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  • 1.
    al Rawaf, Rawaf
    Stockholm University, Faculty of Science, Stockholm Resilience Centre.
    Social-Ecological Urbanism: Lessons in Design from the Albano Resilient Campus2017Independent thesis Advanced level (degree of Master (Two Years)), 80 credits / 120 HE creditsStudent thesis
    Abstract [en]

    Currently there is a demand for practical ways to integrate ecological insights into practices of design, which previously have lacked a substantive empirical basis. In the process of developing the Albano Resilient Campus, a transdisciplinary group of ecologists, design scholars, and architects pioneered a conceptual innovation, and a new paradigm of urban sustainability and development: Social-Ecological Urbanism.  Social-Ecological Urbanism is based on the frameworks of Ecosystem Services and Resilience thinking. This approach has created novel ideas with interesting repercussions for the international debate on sustainable urban development. From a discourse point of view, the concept of SEU can be seen as a next evolutionary step for sustainable urbanism paradigms, since it develops synergies between ecological and socio-technical systems. This case study collects ‘best practices’ that can lay a foundational platform for learning, innovation, partnership and trust building within the field of urban sustainability. It also bridges gaps in existing design approaches, such as Projective Ecologies and Design Thinking, with respect to a design methodology with its basis firmly rooted in Ecology.

  • 2.
    Bork Petersen, Franziska
    Stockholm University, Faculty of Humanities, Department of Musicology and Performance Studies. Freie Universität Berlin, Germany.
    Modelling Defiguration2013In: Performance Research, ISSN 1352-8165, E-ISSN 1469-9990, Vol. 18, no 6, p. 157-160Article in journal (Refereed)
    Abstract [en]

    For the presentation of his autumn/winter 2012 collection in Paris and subsequently in Copenhagen, Danish designer Henrik Vibskov installed a mobile catwalk. The article investigates the choreographic impact of this scenography on those who move through it. Drawing on Dance Studies, the analytical focus centres on how the catwalk scenography evokes a ‘defiguration’ of the walking models and to what effect.

    Vibskov’s mobile catwalk draws attention to the walk, which is a key element of models’ performance but which usually functions in fashion shows merely to present clothes in the most advantageous manner. Stepping on the catwalk’s sloping, moving surfaces decelerates the models’ walk and makes it cautious, hesitant and shaky: suddenly the models lack exactly the affirmative, staccato, striving quality of motion, and the condescending expression that they perform on most contemporary catwalks. Vibskov’s catwalk induces what the dance scholar Gabriele Brandstetter has labelled a ‘defigurative choregoraphy’: a straying from definitions, which exist in ballet as in other movement-based genres, of how a figure should move and appear (1998). The catwalk scenography in this instance determines the models’ walk. Furthermore, letting the models set off sound through triggers with attached sound samples gives them an implied agency. This calls into question the designer’s unrestricted authorship.

  • 3.
    Castaldo Lundén, Elizabeth
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Barbarella's wardrobe: Exploring Jacques Fonteray’s intergalactic runway2016In: Film Fashion and Consumption, ISSN 2044-2823, E-ISSN 2044-2831, Vol. 5, no 2, p. 185-211Article in journal (Refereed)
    Abstract [en]

    Jane Fonda’s intergalactic adventure, Barbarella (Dino De Laurentiis Cinematografica, 1968), looms large in popular culture despite its mild reception in 1968. Disguised under its sartorial splendor, the film’s narrative clearly negotiates social anxieties of the late ‘60s. Similarly, the production design of the film incorporates contemporary elements from art, architecture and fashion. Paco Rabanne is frequently credited as the creator of Fonda’s onscreen parade of highly stylized costumes. Yet, the Spanish designer only created one of her eight outfits. The paper addresses this misconception by exploring how the film’s mise-en-scène captured the contemporary design trends beyond Rabanne’s participation, perpetuating Barbarella as a symbol of its own times.

