**
Richard Redgrave C.b., R.a; A Memoir, Compiled From His Diary
