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Edward William Godwin, more commonly known as E.W. Godwin, served as an architect, designer, and writer during the Victorian Era. He was born in May of 1833 in Bristol, England and died in October of 1886. In 1867, he married actress Ellen Terry. Godwin studied at Exton School in London, and when he completed his studies he went on to work for William Armstrong. Armstrong served as City Surveyor, Architect and Civil Engineer, but severely lacked skills or knowledge of architecture. This meant Godwin needed to teach himself and take on the responsibility of completing architectural commissions.

From this rough start and rushed introduction to architecture, Godwin went on to open his own practice in 1854. At this time, Godwin studied the writing of John Ruskin and took to the French Gothic Revival design style. One famous example of Godwin's Gothic work is the Northampton Town Hall. Godwin won a competition after submitting his design proposal for the town hall. The proposal included the exterior decoration, interiors and furniture, all of which are characteristic of the Gothic Revival style. There are narrow Gothic windows on the second floor, larger Gothic archways containing windows and entryways on the ground floor, plus repeating decoration and sculpture adorning the hall to add to the richness and appearance of the building.

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Later on in Godwin's career, he began to seek inspiration from Japanese art and design. He, along with a group of other artists, purchased Japanese objects following the International Exhibition in 1862, and became heavily influenced by Japanese culture. Godwin, Christopher Dresser, Thomas Jeckyll, and James Whistler were the pioneers of the Anglo-Japanese movement within British design and the Aesthetic style. E. W. Godwin was the first person in England to decorate his home completely in the Japanese style. He even resulted in designing his own furniture, as finding Japanese pieces proved to be difficult at the time. In 1865, Godwin began designing wallpaper and textiles, in addition to creating what is now regarded as "Anglo-Japanese furniture". The furniture used clean, rectilinear forms, little to no ornament/decoration, and sometimes featured Japanese motifs. Thanks to Godwin and other pioneers, the Anglo-Japanese style went on to influence all forms of art at the time,  including the works that came out of the highly influential Aesthetic Movement.

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This sideboard, designed by Godwin between 1867-1870, is one of Godwin's most famous pieces of furniture, let alone nineteenth century furniture. The piece was originally designed for Godwin himself and was meant to display ceramic pieces, however a number of versions of similar sideboards were made for figures such as architect Frederick Jameson and art critic Joseph Comyns Carr. The piece itself appears to be very modern and minimal in design, but in reality it is rooted in the Japanese style. The ebonised mahogany, the Japanese embossed leather paper used in the cabinet doors, and the geometric form of the object as a whole are all derived from Godwin's extensive study of Japanese art. The sideboard doesn't use any ornamentation or carved decorations and is strictly geometric. The influence of this Anglo-Japanese piece reached much farther than the Aesthetic movement, as its plain surfaces, innovative use of rectangular planes and negative spaces, and geometric style appealed to the Modernist designers of the 20th century.

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This cabinet was designed by Godwin between the years of 1870-76 and was made in 1876. The cabinet is nicknamed the "Monkey Cabinet" because of the ivory handles in the shape of monkeys. Here, the influence of Japanese artifacts is evident because Godwin was able to embed them in his work. It is believed that Godwin may have found these ivory handles at Liberty London's East Indian Art Warehouse. He was a frequent shopper here, and it is more than likely that they would carry these handles in the 1870's. The handles are actually netsuke, which are ornaments used in Japanese dress design to keep purses from slipping off. While this cabinet is not quite as modern-looking as the "Sideboard" piece, Godwin was still able to incorporate geometric forms into the piece. The shapes/negative spaces created top of the cabinet and in the legs/underneath the cabinet give it a more geometric appearance.

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Painted using watercolor in 1872, Godwin designed this wallpaper pattern for a commission from the Jeffrey & Co. wallpaper company. Appropriately titled 'Bamboo', the design takes clear influence from Japanese culture and art. The bamboo leaf was a popular Japanese motif at the time, found on many Japanese objects and in Japanese art. Not only did Godwin use this motif in his design, but he also incorporated Japanese flowers and a pattern reminiscent of those in Japanese art. The larger pattern of leaves in the foreground against a smaller, more delicate background pattern show this influence. Godwin's wallpaper designs were unique to England's wallpaper industry and had quite an impact as he was able to combine both English and Japanese influences into cohesive and appealing designs.

