LogoLounge 3: 2,000 International Identities by Leading by Bill Gardner, Catharine Fishel

By Bill Gardner, Catharine Fishel

The 3rd quantity within the best-selling LogoLounge sequence offers 2,000 absolutely new emblems from designers around the world. This booklet, just like the earlier titles within the sequence, is compiled in organization with LogoLounge.com, the most important database of brand designs on this planet. the 1st component to the ebook gains high-profile initiatives from 9 most sensible designers and companies, together with Lippincott, FutureBrand, Wolff Olins, Turner Duckworth, Werner layout Werks, Carbone Smolan, Desgrippes Gob?, and Michael Osborne layout. the second one a part of the publication includes 2,000 trademarks prepared by way of class (typography, humans, mythology, nature, activities, etc.), in addition to many shorter articles on initiatives via Miles Newlyn, Haley Johnson layout, and Cato Purnell.

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Extra info for LogoLounge 3: 2,000 International Identities by Leading Designers (v. 3)

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But it was not until the mid-1930s that this new corporate identity took on a recognizably ‘international’ modern style. Increasingly visible in the underground and on the buses were women going about their everyday lives. Magazines such as Britannia and Eve, Woman and Home and The Lady, and fashion monthlies such as Vogue, proved to be effective in responding to the ‘new woman’. An array of goods for the female body and for the home were illustrated, discussed and promoted with the ultimate aim of keeping the modern women up-to-date.

Appearances’, including new and well-tried beauty techniques – professional massages, shingle caps (for keeping the new style in place), plus advice for combining earrings and Eton crops. To be feminine depended upon being modern. Hair, in particular, was a sign of modernity and the magazines gave advice on various short styles; particularly fashionable in 1926 was the shingle, cut very short at the back with waves over the ears. ‘Englishness and Identity’ Wearing sharply cut tailor-mades, the women depicted in these magazines were far removed from those only 15 years earlier, when fashionable women were voluptuous, Junoesque figures clad in rich and extravagant robes.

78 But by the end of the nineteenth century and the beginning of the twentieth, the modern city was increasingly peopled by the working classes as well as the wealthier ones. In its public spaces, female identities were being transformed, not just politically via the suffrage campaigns, but also by an array of artistic, cultural and social representations. The changes that women’s work underwent between 1890 and 1914 were caused in particular by the impact of new technologies, which enabled women to make inroads into previously male-defined categories of employment.

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