  • 4. Dahl, Ulrika
    et al.
    Vänskä, AnnamariStockholm University.Lönngren, Ann-Sofie
    Lambda Nordica: child2011Collection (editor) (Refereed)
  • 5.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Appraised, displayed and concealed: Fashion photography on the Swedish museum stage2014In: Fashion and museums: Theory and practice / [ed] Marie Riegels Melchior, Birgitta Svensson, New York: Bloomsbury Academic, 2014, p. 61-74Chapter in book (Refereed)
  • 6.
    Essen, Anna
    et al.
    Stockholm University, Faculty of Social Sciences, School of Business.
    Östlund, Britt
    Laggards as Innovators?: Old Users as Designers of New Services & Service Systems2011In: International Journal of Design, ISSN 1991-3761, E-ISSN 1994-036X, Vol. 5, no 3, p. 89-98Article in journal (Refereed)
    Abstract [en]

    Involving users in the design process is increasingly discussed as the quickest and most reliable way to capture the needs of users and consumers. In parallel, the fastest growing population segment in Asia and the West is older people. This article asks whether their involvement in the design process could accelerate a growing service market and if so, how? It addresses a knowledge gap that constrains service provision for a growing market of older people and which underestimates older people's potential contribution in the early phases of the development of new services. The current role of older users is limited to that of test persons later in the design process or as objects of randomized samples that explore consumers' reactions to existing products. The present case study provides an empirical example of how old users can be involved in the early stages of service design. In doing this, the article questions the concept of old users as laggards. It suggests great potential to include such users - been arounds - as sources of innovation in the earlier phases of the design process if they have the right tools and opportunities to act. In identifying unsatisfied needs and potential market solutions, the inclusion of old users in user-driven projects can contribute to the generation of business ideas.

  • 7.
    Ku, Martin
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Perstorpsbordet och Miss Blanche: Designföremålens representationer samt sociala- och känslomässiga värden2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att undersöka vilken funktion designföremål har utöver den praktiska användarfunktionen. Jag har utgått från två designföremål, det så kallade Perstorpsbordet och Miss Blanche som studieföremål. Mina frågeställningar har varit att undersöka hur dessa föremål representeras utifrån webbannonser samt designföremålens sociala och känslomässiga funktionsaspekt.

     

    Materialet som har använts i analysen har varit webbannonser, blogginlägg, artiklar och instagramminlägg som beskriver dessa designföremål. Som teoriska perspektiv har jag utgått från Jean Baudrillards objektteori, Pierre Bourdieus fältteori samt den populärvetenskapliga filosofen Alan de Bottons resonemang från ”Happiness of Architecture”. Varje kapitel utgår från varsin filosof och som metod har jag bland annat använt mig av semiotik för att tolka tecken och symboler i designföremålens.

  • 8.
    Lindblad, Emma
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Looking vanlig; neither too much nor too little: A study of consumption of clothing among mainstream youth in a Swedish small town2017Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis studies consumption among young people who identify as mainstreamers in a Swedish small town. In order to map patterns of clothing consumption and to understand what was central in the young people’s self-identification, the research was conducted using a mix of ethnographic methods and wardrobe studies. This is an inverted study of the subcultural, that problematizes the assumption that the majority (the mainstream) and the minority (the countercultural) are opposites when it comes to identity creation. The central concepts used here are ordinary (vanlig), mainstream, and subculture. One of the main findings is that the youth studied self-identify as ordinary. This finding is used to problematize not only the traditional markers of masculinity and femininity as they present themselves in this context, but also what is characterized as new patterns of consumption. There are two main conclusions. First, being mainstream and ordinary was not a static identity position, as the literature would have it; instead, being an ordinary mainstreamer required constant work in order to stay within certain culturally negotiated boundaries. Second, the ethnographic findings contribute in the field of subcultural studies by questioning the convention of portraying the mainstream and the subcultural as polar opposites: contrary to the literature, it is argued that neither is so very different from the other, making it an unhelpful dichotomy in understanding young people today.

