{"id":5166,"date":"2012-05-01T01:13:04","date_gmt":"2012-04-30T23:13:04","guid":{"rendered":"http:\/\/padjournal.net\/?p=27"},"modified":"2022-04-13T17:34:09","modified_gmt":"2022-04-13T15:34:09","slug":"interview-with-cheryl-buckley","status":"publish","type":"post","link":"https:\/\/www.padjournal.net\/new\/interview-with-cheryl-buckley\/","title":{"rendered":"Interview with Cheryl Buckley"},"content":{"rendered":"


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  1. Marinella Ferrara: <\/em> In your opinion, which was the contribution of Gender Studies to the history, to the criticism and to the practice of design?<\/strong>
    \nCheryl Buckley:<\/em> I think that the contribution of Gender Studies to the study of the history, criticism and practice of design has been profound. Dating from the early 1980s, this influenced historians, practitioners and theorists who developed ideas that had emerged from various academic contexts: art and design history, philosophy particularly post-structuralism, history.<\/li>\n
  2. What is today the situation of Design Gender Studies and on which research are you working on?<\/strong>
    \nIt is inconceivable today that those working in design history, theory and practice should not take account of gender. Since the 1980s there has been a plethora of work in numerous fields- of course in design, art, architecture, but also in studies of social identities more widely especially around sexuality, race, and latterly generation. Academics have come from a range of disciplines and I think one of the advantages of design as a field is that its is very permeable. By this I mean that over the last 30 years, it has drawn ideas, methods and approaches from other disciplines such as history, geography, politics, linguistics, pyschology, etc.
    \nAs regards my work, I am currently co-writing a book (with Hazel Clark based at Parsons School of Design in New York) on Fashion and Everyday Lives in 20thC Britain and the USA. It will be published by Berg in 2013-14. This project is the first sustained investigation of fashion and everyday life on two of the world\u2019s major fashion cities: London and New York. Typically fashion has been studied as an \u2018exceptional\u2019 rather than mundane aspect of visual and material culture with an emphasis on stylistic innovation, perpetual change, and distinctive youth cultures. Instead this project aims to unsettle the dominant views by understanding fashion as a manifestation of routine daily lives that remains with people over time. The project examines the ways in which the everyday use, appropriation, circulation, re-making and regular re-modelling of fashionable clothes by diverse social groups can be: anti-modern and non-progressive; exemplify continuity and tradition; responsive to regional and national subtleties as well as global ones; and disruptive of fashion\u2019s structures and systems as well as its visual codes and norms of consumption. Whilst there remains a predominant interest in the fashion \u2018syntaxes\u2019 of the young, the novelty of the \u2018look\u2019, and the currency of the latest style- whether re-cycled, second-hand, revivalist, or new, this research investigates the vast swathe of fashionable dressing outside of these categories. This fashion comprises the ordinary and mundane practices of wearing that draws items from the personal wardrobe in a routine manner over time. This research aims to define a new theoretical and historiographical framework for the subject which moves beyond the dominant thesis regarding fashion\u2019s relationship to modernity.<\/li>\n
  3. In Anglo-Saxon Countries the attention to Gender Studies was much greater than it whose in Italy and in the countries of Southern Europe, especially in the design field. Why does it happen, in your opinion?<\/strong>
    \nI don’t have a clear understanding of why this should be particularly in the case of Italy with its strong engagement with design. The secular nature of Anglo-Saxon countries is probably a factor as too are the specific circumstances of history and politics. Italy, Greece and Spain, for example, had predominantly right-wing post-war political regimes; one could argue that these ideas of social justice – such as are embedded within feminist discourses- did not have the same currency in these contexts?<\/li>\n
  4. Do you think that it would be possible and useful today, to launch a debate about relations between national cultures and gender, strictly regarding design, particularly in the Mediterranean countries, which actually are very different one from each other?<\/strong>
    \nYes I think that an awareness of and sensitivity to national cultures is very important particularly in the light of the last question. My view is that a close understanding of the specific historical, political and social contexts of national cultures is vital. However articulating and defining ‘national cultures’ is challenging in a post-imperial, post-colonial world in which ‘national identities’ are complex and heterogeneous.<\/li>\n
  5. PAD is committed to map the work of women designers and woman design entrepreneurs based in the Mediterranean countries. What would be your advice In this regard?<\/strong>
    \nI would think that to understand what has been done by others in different parts of the world is a very useful first step, and then to consider firstly how this can inform PAD’s objectives, secondly to identify how this is different or similar to the experiences of those in Mediterranean countries, thirdly to develop an action plan from this. I would consider extending your remit to include women consumers and users of design.<\/li>\n<\/ol>\n

    Cheryl Buckley is a design historian with an interest in the history of everyday things (fashion, architecture, domestic interiors and ceramics).
