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Globalism is often discussed using abstract terms, such as ‘networks’ or ‘flows’ and usually in relation to recent history. Global Design History moves us past this limited view of globalism, broadening our sense of this key term in history and theory.

Individual chapters focus our attention on objects, and the stories they can tell us about cultural interactions on a global scale. They place these concrete things into contexts, such as trade, empire, mediation, and various forms of design practice. Among the varied topics included are:

•the global underpinnings of Renaissance material culture

•the trade of Indian cottons in the eighteenth-century

•the Japanese tea ceremony as a case of ‘import substitution’

•German design in the context of empire

•handcrafted modernist furniture in Turkey

•Australian fashions employing ‘ethnic’ motifs

•an experimental UK-Ghanaian design partnership

•Chinese social networking websites

•the international circulation of contemporary architects.

Featuring work from leading design historians, each chapter is paired with a ‘response’, designed to expand the discussion and test the methodologies on offer. An extensive bibliography and resource guide will also aid further research, providing students with a user friendly model for approaches to global design.

Global Design History will be useful for upper-level undergraduate and postgraduate students, academics and researchers in design history and art history, and related subjects such as anthropology, craft studies and cultural geography.

Glenn Adamson is Deputy Head of Research at the Victoria and Albert Museum, where he leads a graduate programme in the History of Design. He is co-editor of The Journal of Modern Craft, and author of Thinking Through Craft (2007) and The Craft Reader (2010).

Giorgio Riello is Associate Professor in Global History and Culture at the University of Warwick, UK. He is the author of A Foot in the Past (2006) and has recently co-edited The Spinning World: A Global History of Cotton Textiles, 1200–1850 (2009) and The Fashion History Reader (2010).

Sarah Teasley is Tutor in the History of Design and Liaison Tutor in Critical and Historical Studies at the Royal College of Art, UK. She is co-author of 20th Century Design History (2005), and a specialist in the history of design for mass production in modern Japan.

Preface Introduction: Towards Global Design History Sarah Teasley, Giorgio Riello, and Glenn Adamson
Chapter 1. The Global Renaissance: Cross-Cultural Material Culture and the Creation of a Community of Taste
Marta Ajmar-Wollheim and Luca Molà
Response by Dana Leibsohn
Chapter 2. Global Design in Jingdezhen: Local Production and Global Connections
Anne Gerritsen
Response by Beverly Lemire
Chapter 3. Indian Cottons and European Fashion, 1400-1800
John Styles
Response by Prasannan Parthasarathi
Chapter 4. Import Substitution, Innovation and the Tea Ceremony in Fifteenth and Sixteenth-Century Japan
Christine M. E. Guth
Response by Maxine Berg
Chapter 5. The Globalization of the Fashion City
Christopher Breward
Response by Simona Segre Reinach
Chapter 6. Performing White South African Identity through International and Empire Exhibitions
Dipti Bhagat
Response by Angus Lockyer
Chapter 7. ‘From the Far Corners’ : Telephones, Globalization, and the Production of Locality in the 1920s
Michael J. Golec
Response by Anne Balsamo
Chapter 8. The Globalization of the Deutscher Werkbund: Design Reform, Industrial Policy, and German Foreign Policy, 1907-1914
John Maciuika
Response by Paul Betts
Chapter 9. Where in the World is Design? : The Case of India, 1900-1945
Victor Margolin
Response by Christopher Pinney
Chapter 10. ‘Handmade Modernity’: A Case Study on Postwar Turkish Modern Furniture Design
Gyökan Karakus
Response by Edward S. Cooke, Jr.
Chapter 11. Old Empire and New Global Luxury: Fashioning Global Design
Peter McNeil
Response by Shehnaz Suterwalla
Chapter 12. Analyzing Social Networking Web Sites: The Design of Happy Network in China
Basile Zimmermann
Response by Ngai-Ling Sum
Chapter 13. From Nation-bound Histories to Global Narratives of Architecture
Jilly Traganou
Response by Lucia Allais
Chapter 14. e-Artisans: contemporary design for the global market
Tom Barker and Ashley Hall
Response by Shannon May
Bibliography
Resource Guide
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