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Giovanni Innella and Paul A. Innella, Giovanni, and Paul A. As media attention has become a dominating force within the design economy, visibility became the combustible that fuels the current design industry. Designed objects were once real products, but are now often prototypes, props to be exhibited mediatrade brokers photographed, whose role is to fill space in mediatrade brokers media, raise the media profile of their creators and convey the name of brokers, sponsors and partners.

As a result celebrated design objects are now rare pieces that are highly visible in the virtual media, while they are virtually absent from the conventional market. Today a designer has to be successful in the media in order to attract industry attention. This paper observes the way designers make virtue of their visibility in mediated contexts, thus redefining the industrial model of design practice. Simultaneously, the paper looks at the way the media makes use of its influence in a new mediatrade brokers design context, producing informed speculations for the evolution of design activities.

And mediatrade brokers order to contextualize this mediatrade brokers the paper follows a trajectory from the history mediatrade brokers design to build a background to this foreground. The Great Exhibition of the Works mediatrade brokers Industry of all Nations held in Hyde Park, sometimes referred to as the Crystal Mediatrade brokers Exhibitionmarked a shift in the way design was proposed mediatrade brokers the public.

Conceived as a commercial consortium, the event was intended to show state-of-the-art industrial progress, and expose audiences to new aesthetic forms Hobhouse ; Zemer Ben-Ari Victorian taste dominated this event, and its artefacts rapidly spread across the various social classes of the audience.

But the Great Exhibition was not only about trade, goods and the proliferation of a Victorian disposition; it was about the construction of an experience. Refreshments, music, cafes, a stunning location and a series of services including excursion trains and restrooms provided the backdrop to an unprecedented spectacle.

The real effect of the Great Exhibition was not one of selling products per se, but introducing audiences to a new form of consumption and experience of artefacts. In such a model the spectacular world of purchase, then represented by the enchanting airy Crystal Palace with all its entertainments and comforts, is well removed mediatrade brokers the world of use, like the suffocating homes of the Victorian era.

However, the media impact was limited considering mediatrade brokers was in its infancy and restricted largely to text with some illustrations. The technical evolution of the media industry had still to take its course in terms of mediatrade brokers, visual accuracy and appeal, thus limiting the circulation of the representation of design.

As a consequence the thick official catalogue mediatrade brokers of a long list of manufacturers with very few illustrations of the artefacts, and as such a practical and technical book for industry insiders, rather than an enjoyable read Great Exhibition and Yapp At the same time, the Royal approval of the event counterbalanced the weightless spirit mediatrade brokers the spectacle and gave a tacit endorsement to the aesthetics and products exhibited.

In fact, the Great Exhibition of took place mediatrade brokers the direct approval and support of Prince Albert, adding a layer of credibility to the event and everything that was on display. Monetary prizes and Medals bearing the image of Prince Albert and Queen Victoria were awarded to producers that met certain standards, resulting in great mediatrade brokers for those who received them Baker, Richardson, and Burton Also, the designs showcased at the Great Exhibition were conceived within an economic and political context approved and supported by the British Government of the time.

Mediatrade brokers, Royal involvement in the planning of the event promoted design to a developing industry, fuelled by a clear political mediatrade brokers. To the general public, designers were anonymous creators of artefacts, servants of a political and economic plan, while producers were recipients of Royal endorsement. In terms of the thrust of this paper, it is interesting to note that among the artefacts and technologies showcased there were also machines to facilitate and lower the costs of printing processes.

So design and the production industry were beginning to foster the means for a new industry—the media industry—which would eventually consume design just as industrial production processes innovation, transforming products into image based commodities to print in catalogues and exhibit in showrooms Bayley and Partington As the media industry advanced technologically, Western culture started witnessing the rise of the celebrity phenomenon.

Soon, stars from the worlds of politics, sport and entertainment began to populate the mediatrade brokers of mediatrade brokers and newspapers. It was just a matter of time before design and designers would attract the media gaze. The production and consumption of celebrity in popular culture has been observed and described by several authors including the likes of BenjaminAdornoDebord and Baudrillardwho all suggest the existence of an economy behind the consumption of culture commodities, ranging from art to politics, from music to products.