    \nSince 2006 she has been Visiting Professor in Design History at Parsons, The New\u00a0School for Design\/Cooper-Hewitt, National Design Museum in New York. In 2007 she was awarded a Chair in Design History at Northumbria University, Newcastle (UK)
    \nand became Editorial Chair of the Journal of Design History<\/em> in 2011.
    \nHer research has dealt with the history of 20thC design. Her major books are: Designing Modern Britain<\/em>, (Reaktion, 2007), Fashioning the Feminine<\/em>, Representation and Women\u2019s Fashion from the fin de si\u00e8cle to the present day<\/em> (I.B.Tauris, 2002) and Potters and Paintresses<\/em>. Women Designers in the British Pottery Industry 1870-1959<\/em> (The Women\u2019s Press,1991).
    \nCheryl Buckley has a particular interest in design history and gender with two essays that contributed to this particular debate: \u2018Made in Patriarchy: Theories of Women and Design, A Re-Working\u2019, in Design and Feminism: Re-Visioning Spaces, Places, and Everyday Things<\/em>, ed. Joan Rothschild, USA: Rutgers University Press, 1999 and \u2018Made in Patriarchy: Towards a feminist analysis of women and design, in Design Issues<\/em>, Vol. III, No. 2, Fall 1986, pp.1-31.
    \nShe also has a long-standing research interest in the history of ceramics and the role of \u00e9migr\u00e9 designers in Britain and the USA (see forthcoming introduction and co-edited special issue (with Tobias Hochscherf),\u2018Transnationalism and Visual Culture in Britain: \u00c9migr\u00e9s and Migrants 1933 to 1956\u2019,\u00a0Visual Culture in Britain<\/em>, vol.13, no.3, 2012, and book chapter \u2018Authenticity, tradition and modernity: Marguerite Wildenhain and Ruth Duckworth, women \u00e9migr\u00e9 studio potters, 1936-1964\u2019, in Entfernt: Frauen des Bauhauses w\u00e4hrend der NS-Zeit \u2013 Verfolgung und Exil, Women in Exile, volume 5, eds. Adriane Feustel, Inge Hansen-Schaberg, Wolfgang Th\u00f6ner, text+kritik, Richard Boorberg +Verlag GmbH & Co KG, Munich, 2012). This research began with postgraduate research for a Master of Letters thesis that focused on the British furniture company and architectural practice, Isokon<\/em> \u00a0(Isokon, exhibition catalogue, 1980), and it continued with research for a Doctorate on women in the British pottery industry. This led to various publications, notably the book Potters and Paintresses<\/em>, and various articles and book chapters such as \u2018Women and Modernism: A Case Study of Grete Marks (1899-1990)\u2019 in Women Designing. Redefining Design in Britain between the Wars<\/em>, eds. Jill Seddon and Suzette Worden, Brighton, 1994 and \u2018Quietly Fine, Quietly Subversive: Women Ceramics Designers in Twentieth-century America\u2019, Women Designers in the USA 1900-2000 Diversity and Difference<\/em>, ed. Pat Kirkham, USA: Yale University Press, 2000).<\/p><\/blockquote>\n

    <\/p>\n

      \n
    1. Marinella Ferrara:<\/i>Quale \u00e8 stato, secondo lei, il contributo dei Gender Studies alla storia, alla critica e alla prassi del design?<\/strong>
      \nCheryl Buckley:<\/i> Penso che il contributo dei Gender Studies<\/em> allo studio della storia, alla critica e alla pratica del design sia stato profondo. A partire dai primi anni \u201880, i Gender Studies<\/em> hanno influenzato il pensiero degli storici, dei professionisti e dei teorici che hanno sviluppato le idee che erano emerse dai vari contesti accademici: arte e storia del design, filosofia, in particolare post-strutturalista, e storia.<\/li>\n
    2. Qual \u00e8 la situazione dei Design Gender Studies oggi e su quali temi di ricerca lei sta lavorando?<\/strong>
      \n\u00c8 oggi impensabile che coloro che lavorano nell\u2019ambito della storia, della teoria e della pratica del design non tengano conto della questione del genere. Dal 1980 in poi sono stati realizzati molti studi in numerosi settori disciplinari, ovviamente nel design, nell\u2019arte, nell\u2019architettura, ma anche nel campo degli studi pi\u00f9 ad ampio respiro sulle identit\u00e0 sociali, in particolare sulle sessualit\u00e0, le razze e ultimamente le generazioni. Gli studiosi di questi argomenti provengono da molte discipline e penso che uno dei vantaggi del design sia l\u2019essere un campo di studi molto permeabile agli influssi provenienti da altre discipline. Con questo intendo dire che negli ultimi trenta anni il design ha avuto il merito di elaborare idee, metodi e approcci provenienti da altri ambiti come la storia, la geografia, la politica, la linguistica, la psicologia, ecc.
