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| List of Illustrations | |
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| Acknowledgements | |
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| Notes on Contributors | |
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| General Introduction | |
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| Histories | |
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| Introduction to Part One | |
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| New Designers 1676- 1820 | |
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| Introduction | |
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| An Indian Basket, Providence, Rhode Island, 1676 | |
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| A Slipware Dish by Samuel Malkin: An Analysis of Vernacular Design | |
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| Of The Division of Labour | |
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| The Wedgwood Slave Medallion: Values in Eighteenth-Century Design | |
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| Manufacturing, Consumption and Design in Eighteenth Century England | |
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| Guide to Further Reading for Section 1 | |
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| Design Reform 1820-1910 | |
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| Introduction | |
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| Science, Industry, and Art | |
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| The Nature of Gothic | |
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| The Ideal Book | |
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| The 'American System' and Mass-Production from Industrial Design | |
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| The 1900 Paris Exposition, from Art Nouveau in Fin-de-Si�cle France | |
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| The Art and Craft of the Machine | |
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| Guide to Further Reading for Section 2 | |
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| Modernisms 1908-1950 | |
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| Introduction | |
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| Introduction to Modernism in Design | |
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| Ornament and Crime | |
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| Werkbund Theses and Antitheses | |
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| The Modern Movement before Nineteen-fourteen from Pioneers of Modern Design | |
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| The Coloristes and Charles-Edouard Jeanneret, from Modernism and the Decorative Arts in France | |
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| From Workshop to Laboratory, from The Bauhaus Reassessed | |
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| The Search for an American Design Aesthetic: from Art Deco to Streamlining | |
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| Guide to Further Reading for Section 3 | |
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| War/Postwar/Cold War 1943-1970 | |
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| Introduction | |
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| Utility Furniture and the Myth of Utility 1943-1948 | |
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| 'Here Is the Modern World Itself' the Festival of Britain's Representations of The Future | |
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| Populuxe | |
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| The Khrushchev Kitchen: Domesticating the Scientific-Technological Revolution | |
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| All That Glitters is Not Stainless | |
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| Guide to Further Reading for Section 4 | |
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| Postmodernisms 1967-2006 | |
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| Introduction | |
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| A Significance for A & P Parking Lots, or Learning from Las Vegas | |
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| The Ecstasy of Communication | |
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| There is No Kitsch, There is Only Design! | |
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| Deconstruction and Graphic Design: History Meets Theory | |
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| What was Philippe Starck thinking of? | |
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| Fabricating Identities: Survival and the Imagination in Jamaican Dancehall Culture | |
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| Guide to Further Reading for Section 5 | |
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| Sustainable Futures 1960-2003 | |
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| Introduction | |
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| Operating Manual for Spaceship Earth | |
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| How to Outmode a $4,000 Vehicle in Two Years, from The Waste Makers | |
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| Do-It-Yourself Murder: the Social and Moral Responsibility of the Designer, from Design for the Real World | |
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| Material Doubts and Plastic Fallout, from American Plastic | |
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| Introduction, The Green Consumer Supermarket Guide | |
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| Redefining Rubbish: Commodity Disposal and Sourcing | |
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| The Hannover Principles. Design for Sustainability | |
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| Guide to Further Reading for Section 6 | |
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| Methods and Themes | |
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| Introduction to Part Two | |
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| Foundations, Debates, Historiography, 1980-1995 | |
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| Introduction | |
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| Taking Stock in Design History | |
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| The State of Design History, Part I: Mapping the Field | |
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| Design History and the History of Design | |
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| Design History or Design Studies: Subject Matter and Methods | |
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| Resisting Colonization: Design History Has Its Own Identity | |
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| Guide to Further Reading for Section 7 | |
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| Objects, Subjects And Negotiations | |
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| Introduction | |
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| Object as Image: The Italian Scooter Cycle | |
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| The Most Cherished Objects in the Home | |
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| How the Refrigerator Got Its Hum | |
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| The History of Craft | |
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| Faith, Form and Finish: Shaker Furniture in Context | |
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| Guide to Further Reading for Section 8 | |
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| Gender and Design | |
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| Introduction | |
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| FORM/female FOLLOWS FUNCTION/male: Feminist Critiques of Design | |
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| The Architect's Wife, Introduction to As Long As Its Pink | |
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| Humanizing Modernism: the Crafts, 'Functioning Decoration,' and the Eamses | |
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| 'In London's maze': the pleasures of fashionable consumption from The Hidden Consumer | |
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| Self-Made Motormen: The Material Construction of Working-class Masculine Identities through Car Modification | |
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| Guide to Further Reading for Section 9 | |
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| Consumption | |
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| Introduction | |
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| The Fetishism of the Commodity and its Secret, from Capital | |
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| Conspicuous Consumption from The Theory of the Leisure Class | |
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| Myth Today, The New Citro�n, and Plastic, from Mythologies | |
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| Introduction and The Sense of Distinction from Distinction: A Social Critique of the Judgement of Taste | |
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| 'Parties Are the Answer': The Ascent of the Tupperware Party | |
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| The Revolution Will Be Marketed: American Corporations and Black Consumers during the 1960s | |
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| Guide to Further Reading for Section 10 | |
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| Mediation | |
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| Introduction | |
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| The Work of Art in the Age of Mechanical Reproduction | |
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| Advertising, Mother of Graphic Design | |
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| 'Decorators May Be Compared to Doctors' An Analysis of Rhoda and Agnes Garrett's Suggestions For House Decoration In Painting, Woodwork And Furniture (1876) | |
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| Integrative Practice: Oral History, Dress and Disability Studies | |
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| Introduction to Design and the Modern Magazine | |
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| Guide to Further Reading for Section 11 | |
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| Local/Regional/National/Global | |
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| Introduction | |
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| Finding Poland in the Margins: The Case of the Zakopane Style | |
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| Furniture Design and Colonialism: Negotiating Relationships between Britain and Australia, 1880-1901 | |
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| "From Baby's First Bath:" Ka� Soap and Modern Japanese Commercial Design | |
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| Land Rover and Colonial-Style Adventure | |
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| Swoosh Identity: Recontextualizations in Haiti and Romania | |
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| Guide to Further Reading for Section 12 | |
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| Bibliography | |
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| Index | |