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History of Modern Design, 2nd Edition- David Raizman (pg. 107-108)
https://www.britannica.com/biography/Edward-Godwin
http://www.oscar-graf.com/edward-william-godwin/
http://www.victorianweb.org/art/design/godwin/bio.html
http://collections.vam.ac.uk/item/O8380/sideboard-godwin-edward-william/
http://collections.vam.ac.uk/item/O61436/cabinet-godwin-edward-william/
http://collections.vam.ac.uk/item/O78224/design-godwin-edward-william/
http://museums.bristol.gov.uk/narratives.php?irn=11233
http://www.speel.me.uk/sculptplaces/nhantsguildhall.htm

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This is excellent research and analysis Emily, well done

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This is excellent research and analysis Emily, well done

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Serge Chermayeff was born in 1900 in Grozny, just outside the Russian Empire. His grandfather had struck oil in Caucasus, and thus his family was able to live luxuriously and with no financial insecurity. Because of their small fortune, Chermayeff's family was able to send him to preparatory school in Britain at age 10. He continued his studies at Harrow, where he first discovered his interest in painting. Chermayeff's family found themselves depleted of their wealth due to the Bolshevik Revolution. Unable to fulfil his goal of attending Cambridge, Chermayeff went on to travel to Argentina at the age of 22. He held a wide variety of hobbies and interests, which translated into numerous jobs. Surprisingly enough, Serge worked as a ballroom dancer and won the World Tango Championship in London in 1927.

Chermayeff's first of many "serious" design jobs started in 1924 with a position at Ernest Williams, a decoration firm at the time. He claims to have be in charge of designing/painting the "important suites" in a refurbishment of Claridge's Hotel in London. In 1928, Chermayeff became a British citizen. This year is when his career as a designer took off, seemingly overnight. Serge was hired at Waring and Gillow furniture makers as a furniture designer, and he was also tasked with putting on an exhibition of modern furnishings. He along with other designers contributed round glass tables, geometric rugs and lampshades, and tubular steel furniture. His design inspiration can be traced back to the modern design trends taking the city of Paris by storm, as he used to visit his parents there every year. He was a member of MARS, the Modern Architecture Research Society, and through MARS helped promote Modernist design and ideals.

Though self-taught, Chermayeff was a jack of all trades. He was a skilled furniture, product and interior designer, architect, illustrator and painter. Chermayeff began receiving commissions to design clocks, radios, houses and apartments, and hotel interiors. He became friends with influential modernist architect Erich Mendelsohn in the early 1930's, and the two started their own architecture firm. Their most famous collaboration is the De La Warr Pavilion, completed in 1935. In 1936, Mendelsohn and Chermayeff had a falling out, and the former moved to Palestine. After this, Chermayeff's career was not as vibrant, and he and his wife decided to flea wartime Europe for America in 1940. Chermayeff went on to become a highly prominent figure at Harvard University, teaching and shaping a new phase for the architecture school there. He introduced a foundation course called "Environmental Design". The course brought architecture, urban planning and landscape architecture students together and allowed them to learn how to incorporate each other's talents into unique and creative solutions. Chermayeff left a lasting impression on his students and the modernist movement as a whole.

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One of the trademark advancements of the 1930s is the popularity of radio as a means of communication and entertainment. With its rise in popularity came a chance to create a new 'look' for the everyday consumer radio. While a majority of radios were bulky, rectangular wooden boxes adorned with fabric, a company called Ekco helped to change that. Ekco adopted a newer material called Bakelite, which was a synthetic plastic that lent itself to mass-production and more functional designs.

Ekco commissioned Chermayeff and several other established modernist designers to come up with new visual solutions for the consumer radio. Chermayeff's solution is a clear reflection of his design inspiration and Modernist principles. The curved edges and overall "smoothness" of Chermayeff's design reflects the smooth forms of Art Deco furniture that influenced the designer's style. The combination of the large circular loudspeaker, circular knobs at the bottom, and horizontal elements found in the chrome grates and tuning scales all contribute to the overall geometric nature of this radio. Modernism favored simple, clean designs and geometric elements rather than the elaborate and intricate design styles that came before. In comparing this radio model to previous wooden radios, it is clear that Chermayeff, too, was straying from the past and leaning towards a clean, geometric and modern approach to design. Another key principle of the Modernist movement was functionality. Chermayeff designed his radio with this in mind, incorporating two handles on the sides for portability and keeping the design compact and small.