  • 9.
    Lomas, Clare
    et al.
    London College of Fashion, UK.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology, Sydney.
    Gray, Sally
    University of New South Wales, Sydney, Australia.
    Beyond the Rainbow: Queer Shoes2011In: Shoes: A History from Sandals to Sneakers / [ed] G Riello P McNeil, London: Berg Publishers, 2011, 1:2, p. 290-305Chapter in book (Other academic)
  • 10. Lynge-Jorlén, Ane
    et al.
    Warkander, Philip
    Stockholm University, Faculty of Humanities, Department of Media Studies. Lund University, Sweden; Istituto Marangoni, France; Beckmans College of Design, Sweden.
    Utopian Bodies. Fashion Looks Forward2018In: Fashion theory, ISSN 1362-704X, E-ISSN 1751-7419, Vol. 22, no 1, p. 119-124Article in journal (Refereed)
  • 11.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Coiffures et postiches: extravagances capillaires au XVIIIe siecle2012In: Plein Les Yeux! / A feast for the eyes!: Le spectacle de la mode / Spectacular fashions / [ed] Shazia Boucher, Anne-Claire Laronde, Isabelle Paresys, Milan: Silvana Editoriale , 2012, p. 60-65Chapter in book (Other academic)
  • 12.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies.
    Fashion Houses2012In: Nordic Fashion Studies / [ed] Peter McNeil, Louise Wallenberg, Stockholm: Axl Books, 2012, p. 245-270Chapter in book (Other academic)
  • 13.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Centre for Fashion Studies. University of Technology, Sydney.
    Riello, Giorgio
    University of Warwick, UK.
    The Male Cinderella: Shoes, Genius and Fantasy2011In: Shoes: A History from Sandals to Sneakers / [ed] G Riello and P McNeil, London: Berg Publishers, 2011, 1:2, p. 386-409Chapter in book (Other academic)
  • 14.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. University of Technology, Sydney.
    Riello, Giorgio
    University of Warwick.
    Walking the Streets of London and Paris: Shoes in the Enlightenment2011In: Shoes: A History from Sandals to Sneakers / [ed] G Riello and P McNeil, Berg Publishers, 2011, 1:2, p. 94-115Chapter in book (Other academic)
  • 15.
    McNeil, Peter
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. University of Technology Sydney, Australia.
    Steorn, Patrik
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    The Medium of Print and the Rise of Fashion in the West2013In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, no 3, p. 135-156Article in journal (Refereed)
  • 16.
    Nyfeler, Judith Katharina
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    The three Pillars of Sustainability: Juxtaposing two Swedish fashion companies and their corporate sustainability concepts2013Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The fashion system has increasingly been imbued by ecology and sustainability. While in the recent years a lot on approaches to more sustainable consumption behaviour from the con- sumers’ side have been suggested, this study focuses on the very practice of how sustainabil- ity - in an applied matter - is realised within a fashion company. In this dissertation, two Swe- dish fashion brands, Nudie Jeans co and Filippa K, are being investigated and analysed due to their brand philosophies and concepts dealing with sustainability. If Nudie Jeans co’s first all- organic denim collection launched in Autumn 2012 or Filippa K’s emphasis to the longevity of clothing by classic shapes and plain colours; both ideas foster a slow fashion movement. One of this thesis’ implications is the fact, that the term sustainability is much more far- reaching and expansive as commonly defined. Also timelessness and tradition could be sus- tainable, if still taking care of environment and society. Finally, concepts of sustainability which are commonly not highlighted shall be identified and fill the yet existing gap.