How this model has evolved into the current design industry is the subject of the mediatrade brokers sections. Before most of his contemporaries, Mediatrade brokers born and American raised industrial designer Raymond Loewy — understood the social and cultural implications of his role, well beyond mere industrial production. And mediatrade brokers presciently he hired a Public-Relations consultant in order to engage with the media industry Sudjic Mediatrade brokers Loewy on the cover to Time Magazine, October Over a decade later, in a somewhat less culturally-engaged manner, the group photo depicting designers George Nelson, Edward Wormley, Eero Saarinen, Harry Bertoia, Charles Eames and Jens Mediatrade brokers posing with their designs on a spread in Playboy magazine constituted a further step in the growth of design in the popular media fig.

Playboy However, the main reason why those designers appealed to the media was because they were successfully modernising lifestyles and the manufacturing economy. It was not only mediatrade brokers that blurred the separation between commerce and culture.

Around the same time, the Useful Objects — and Good Design — exhibition series mediatrade brokers the commercial production mediatrade brokers American industry with the blessing of a recognized cultural institution — the Museum of Modern Art, New York MoMa. This series of events, aimed at supporting the domestic economy, established a strong association between commercial and cultural institutions Staniszewski The Mediatrade brokers Objects series of exhibitions mediatrade brokers conceived with a clear agenda of informing visitors about affordable quality products.

The impact of the exhibition series, in all its annual variations on the commercial sphere, was remarkable to the point that the Useful Objects name became a seal of approval from MoMA.

A smaller selection of the same mediatrade brokers of products was also sold at the Museum of Modern Art in New York. The support and approval of MoMA led to increased product sales during the exhibitions. Today traces of its ethos can still be found in the MoMA store, where classic furniture and household products can be purchased with the reassuring endorsement of the Museum. The influential power of MoMA not only transferred its authority from the confines of mediatrade brokers Museum to the shopping malls, mediatrade brokers also it succeeded in transcending geographical and political borders.

In these settings MoMA acted as an ambassador, a messenger at the service of the U. Government and its political and economic agenda. Similar to the Great Exhibition ofthe Good Design series in its various manifestations promoted a new aesthetic of the now consolidated mediatrade brokers of mass-production and added an evident national pride. In doing so, it did not mediatrade brokers a political figure as a symbol of credibility, but instead a mediatrade brokers institution—MoMA.

The designers of those artefacts were regarded as authors worthy of space in a prestigious museum traditionally reserved for art, and like artists their signatures were a feature of their designs. These designers were pioneers of a new generation of professionals known and respected by the public. This was not only due to endorsement by MoMA, but also to the media industry, that played a crucial role in this shift. Mediatrade brokers like the Great Exhibition, the designs exhibited in the Good Design series were integrated with industrialisation and supported by the political mediatrade brokers of the era.

However, a significant difference is that the Good Design series represented the handing over of mediatrade brokers baton of visibility and credibility from the government to other mediating entities, whether these were private cultural institutions or the media, like popular magazines.

Designers therefore started to be more and more exposed, publicly celebrated as authors of a new aesthetic, and mediatrade brokers as accomplices of the industrious economy. Since then it has been quite easy mediatrade brokers trace how design and designers have enjoyed continued growth in terms of media attention, which has had an increasing impact on industry, thus leading mediatrade brokers the current mediatrade brokers.

The media industry and the events mediatrade brokers have recently flourished around design have played a crucial role in cementing design as a strong part of our contemporary visual culture Sparke The attention given to design in mediated contexts has grown considerably in the last 10 to 15 years to the point that nowadays it is common for design and design-related stories to be featured regularly in newspapers and lifestyle mediatrade brokers. Data supporting the growth of the design events can be found in figures from the annual Furniture Fair of Milan, where the number of visitors doubled fromin toin fig.

Number of visitors attending the Salone del Mobile di Milano — Besides that, there is a satellite venue for young designers, independent mediatrade brokers and design schools. These events have gained great importance throughout the years, involving established and emerging designers, collectives, schools, brands, design associations and galleries. And the Salone del Mobile Italian for Furniture Fair of Milan is just one of the numerous events that fill the calendar of design professionals, educators and aficionados worldwide.

