In many ways, putting on an exhibition about the past six decades of Britain’s visual culture is a tough task. What to include and leave out without causing trouble? How to freshen up perceptions of all-too-familiar design classics such as the E-Type Jaguar, Mary Quant’s mini dress, or Jamie Reid’s poster for the Sex Pistols single God Save the Queen (all of which are included in the show)?
Moreover, what do we mean when we talk about “British” design in the increasingly globalised 20th and 21st centuries? - Alastair Sooke, 2012.
One of the books which led me to be interested in just what conditions and personality traits at a certain moment in time combine to create a certain style was The Democratic Lecture by UK based creative, Craig Oldham. Aiming to pretty much looking into where, how, where, why and how. The style I chose to look at was Swiss design, and hopefully manage to effortlessly cross over to America just as Neue Grafik did for Swiss design but due to time constraints I'm not going to focus on this and concentrate on finding out as much about the Swiss style as I can.
Craig Oldham is British. So he knows the British culture pretty well, and he touched upon this a little bit and it set me off as I've always simply wondered what made the Swiss, 'Swiss' in terms of character and their approach to design.
The following quotes were the triggers:
"You can trace back the origins of that Swiss/modernist, highly typographic, highly clear, with an emphasis on function and content."
"Britain has a world famous, and world envied creative industry every nation wishes it was theirs... Although negativity is a bad thing for the mass-majority, like everything there's a flip-side and if used correctly, negativity can yield positive results. Knowing when to look through a slightly negative eye can be a really useful thing to a designer." - p46
"A critical mind sets higher standard, and higher standards lead to better work. The Brits have this critical stance engraved our DNA, but we use this negativity in a positive way." - p46
I've found out a lot of interesting stuff already which I feel historically has contributed to the Swiss general character and political ramifications on their design style - notable Muller-Brockmanns.
I felt this would be an interesting quick case study to illustrate my point and to delve into our British culture and it's effect on design.
I feel a lot of his opinions and statements regarding design reflect the ambitions and opinions of the Swiss designers I've read about too, such as the disregard for personal stamp and signature on work - putting the function first
"Style is yearning for recognition from the peer group." - p56
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A lot of people feel the negativity is to do with the weather.
"Largely down to the weather (which influences poor diet, lack of exercise and lack of self esteem), wealth disparity (generally makes people mistreated, jealous and resentful) and a decline in the importance that Britain plays in the world (although I'm pretty sure people would have been this miserable before the collapse of the Empire)." - Student, The Student Room
Negativity also creeps into sport. A contrast to American culture which is all about win, win, win. British viewpoint seems to be it's the taking part that counts - perhaps this is changing though with the aftermath of the London Olympics.
This was most noticeable when Greg Rusedski won the Sports Personality of the Year in 1997 for reaching the US Open final and being beaten by Pat Rafter. It's still a great achievement, but he didn't win anything.
This negativity isn't all bad though, it also creeps into our humour creating the 'famous' British sarcasm and wit.
Jack Dee's made a career of it.
Post-War the economic downturn and recession, general difficulties in terms of materials forced people to think with ingenuity and efficiency. Resultin in Robin Day's iconic Mark II chair. and the Mini Cooper, a desirable car, with lots of space, cheap to run for the working class.
One of the favourite phrases in the English vocabulary is "not too bad" and I find this fascinating. It's as if you're on a knife edge of hope and despair. not..too bad.
Rebellion in music and design, againt a kind of negative turned into a positive - has been an iconic staple of british design and music.
Another stereotype I feel of British culture is the idea of being reserved, 'intelligent', and kind of snobby in a way - I feel visually at least some of Peter Saville's work - some of the most celebrated British design ever has been for the British music scene - illustrate this kind of personality and approach.
British sarcams creeping through again
"Then there's Eddie Izzard, recounting how he saw a London Underground guard checking an unattended bag by shaking it: "Oh, Captain Clever! Rattle it, if it doesn't go off it can't be a bomb!"
Again, in terms of music, a whole study in itself is there must be something about Britain and it's culture which has led to so many iconic bands and artists. Let's look at the top selling artists ever.
4 of 7 are from the United Kingdom
One of the most celebrated of modern British graphic designers is Alan Fletcher, a lot of his work has wit and commentary throughout it. It's very sort of playful, using typefaces to create imagery within itself - heavily typographic and using manipulation. Fletcher is regarded as a modernist designer, but his brand of modernism is very different to what employed by the Swiss.
Pan Am Cargo schedule, 1971.
Futher Reading
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http://www.telegraph.co.uk/culture/art/art-reviews/9167537/British-Design-1948-2012-Innovation-in-the-Modern-Age-VandA-review.html
http://www.aestheticamagazine.com/recounting-the-story-of-british-design
http://news.bbc.co.uk/1/hi/4384734.stm
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