  • 17.
    Peters, Lauren Downing
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    David Bowie Is2014In: Journal of Curatorial Studies, ISSN 2045-5836, Vol. 3, no 1, p. 139-143Article, book review (Other academic)
  • 18.
    Peters, Lauren Downing
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Fashion or dress? Pedagogical issues in fashion theory2014In: Cuadernos del Centro de Estudios de Diseño y Comunicación, ISSN 1668-0227, Vol. 14, no 48, p. 113-127Article in journal (Refereed)
    Abstract [en]

    In this article, I plan to reflect on the pedagogical challenges I’ve faced in my first semester of teaching fashion studies material at Parsons, speaking specifically to the challenges I’ve overcome in leading my junior seminar, Supermodel: Beauty, Fashion, and Performance, and in devising a new undergraduate fashion theory elective. In doing so, I will provide an overview of Fashion Studies as a newly-emerging academic field and outline the reflections that other scholars have published thus far.

    While the aforementioned will serve as a broad foundation for my paper, my primary focus will be on my own experience. In contributing my perspective as a teacher of undergraduate MFA students at Parsons to this conversation, I will pose the following questions: What challenges do my students face in working within a discipline and in a manner that is so different from their own practice? What is the most effective way to introduce students to fashion theory and criticism? What issues are students most drawn to? And finally, how might classes such as mine influence students in reflecting on their own practice as designers? The purpose of this article will thusly be to foster a dialogue between Fashion Studies scholars as well as with other academics who work and research in interdisciplinary fields.

  • 19.
    Peters, Lauren Downing
    Stockholm University, Faculty of Humanities, Department of Media Studies.
    Stoutwear and the Discourses of Disorder: Constructing the Fat, Female Body in American Fashion in the Age of Standardization, 1915-19302018Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation examines how fashion media discourses created the conditions through which the fat, female body was both known and constructed within the context of the early large-size garment industry in the United States, or what between the years 1915 and 1930 was known as “stoutwear.” 

    Drawing on a wide array of media sources, including women’s and fashion magazines, trade journals, catalogs and style guides, and employing Michel Foucault’s archaeological method, the dissertation examines the productive nature of fashion discourse in the construction and constitution of the fleshy body, or how the discourses of stoutwear brought order to the disorderly, fat, female body. While previous studies of the relationship between dress and the body have theorized how the body is fashioned, this dissertation builds upon these works through its focus on how discourse manifests fashion practices and thereby gives shape to the cultural body. 

    The first chapter provides an overview of this premise, reviews the small body of extant literature on plus-size fashion and defines key terms used in the dissertation. As an extension of the introduction, the second chapter outlines key methodological and theoretical concerns, including the practice of studying a history of fashion “without fashion,” discourse analysis, visual analysis, technologies of the body, fashion media discourse and dress as a situated bodily practice. The ensuing analytical chapters are organized so that they proceed from “macro” practices (i.e. the construction and constitution of the industry, stoutwear design and advertising strategies) to the “micro” (i.e. embodied dress practices) so as to evidence how the discourses of stoutwear touched every level of fashion practice. Chapter three provides a broad historical foundation for the study by examining the origins of the stoutwear industry and identifying the key actors and firms who were instrumental in consecrating the idea of a stoutwear industry separate from, but adjacent to, the burgeoning ready-to-wear industry. Thereafter, chapter four explores the design discourses of stoutwear and how these intersected with the aesthetics of modernism and the nascent technology of standardized sizing. Chapter five examines the practice of selling stoutwear, and specifically how stoutwear was advertised within the women’s and fashion press and how it was sold within department stores. Key issues in this chapter include the representational conventions of depicting fat women in the fashion media and the segregation of stoutwear into separate departments. Chapter six considers what it meant to look stout and how the stigma of stoutness was constructed within mainstream fashion media and ancillary to the slender ideal. Finally, chapter seven looks closely at style guides as a site of self-fashioning discourses. 

    The dissertation concludes that stoutwear discourses were underpinned by a “slenderness imperative,” or a disciplinary regime that manifested a “stout ideal,” or a stout body that visibly aspired toward slenderness. In its entirety, this interdisciplinary dissertation illuminates a history that has been almost entirely neglected within conventional histories of fashion at large, and within American fashion specifically, while also contributing to the theoretical literature on the relationship between fashion, dress and the body.

