By benjamin; okamoto, Hideaki; lodge, Goerge C. Roberts
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Additional resources for Collective bargaining and employee participation in Western Europe, North America and Japan; report of the Trilateral Task Force on Industrial Relations to the Trilateral Commission
Interior of the Pavilion of Elegance, Paris, 1925. International Studio. stuffed Empire style in form, but coverings of all types exhibited a riotous use of colored weavings and prints. Ornamental motifs reflected simplification of florid organic Art Nouveau motifs, rendered geometric and inorganic by abstraction and stylization. Despite this development, the only hints of the zigzag lightning motifs and cubist designs that became hallmarks of the exposition style as it moved to America appeared on novelty items like cigarette boxes, vanity cases, and jewelry.
An ohserver described it as "a rallying point for 20 Machine Aesthetics all individuals and societies having the devclopment of decorative and ornamental design at heart" and singled out its design classes in ceramics and textiles as influential. Interior decorators and suppliers belonged to the Art-in-Trades Club, and the Architectural League of New York included "painters, sculptors and designers in the crafts" in addition to licensed architects. In 1920 the League added a medal in "industrial art" to its competitions in architecture, painting, sculpture, and landscape architecture.
Temporary consultants wt:rt: unknown. But manufacturers 17 began to see advantages in seeking outside help. Since the public demanded novelty, product design demanded an originality not always found in employees who had spent fifteen years learning the traditions of an industry. And because department store stylists were experts on style trends in general, manufacturers began turning to them for direct application of the current mode. Charles Cannon, for example, hired Virginia Hamill, a stylist who had worked for Macy's, to apply "the new gospel of line and color" to his company's towels.