Introduction
1 Postmodern critiques, Japan's economic miracle, and the new
aesthetic milieu
2 The 1968 social uprising and subversive advertising design in
Japan: the work of Ishioka Eiko and Suzuki Hachiro
3 From cute to Rei Kawakaubo: fashion and protest
4 Mujirushi Ryohin and the absence of style
5 Hironen and the representation of the other
6 Digital design as social and critical design in the twenty-first
century
Index
Ory Bartal is Head of the Department of Visual and Material Culture at Bezalel Academy of Arts and Design, Jerusalem
‘Systematically and eloquently taking us through the most important
thinking on design and its place in our symbolic and social order,
Ory Bartal brings out the myriad social critiques in Japanese
material culture. He ranges from the new aesthetic milieu of the
postwar miracle to the pioneering designs of Ishioka Eiko and
Suzuki Hachiro, the radical fashions of Rei Kawakubo, the Arcadian
retail vision of Mujirushi Ryokin, the theatrically
phantasmagorical designs of Hironen, and then into the digital age
of design in the twenty-first century. Richly illustrated,
entertaining and insightful, this book is essential for anyone
seriously interested in Japanese design.’
Toby Slade, Keio University
'Bartal uses critical theory to present to the reader the outcome
of multilingual scholarship, which has resulted in a wealth of
information and detail that deserves attention, recognition, and
further exploration.'
Design and Culture review
'[…] Bartal’s extensive knowledge of the designers, institutions,
and organizations that created the complex and diverse landscape of
design and media in postwar Japan is evident. Bartal’s analysis
shows thoughtful and close observation, rich with theoretical
references from a multitude of disciplines. This book should be
celebrated for its intensely researched and engaging material that
astutely weaves together the seemingly discordant waves of
designers and movements with the complex sociopolitical context of
postwar Japan.'
CAA Reviews
'One of the clear strengths of the book is how it supports a broad
understanding of design that enables the reader to fully grasp the
socio-political, economic and cultural context that the author
explores throughout the six chapters. Bartal includes discussions
about graphic design, fashion photography, street styles, high
fashion, food packaging, furniture design and finally digital
design.'
Journal of Design History, Volume 35, Issue 2, June 2022
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