  • 20.
    Peters, Lauren Downing
    et al.
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Kurennaya, Anya
    Effortless consumption: The 'Anthropologie' of a brand-focused online shopping community2014In: Global Fashion Brands: Style, Luxury and History / [ed] Joseph H. Hancock, Gjoko Muratovski, Veronica Manlow, Anne Pierson-Smith, Intellect Ltd., 2014, p. 135-152Chapter in book (Refereed)
    Abstract [en]

    This article examines the dynamics of the brand-focused online community blog Effortless Anthropologie, devoted to the popular retailer Anthropologie, with particular emphasis on how brand values are created, espoused and disputed by its members in a dynamic and interactive online forum. Using relevant literature on the concept of brand community, the net is expanded to capture the activities of a community that exists primarily online. We use examples of posts and commenting activity to demonstrate that it is the existence of the blog that facilitates and maintains such a strong sense of community. This, along with the fact that the blog exists independently from the retailer that it values – that is, it is not a company blog – forces us to reconsider our concept of how brand communities are formed and maintained in the virtual realm. From this analysis, we can learn how brand communities are facilitated by blogs and how they take on a unique dimension online. Consumers use blogs like Effortless Anthropologie to find a community of like-minded users and be a part of a community existing outside of the retail sphere. Retailers and marketers might engage with or be aware of the sense of trust, bonding and loyalty that such an online community engenders.

  • 21. Qvarsell, Roger
    et al.
    Svensson, BirgittaStockholm University, Faculty of Humanities, Department of Ethnology, History of Religions and Gender Studies, Ethnology.
    Markeringar och maskeringar: att visa eller dölja sin kropp2012Collection (editor) (Refereed)
  • 22.
    Riello, Giorgio
    et al.
    University of Warwick.
    McNeil, Peter
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies. University of Technology, Sydney.
    A Long Walk: Shoes, People and Places2011In: Shoes: A History from Sandals to Sneakers / [ed] G Riello and P McNeil, London: Berg Publishers, 2011, 1:2, p. 2-28Chapter in book (Other academic)
  • 23.
    Steorn, Patrik
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Migrating Motifs and Productive Instabilities: Images of Fashion in Eighteenth-Century Swedish Print Culture2013In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, no 3, p. 219-234Article in journal (Refereed)
  • 24.
    Ström, Pernilla
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Hotell med ambitionsnivå: Strategier och betydelser i hotellinredningsdesign2015Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen handlar om tre svenska designhotells inredning, koncept och strategier. Hotellen har kulturellt och ekonomiskt fokus och de säljer livsstil, emotionella upplevelser och atmosfär lika mycket som hotellnätter och restaurangbesök. De strävar efter en hög ambitionsnivå i inredningen och vill därigenom uttrycka hotellets personlighet, individualitet och unika koncept. Hotellen i denna undersökning är Melody hotell i Stockholm, Story hotell Signalfabriken i Sundbyberg och Copperhill Mountain Lodge i Åre.

    Syftet är att ta reda på hur designstrategierna påverkar inredningarnas utformning och vilka upplevelser och känslor som inredningarna skapar. Frågeställningar är: Har hotellen använt sig av en designstrategi? Utifrån vilka syften har hotelledningen låtit inreda hotellen? Vilka upplevelser och känslor önskar hotellen skapa hos gästerna? Vilka resultat medför dessa strategier visuellt i hotellmiljöerna?