In all these contexts the focus is not solely on the products and manufacturers, but also on the entertainment they generate, the presence of celebrated mediatrade brokers and the aesthetics mediatrade brokers directions they propose. The scale and cultural relevance of such events now has a significant impact on the reputation mediatrade brokers the cities that host them.

It is suggested that design festivals can improve the profile of a city in terms of aspects such mediatrade brokers liveability, dynamicity and culture, which nowadays are important factors for global rankings. Therefore, through its representation in a mediated context—such as festivals—design has impact far beyond industry and its professional discipline Sassen ; Sedini ; Florida In the current model for design events each exhibitor is economically self-supported or sponsored by its mediatrade brokers commercial partners.

These sponsors mediatrade brokers vary from design associations, museums of any sort, commercial mediatrade brokers and so on, and each of these entities follows its own agenda. Interestingly, unlike mediatrade brokers events in design history, like the aforementioned Great Exhibition and the Good Design exhibition series, current major design events usually do not present a central direction or control by governments or museums for the entire event.

Anybody who can afford a place in the venue or in the town hosting the festival is automatically part of the show, responding solely to his or her own direction and agenda, or that of the sponsors. This lack of a central direction has left space for the media to take on the role of guaranteeing credibility and prestige. Consequently, the success of a designer is often represented by the media attention that she or he receives from the design and non-design press McRobbie And currently the long lists of publications and participation mediatrade brokers design festivals appearing in the websites of young designers are evidence of this phenomenon.

These publications and exhibitions represent a complex network of mediatrade brokers, editors and brokers that the designer is involved with.

This network mediatrade brokers what grants the designer, and anybody associated with his or her work, presence in both design events and the media. While attendances have doubled mediatrade brokers the Milan Furniture Fair the number mediatrade brokers registered journalists has increased fourfold between and now counting over journalistsindicating the growth in media coverage of mediatrade brokers design fairs fig.

Therefore, an essential strategy for brands, designers and schools taking part in design events is to perform well in the media. Designers that are successful during an international design event are usually prominent in the media and so are their sponsors and supporting partners. Number of journalists attending the Salone del Mobile di Milano — Conversely, the artefacts exhibited are usually not always accessible by larger audiences.

As such, the designed objects are often prototypes, props to be exhibited and photographed, whose role is to fill space in the media, raise the media profile of their creators and convey the name of brokers, mediatrade brokers and partners.

Contemporary designers master the production and circulation of their representation and the representation of their productions; they tie relationships with all the actors that can grant visibility, all the while mediatrade brokers how to share such visibility with their sponsors. The knowledge mediatrade brokers networks that were the platform of design now relate to the media industry, not the production industry.

Design can therefore nowadays be seen as a mediated spectacle, rather than part of the production industry. In such a spectacle, it is noticeable how designers can appeal to commercial partners independently from the design services they might offer them. For instance, during the Furniture Fair of MilanBritish designer Tom Dixon exhibited in conjunction with electronics company RIM, which was then launching its new product — the Playbook tablet. RIM were simply looking for a stage to advertise its product, while Tom Dixon mediatrade brokers looking for resources to use in advertising his recently launched furniture firm.

The trade-off offered by Tom Dixon was clearly represented by his visibility at the Furniture Fair of Milan and the resulting media reports. These examples clarify that designers trade mediatrade brokers more—or just something else—than their design consultancy services. In short, visibility is the combustible that fuels the design industry these days. Just like a Formula 1 car or the shirt of a football team, design attracts the attention of entities and institutions in their constant search for greater visibility.

The apparent disconnection between the broker and the design generated represents great freedom for designers who no longer have to respond to traditional design briefs. Greater autonomy is granted to them, as their products do not have to generate relevant sales or even serve users. Whereas the previous generation mediatrade brokers designers had to be successful within industry in order to appeal to the media, now that relation is inverted: In this case, a selection of young up and coming international designers were invited to produce artefacts in front of the audience throughout the week.

Remarkably, one of the designers, Tomas Mediatrade brokers, was sitting just outside the venue, soldering rotational metal volumes mediatrade brokers a lathe. While producing these objects, he was sporting a leather Fendi coat to protect himself from the burning pieces of metal and that is how he was portrayed in the media.

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