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One of Chermayeff's most notable contributions to Modernism is the De La Warr Pavilion, located in Bexhill-on-Sea. The building was intended to be a center of culture and entertainment for the community and its visitors. The mayor of Bexhill-on-Sea at the time was taking note of internation trends in architecture and design, and convinced the town council to hold a competition for the Pavilion's design. The design brief leaned towards the new "international" style.

The winners of the competition were then-partners Chermayeff and Mendelsohn. The Pavilion is one of Britain's first public buildings to be built in the Modernist style. The building itself was made of concrete and steel, two staple materials of the Modernist movement. Large glass windows and a simple facade are both part of Le Corbusier's 5 Points for a New Architecture--and both are key features of the De La Warr Pavilion's design.

The interior of the Pavilion also fits the bill for a Modernist look. The walls are painted a light cream color, as was preferred by Modernist architects and interior designers. The interiors use clean lines, a simple and curved staircase, and plywood chairs designed by Alvar Aalto, another Modernist designer at the time. The functionality of the building lends itself to the De Stijl and overall Modernist belief of utilitarianism and designing "universally". De Stijl and Modernist designers believed in social good and designing in a way that serves people and their needs. The building is meant to serve the community. In addition to a rooftop terrace, the building includes rooms for events, entertainment, lectures, and dining.

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http://www.ajbuildingslibrary.co.uk/projects/display/id/286
https://www.dlwp.com/about/history/
http://www.vam.ac.uk/content/articles/b/biographies-of-modernist-designers/index.html#mendelsohn
https://collections.vam.ac.uk/item/O121385/ekco-ac-74-radio-chermayeff-serge/
https://www.moma.org/collection/works/173629?locale=en
https://032c.com/2014/the-chermayeff-century/
http://www.building.co.uk/serge-chermayeff-designer-architect-teacher/1006400.article
http://www.historygraphicdesign.com/the-age-of-information/the-new-york-school/1148-serge-chermayeff
http://www.telegraph.co.uk/finance/property/4814961/Master-builders-Serge-Chermayeff-1900-1996.html

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Vivienne Westwood was born in 1941 in Derbyshire, England as Vivienne Isabel Swire. She was born into a working-class family, as her father worked as a cobbler and her mother worked at a local cotton mill. In the 1950's, when Westwood was a teenager, her family moved to Harrow, and she briefly attended Harrow Art College. She studied fashion and silversmithing there, but didn't see a future for "a working-class girl like [her]" in the fashion and art industry. Instead of continuing with her studies at Harrow, Westwood worked in a factory and trained to become a teacher.

Westwood was reintroduced to the art world through her second partner in 1965, Malcolm McLaren. He was heavily interested in the Rock 'n' Roll fashion and music scene at the time, rejecting the popular "hippie" look of the late 60's and early 70's. Westwood says that McLaren opened up a whole world for her--one of art, creative freedom and the power to have an influence on the political and social scene of London through art.

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Vivienne Westwood is often referred to as the "Mother of Punk". In the early 70's, the political and economic environment in Britain made way for the wave of "punk" culture. The UK was facing a recession at the time, leaving many young people without jobs. This created tension between the people and the government, leading to cries of anarchy. New York City was also seeing similar cultural shifts, which contributed to the popularity of the punk scene in London as well. The "punk" counterculture of rebellion and anti-establishment beliefs took over--music, fashion, and art reflected this.

McLaren was greatly influenced by this counterculture, and Westwood found herself immersed as well. Westwood had been making clothes for herself in McLaren already when they opened their first store, 'Let it Rock', at 430 Kings Road. The store went through several name changes and phases before it closed, but always remained a hub for what came to be known as punk rock fashion. The couple designed pieces together, and their inventory went from provocative and shocking rubber clothing to zippers, biker chains and badges, buckles, rips, tears, and safety pins. McLaren became the manager for the infamous punk band Sex Pistols, and this is when Westwood's career really took off. The Seditionaries collection was born--it was a happy marriage of the sexualized rubber looks, the hodge-podge, DIY feel of zippers, ripped clothes and safety pins, and the provocative political message the two designers were aiming to put out there. The store became the Sex Pistol's (and many other punk figures') go-to fashion spot, and Westwood found herself creating their iconic punk "look". The band played a huge role in the growing popularity of punk fashion, introducing Westwood's shocking and influential designs to the rebellious youth of London. Along with McLaren, Vivienne Westwood truly shaped the identity of late 70's/early 80's London fashion and punk rock culture, and her impact on the fashion world can still be seen today.