    Arbetsmetoden är en etnologisk fältarbetsmetod där iakttagande och analyser, intervjuer och en undersökning av recensioner och hemsidor har varit utgångspunkten. Teoretiskt ramverk är att se på inredningarna genom ett konstnärligt, ekonomiskt och psykologiskt perspektiv. Det ekonomiska perspektivet har huvudfokus i uppsatsen. Det konstnärliga perspektivet bidrar med att ge en bild av hur inredningarna ser ut med färg, form, material, belysning och detaljer samt genom att identifiera symbolik. Det psykologiska perspektivet innefattar en diskussion om platsens själ och de osynliga kvaliteter som en inredning kan förmedla, men det innefattar också hotellets roll som en arena för självbespegling. Hotellet kan spegla gästens personliga preferenser och livsstil och bygger på en slags gruppidentitet. En del av hotellens idé är att attrahera likasinnade.

  • 25.
    Svensson, Alexandra
    Stockholm University, Faculty of Humanities, Department of Art History.
    Ingenmansland: Hybridbilders rörelser genom gränszonen mellan konst och reklam.2013Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte är att ur ett konstvetenskapligt perspektiv undersöka hybridbilder som uppvisar drag av både konst och reklam, och de gränsöverskridande rörelser som bilderna gör mellan dessa fält. Tre bilder har analyserats för att lyfta fram villkor och förutsättningar för hur förflyttningar mellan konstfältet och reklamfältet kan ske. Den teoretiska utgångspunkten för dessa analyser har varit parametrarna funktion, syfte, upphovsperson och cirkulation utifrån Göran Sonessons bok Bildbetydelser: Inledning till Bildsemiotiken som vetenskap. I varje bild har närvaron av dessa parametrar undersökts i relation till några generella karaktäristiska egenskaper hos konstbilder respektive reklambilder. Resultaten uppvisade en stor variation och ur bildanalyserna utkristalliserade sig tre olika sätt för att uppnå en rörlighet mellan fälten: bilden bygger ett starkt kulturellt kapital som långsiktigt befäster dess rätt till rörlighet; bilden intar en position mittemellan fälten och utnyttjar denna för att kunna förflytta sig i båda riktningarna; bilden befäster sig först som tillhörande en bildkategori och tillhandahåller sedan själv verktygen för att ifrågasätta denna kategorisering.

  • 26.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    2 Stenberg 2: Constructivists and Designers for the Revolutionary Mass Stagings at the Red Square1998In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 67, no 3, p. 175-188Article in journal (Refereed)
    Abstract [en]

    Georgy and Vladimir Stenberg, central participants of the Russian avant-garde and the first to use the term "constructivist", were Swedish. Thanks to the first international 'two-person' museum exhibition on the Stenberg brothers, in the summer of 1997 at the Museum of Modern Art in New York, interest in their work has been renewed. The focus of the MoMA exhibition was on the film posters. In addition to the Stenbergs' work as constructivists and theatre scenographers, this is the part of their work that has brought them most international fame. There is, however, one aspect which, if mentioned at all, is mentioned only in passing: the Stenbergs were chief designers for the Red Square in Moscow.   

    In addition to a brief presentation of the Swedish heritage of Vladimir Augustovich (1899 - 1982) and Georgy Augustovich Stenberg (1900 - 1933), the aim of this article is to introduce the Stenbergs as designers for the celebrations in the Red Square. Other key places along the parade route in central Moscow were the Palace of the Soviets and Gorky Park. The Stenberg brothers participated in all three projects. In order to get an idea of what proportions these mass stagings had, I will discuss them in the context of the reconstruction of Moscow into a parade centre, the first five-year plan, and the cultural revolution, all of which took place at the same time as the Stenbergs established themselves as designers for street festivities. First of all, however, I shall give a short background of Georgy and Vladimir Stenberg and their aesthetical standpoints in art.