      \nRiguardo al mio lavoro, attualmente sto scrivendo, con Hazel Clark della Parsons School of Design di New York, un libro su \u201cModa e vita quotidiana del XX secolo in Gran Bretagna e negli Stati Uniti d\u2019America\u201d. Il libro sar\u00e0 pubblicato dall\u2019editore Berg nel 2013-14. Questo progetto rappresenta la prima indagine sulla moda nella vita quotidiana incentrata sulle due citt\u00e0 della moda pi\u00f9 importanti al mondo: Londra e New York. In genere la moda \u00e8 stata studiata come una \u201ceccezione\u201d che pone l’accento sull\u2019innovazione stilistica, il cambiamento perpetuo e le culture giovanili distintive, piuttosto che un aspetto normale della vita, della cultura visiva e materiale. Questo progetto mira invece a rovesciare le opinioni dominanti considerando la moda una manifestazione della routine quotidiana che dura nel tempo. Il progetto esamina i modi in cui l’uso quotidiano, l’appropriazione, la diffusione, il re-making e la regolare ri-modellazione di abiti alla moda da parte di diversi gruppi sociali, possono essere anti-moderni e non-progressivi, esempio di continuit\u00e0 e tradizione, possono rispondere a complessit\u00e0 regionali e nazionali oltre che globali, ed essere disgreganti rispetto alle strutture e ai sistemi della moda, nonch\u00e9 ai suoi codici visivi e alle abitudini di consumo. Mentre rimane un interesse preminente sulla \u201csintassi\u201d della moda dei giovani, la novit\u00e0 del \u201clook\u201d e il diffondersi dell\u2019ultimo stile, sia esso riciclato, di seconda mano, revivalista o nuovo, questa ricerca indaga la vasta fascia di coloro che vestono alla moda al di fuori di queste categorie. Questa modo di intendere la moda tiene in conto le pratiche comuni e ordinarie di indossare oggetti presi dal proprio guardaroba in modo abitudinario. La ricerca mira a definire un nuovo quadro teorico e storiografico per questo argomento, che si muove al di l\u00e0 della tesi dominante sui rapporti della moda con la modernit\u00e0.\n<\/li>\n
    3. Nei paesi anglosassoni l\u2019attenzione ai Gender Studies \u00e8 stata molto maggiore di quanto sia avvenuto In Italia e nei paesi dell\u2019Europa del sud, soprattutto nell\u2019ambito del design. Perch\u00e9, secondo lei?<\/strong>
      \nNon ho una chiara opinione sul motivo per cui questo sia accaduto, particolarmente nel caso dell\u2019Italia nonostante il suo forte impegno nella disciplina del design. La natura secolare dei paesi anglo-sassoni \u00e8 probabilmente un fattore che spiega il perch\u00e9 del maggiore sviluppo dei Gender Studies, come lo sono le circostanze specifiche della sua storia e della sua politica. Italia, Grecia e Spagna, per esempio, hanno avuto prevalentemente dei regimi politici di destra prima o nel dopoguerra; si potrebbe argomentare che per tali motivi le idee di giustizia sociale \u2013 come quelle che stanno all’interno del discorso del femminismo – non abbiano avuto la stessa diffusione in questi contesti?\n<\/li>\n
    4. Pensa sia possibile e utile oggi avviare una riflessione sulle relazioni tra culture nazionali e gender per quanto riguarda il design, in particolare nei paesi dell’area mediterranea, realt\u00e0 molto diverse tra loro?<\/strong>
      \nS\u00ec, penso che la consapevolezza e la sensibilit\u00e0 per le culture nazionali sia molto importante soprattutto alla luce della domanda precedente. La mia opinione \u00e8 che una comprensione ravvicinata dei particolari contesti storici, politici e sociali delle culture nazionali sia vitale. Tuttavia l\u2019articolazione e la definizione delle culture nazionali \u00e8 una sfida in una realt\u00e0 post-imperiale, post-coloniale in cui le identit\u00e0 nazionali sono complesse ed eterogenee.<\/li>\n
    5. PAD si \u00e8 impegnato a mappare il lavoro delle donne designer e imprenditrici di design nei paesi dell\u2019area mediterranea. Al riguardo, quale consiglio puoi darci?<\/strong>
      \n Penso che comprendere che cosa \u00e8 stato fatto nelle diverse parti del mondo sia un passo molto utile. Molto utile sar\u00e0 anche considerare: in primo luogo, se questa comprensione potr\u00e0 dare nuovi elementi di stimolo agli obiettivi di PAD; in secondo luogo comprendere se quanto \u00e8 stato fatto in altre parti del mondo \u00e8 diverso o simile alle esperienze maturate nei paesi del Mediterraneo; in terzo luogo sviluppare un piano d’azione che prenda spunto da questo\u2026. Il mio consiglio \u00e8 anche di estendere il vostro impegno allargandolo alle consumatrici e agli utenti del design la vostra mappatura.\n<\/li>\n
      \n

      Cheryl Buckley \u00e8 una storica del design con un interesse per la storia delle cose di tutti i giorni (moda, architettura, interni domestici e ceramiche). Dal 2006 \u00e8 stata Visiting Professor di storia del design alla Parsons, The New School for Design\/Cooper-Hewitt, National Design Museum di New York. Nel 2007 le \u00e8 stato assegnata una cattedra in storia del design alla Northumbria University e dal 2011 \u00e8 membro del comitato editoriale del Journal of Design History.