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One of Westwood's most famous pieces is the 'Anarchy Shirt' (there were several different versions of the shirt that were all hand-made) , worn by members of the Sex Pistols during their first televised performance in 1976. Westwood had already been designing obscene, edgy and politically charged shirts. This piece in particular is much more than just fabric--it speaks volumes about anarchy and the state of politics in the 70's.

The shirt began as a simple men's button-up, but came out far from that. Westwood experimented by painting stripes--what now resemble prison stripes--on one of the surplus plain shirts they had at the store. McLaren suggested experimenting with more "violent" fabric dyes, and thus the base of the shirt was born.

What catches my eye first is the stencilled "Only Anarchists are pretty" slogan. It is jagged, bold, and uses contrast to draw your eye to the statement and make it visually "loud". It is believed that the slogan was a play on a 1971 comic that used the line "Of course, all the revolutionaries are pretty". Although they look haphazardly thrown onto the garment, the patches were very strategically chosen. A silk piece of fabric with Karl Marx's image on it makes an appearance, as Marx represented Socialist values and the struggles of the working class. The red armband marked with the word "CHAOS" is inspired by Mao-style armbands, as Maoism is a form of communism that was developed in the 1950's and stayed prevalent until the 70's. McLaren and Westwood found the silk prints of Karl Marx at shops in Chinatown that sold Maoist literature. The black patch at the top makes a reference to "The Black Hand Gang", a group of Spanish anarchists. There is no mistaking the point Westwood was trying to get across in this shirt. In addition to the patches themselves, the violent and collage-esque nature of the shirt accurately describes the anger and rebellion of the youth during this time in Britain. The Sex Pistols' performance helped to make this shirt such an iconic, classic example of punk fashion. The counterculture slogan-plastered t-shirts that punk fashion holds dear now were largely influenced by pieces such as Westwood's Anarchy Shirt.

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As British culture progressed into the 1980's, the punk movement began to fade. At the same time, Westwood and McLaren split up. Vivienne Westwood had a chance to break away from her provocative t-shirts and enter into a new era of high fashion. Her first collection after splitting up with McLaren was called Mini Crini and debuted in 1986. Westwood had become fascinated with historical dress and the Royalty, and wanted to emulate the fitted clothes of Queen Elizabeth II and the traditional corseted waist. The Mini Crini pictured below has the perfect corset waist, but Westwood turned it into a modern fashion staple by adding the contrasting skirt below. A small waist effortlessly transforms into a curvy, wide skirt that accentuates the model's hips. This was never seen before, as the prevailing 80's trend at the time was bulky shoulder pads and hips kept tight and in order. The Mini Crini challenged the idea of what body shapes are supposed to look like and went head-to-head with existing fashion trends. This collection marks a true shift in Westwood's career, as she jumped from punk rock to high-fashion pieces with an elegant air to them.

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http://edition.cnn.com/2015/08/06/entertainment/the-seventies-punk-rock-shocks-the-world/index.html
http://fashion-history.lovetoknow.com/fashion-clothing-industry/fashion-designers/vivienne-westwood
https://collections.vam.ac.uk/item/O70070/ensemble-vivienne-westwood/
http://www.viviennewestwood.com/en-gb/shop/womens/accessories/shoes/rocking-horse-ballerina-kid
https://style-review.com/you-blog/entry/iconic-collections-from-vivienne-westwood
http://www.vam.ac.uk/content/articles/v/vivienne-westwood-designs/
https://www.biography.com/people/vivienne-westwood-20624587
http://www.metmuseum.org/toah/hd/vivw/hd_vivw.htm
http://www.viviennewestwood.com/en-gb/history/430-kings-road
http://www.dazeddigital.com/fashion/article/16066/1/the-anarchy-shirt
http://www.marieclaire.co.uk/fashion/a-brief-history-of-punk-fashion-79145