  • 27.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Aelita, konstruktivism och biomekanik1993In: Chaplin, ISSN 0045-6349, Vol. 35, no 249Article in journal (Other (popular science, discussion, etc.))
  • 28.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Alexandra Exter: Artist for the Stage1993In: Theatre in Revolution: The Russian Avantgarde on Stage 1913-1930, Stockholm: Dansmuseet , 1993, p. 117-125Chapter in book (Other academic)
  • 29.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Alexandra Exter: Konstnär för scenen1993In: Teater i revolution: det ryska avantgardet på scen 1913-1930, Stockholm: Dansmuseet , 1993, p. 100-116Chapter in book (Other academic)
  • 30.
    Tillberg, Margareta
    KTH Royal Institute of Technology, Sweden.
    Anne-Marie Ericsson. The Interiors of M/S Kungsholm: Masterpieces in Swedish Art Deco2008In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 77, no 4, p. 230-234Article, book review (Other academic)
    Abstract [en]

    Art Deco is a style that has hitherto gained too little attention in Swedish history of art and design. With her special focus on the 1920s and 1930s Anne-Marie Ericsson, a well known author and lecturer in the Swedish design world, is the just author for this period. Therefore I open her M/S Kungsholms inredning. Mästerverk i svensk art deco [The Interior of M/S Kungsholm. A masterpiece in Swedish art deco][i] with great expectations.

    As the title implies, the aim of the book is to treat the interiors of M/S Kungsholm, the show-piece of the Swedish American Line. This focus is reasonable, insofar as the exterior presented nothing new, according to the author, whereas the interior was enthusiastically received by the New York press as a “fairy tale castle” when she arrived on her maiden voyage in New York, December 1928. (p. 9).

    Trying to present a reconstruction of how the ship looked, although almost nothing remains of it today, Anne-Marie Ericsson has taken upon herself a task that is not an easy one. The fate of M/S Kungsholm was unfortunate. After a glorious decade, she transported troops during World War II, incredibly enough escaped bombs and torpedoes, became a cruise ship in the Mediterranean and was finally broken up in Bilbao in 1964. By that time, the interiors had been almost entirely extinguished and the furniture plundered or sold.

    [i]  If not stated otherwise, all the translations from Swedish to English are my own, M.T.

  • 31.
    Tillberg, Margareta
    Växjö universitet, Sverige.
    Behöver en designer verkligen teori och historia?2005In: Sond: en tidning från avdelningen för design vid Växjö universitet, p. 6-Article in journal (Other (popular science, discussion, etc.))
  • 32.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Coloured Universe and the Russian Avant-Garde: Matiushin on Colour Vision in Stalin's Russia, 19322003Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Colour vision was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early 1990s. This work is the first close study on a so-called laboratory in an art- and science institute in the Soviet Union in the 1920s. It is based on extensive research in twenty different Russian archives, each including numerous archival funds, in addition to the Stedelijk Museum Prentenkabinet in Amsterdam and other unpublished material.

    Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.

    The implicit narrative of the book, is about a group of intellectuals who struggled to work with what they believed in, e.g. an expansion and change of innate possibilities to create something never seen before, despite political oppression.

    The aim of this study is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.

    The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. One goal was to formulate a universal language with mathematics as the ideal science, to be collected into an encyclopaedia for visual culture (art, architecture, design); another goal was to redesign the world for the masses outside the ‘dead’ museums, and to produce a new kind of human being, a third goal. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour.

    The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°; i.e., the consciously amplified eye, defined in Matiushin’s peculiar way.

    The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson.

    Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism.

    The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.

    The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.

