From Excessive Styling to Good Design: A Post-WWII Revolution

Defining “Good Design” Through History

The concept of ‘good design’ has been debated among designers, critics, theorists, and historians for centuries. Yet, a distinct notion of the term crystallized post-World War II, mainly as a counter to excessive styling aimed at driving sales. This concept links back to the ideas presented by Nikolaus Pevsner in his groundbreaking work, Pioneers of the Modern Movement (1936). Pevsner sought to blend the moral principles of William Morris and the Arts and Crafts Movement with modern production techniques, innovative materials, and abstract form manipulation. This period marked a pivotal shift in design philosophy, emphasizing utility and aesthetic simplicity over ornamental excess.

MOMA’s Role in Promoting “Good Design”

Edgar Kaufmann Jr., as the Director of Industrial Design at the Museum of Modern Art (MOMA) in New York, played a crucial role in shaping the public perception of “good design.” His critique in the August 1948 issue of Architectural Review, where he addressed the trend of ‘style follows sales,’ was a significant moment in design discourse. Kaufmann’s vision materialized through the Good Design exhibitions at MOMA (1950-1955), which showcased objects aligning with European Modernist aesthetics. These exhibitions, a continuation of MOMA’s design ethos established with the 1934 Machine Art exhibition by Philip Johnson, were influential in setting industry standards.

The Aesthetic of Modernism in “Good Design”

Like Modernism, the “Good Design” movement was recognized for focusing on form over decoration. This approach was evident in MOMA’s 1952 ‘Olivetti Design in Industry exhibition and the inclusion of Braun products in its permanent collection in 1958. Jay Doblin’s “100 Best Designed Products” in Fortune magazine further echoed this American perspective, highlighting modernist designs from Europe and Scandinavia. The top picks, such as Nizzoli’s Olivetti Lettera 22 typewriter and the Eames side-chair, exemplified the blend of functionality and aesthetic simplicity that defined “good design.”

Global Spread and Influence of “Good Design”

The propagation of “good design” wasn’t confined to the United States. In Europe, initiatives like the British Industrial Design Council (COID) and Germany’s Rat für Formgebung promoted this design ethos. France’s Beauté France label, Japan’s G-Mark award, and the Netherlands’ Stichting Goed Wonen all represented a global recognition of the importance of aesthetic excellence in product design. The Italian Compasso d’Oro awards and the influence of the British COID in Commonwealth countries like New Zealand and Australia further underscored the widespread adoption of “good design” principles.

Reflecting on the Legacy of “Good Design”

The post-World War II era marked a significant shift in the philosophy of design, emphasising the integration of form, function, and modern production methods. This period’s design legacy continues to influence contemporary aesthetics, reminding us of the enduring value of simplicity, utility, and elegance in design. As we continue to explore and appreciate design in all its forms, the principles of “good design” serve as a guiding framework, emphasizing the harmony between aesthetic appeal and functional integrity.

Sources

Oxford University Press. (2004). A Dictionary of Modern Design (1st ed.).

More on Design Philosophy

Related Articles

• Architecture the 1920s & 1930s – the birth of Modernism
• Importance of the 20th Century Design Exhibition MoMA – 1958
• Mastering MoMA: Exploring the Rich History and Influence of the Museum of Modern Art, New York
• MoMA Now: Highlights from The Museum of Modern Art, New York
• Charles Eames: A Distinguished American Designer and Architect