      \nLa sua ricerca si \u00e8 distinta nella storia del design del XX secolo in Gran Bretagna. Tra i suoi libri pi\u00f9 importanti: Designing Modern Britain<\/em> (Reaktion, 2007),\u00a0Fashioning the Feminine, Representation and Women\u2019s Fashion from the fin de si\u00e8cle to the present day<\/em> (I.B.Tauris, 2002) e\u00a0Potters and Paintresses<\/em>. Women Designers in the British Pottery Industry 1870-1959<\/em>\u00a0(The Women\u2019s Press, 1991).
      \nCheryl Buckley ha mostrato un particolare interesse per la storia del design e il discorso di genere con due saggi che hanno contribuito in modo significativo a questo particolare dibattito: \u201cMade in Patriarchy: Theories of Women and Design, A Re-Working\u201d, in\u00a0Design and Feminism: Re-Visioning Spaces, Places and Everyday Things (ed. Joan Rothschild, USA: Rutgers University Press, 1999) e \u201cMade in Patriarchy: Towards a feminist analysis of women and design\u201d, in\u00a0Design Issues, Vol. III, N. 2, Fall 1986, pp.1-31.
      \nPer molto tempo ha condotto delle ricerche sulla storia della ceramica e il ruolo dei progettisti emigrati in Gran Bretagna e negli Stati Uniti d\u2019America. Su questo argomento \u00e8 incentrata l\u2019introduzione e la curatela, insieme a Tobias Hochscherf, del numero speciale di prossima uscita, \u2018Transnationalism and Visual Culture in Britain: \u00c9migr\u00e9s and Migrants 1933 to 1956\u2019, \u00a0Visual Culture in Britain<\/em>, vol.13, n.3, 2012, e il capitolo del libro \u2018Authenticity, tradition and modernity: Marguerite Wildenhain and Ruth Duckworth, women \u00e9migr\u00e9 studio potters, 1936-1964\u2019, in Entfernt: Frauen des Bauhauses w\u00e4hrend der NS-Zeit \u2013 Verfolgung und Exil, Women in Exile, volume 5, eds. Adriane Feustel, Inge Hansen-Schaberg, Wolfgang Th\u00f6ner, text+kritik, Richard Boorberg +Verlag GmbH & Co KG, Munich, 2012). Questo studio \u00e8 iniziato con la sua ricerca post-laurea per una tesi di Master of Letters, sul tema delle aziende inglesi di mobili e sulla pratica architettonica (Isokon, catalogo della mostra, 1980), ed \u00e8 continuato con la ricerca per un dottorato sulle donne nel settore della ceramica britannica. Ci\u00f2 l\u2019ha portato a varie pubblicazioni, in particolare Potters and Paintresses<\/em>, e vari articoli e capitoli di libri come \u201cWomen and Modernism: A Case Study of Grete Marks (1899-1990)\u201d in Women Designing. Redefining Design in Britain between the Wars<\/em>, eds. Jill Seddon and Suzette Worden, Brighton, 1994 e \u201cQuietly Fine, Quietly Subversive: Women Ceramics Designers in Twentieth-century America\u201d, Women Designers in the USA 1900-2000 Diversity and Difference<\/em>, ed. Pat Kirkham, USA: Yale University Press, 2000).\n<\/p>\n<\/blockquote>\n


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      Marinella Ferrara: In your opinion, which was the contribution of Gender Studies to the history, to the criticism and to the practice of design? Cheryl Buckley: I think that the contribution of Gender Studies to the study of the history, criticism and practice of design has been profound. Dating from the early 1980s, this influenced… Continua a leggere Interview with Cheryl Buckley<\/span><\/a><\/p>\n","protected":false},"author":6,"featured_media":662,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[22,15,16,7],"tags":[],"class_list":["post-5166","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-close-up","category-en","category-i08","category-it","entry"],"acf":[],"yoast_head":"\nInterview with Cheryl Buckley - 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