  • 33.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Den moderna utopins design1992In: Form, ISSN 0015-766X, Vol. 88, no 5, p. 53-54Article, book review (Other (popular science, discussion, etc.))
  • 34.
    Tillberg, Margareta
    Centre for Baltic and East European Studies (CBEES), Södertörn University, Sweden.
    Design institute VNIITE closes its doors2013In: Baltic Worlds, ISSN 2000-2955, Vol. 6, no 2, p. 56-Article in journal (Other (popular science, discussion, etc.))
  • 35.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Designmai 2006 i Berlin2006In: Designtidskriften FORM, ISSN 0015-766X, no 4, p. 24-25Article in journal (Other (popular science, discussion, etc.))
  • 36.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Det ryska avantgardets kärlek till folkkonsten och målade affärsskyltar1993In: Paletten, ISSN 0031-0352, Vol. 213, no 2Article in journal (Other (popular science, discussion, etc.))
  • 37.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Die technische ästhetik und die unerschöpfliche mensch-maschine als sowjetisches designprodukt der 1960er Jahre2014In: Helden am ende: erschöpfungszustände in der kunst des sozialismus / [ed] Monica Rüthers, Alexandra Köhring, Frankfurt am Main: Campus Verlag, 2014, p. 157-181Chapter in book (Refereed)
  • 38.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Farbforschung in der russischen Avantgarde der 20er und 30er Jahre2001In: Visuelle Sprache: Jahrbuch der Fakultät Gestaltung / [ed] Gerhard Schweppenhäuser, Weimar: Bauhaus-Universität Weimar Universitätsverlag , 2001, p. 71-82Chapter in book (Refereed)
  • 39.
    Tillberg, Margareta
    Växjö universitet, Sverige.
    Forslund, Margareta2005In: Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Vol. 42, München: K.G. Saur Verlag, 2005, p. 428-Chapter in book (Other academic)
  • 40.
    Tillberg, Margareta
    Växjö universitet, Sverige.
    Forsman, Pernilla2005In: Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Vol. 42, München: K.G. Saur Verlag, 2005, p. 430-Chapter in book (Other academic)
  • 41.
    Tillberg, Margareta
    Växjö University, Sweden.
    Frank, Nikolaus2005In: Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Vol. 44, München: K.G. Saur Verlag, 2005, p. 57-58Chapter in book (Other academic)
  • 42.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Fördomsfria vävar. Bauhaus idéer realiserades i textilverkstaden1999In: Dagens Nyheter, ISSN 1101-2447, no 30 oktoberArticle in journal (Other (popular science, discussion, etc.))
  • 43.
    Tillberg, Margareta
    Växjö universitet, Sverige.
    Huldt, Johan2012In: Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker, München: K.G. Saur Verlag, 2012Chapter in book (Other academic)
  • 44.
    Tillberg, Margareta
    Växjö universitet, Sverige.
    Huldt, Åke2012In: Allgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker, München: K.G. Saur Verlag, 2012Chapter in book (Other academic)
  • 45.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    I will make machines that fly under water: Electro-kinetic art/design in Latvia in 1970-802015In: Visionary Structures: From Johansons to Johansons / [ed] Ieva Astahovska, Riga: The Latvian Centre for Contemporary Art , 2015, p. 68-81Chapter in book (Refereed)
  • 46.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Léon Bakst, Konstens värld och nordisk tradition1993In: Leon Bakst: Sensualismens triumf: Dansmuseet 29.4-5.9.1993, Stockholm: Dansmuseet , 1993, p. 34-39Chapter in book (Other academic)
  • 47.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Léon Bakst the World of Art Movement and a Nordic Tradition1993In: Léon Bakst: Triumph of Sensuality / [ed] Eric Näslund, Stockholm: Dansmuseet , 1993, p. 115-119Chapter in book (Other academic)
  • 48.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Martin Kelm: DDR, Moskau und die designszene innerhalb des ostblocks2014In: Gutes design: Martin Kelm und die designförderung der DDR / [ed] Christian Wölfel, Sylvia Wölfel, Jens Krzywinski, Dresden: Thelem , 2014, p. 218-233Chapter in book (Refereed)
  • 49.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics.
    Matiushin's Colour Theory: Expanded Optics in Application: A comparison with Chevreul, Ostwald, and Albers2015In: Colour is Optics / [ed] Serge-Aljosja Stommels, Albert Lemmens, Eindhoven: Van Abbemuseum , 2015, p. 24-37Chapter in book (Other academic)
  • 50.
    Tillberg, Margareta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Matiúsjins färglära1993In: Paletten, ISSN 0031-0352, Vol. 212, no 1, p. 28-29Article in journal (Other (popular science, discussion, etc.))
12 1 - 50 of 69
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