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Walter Dorwin Teague (December 18, 1883 – December 5, 1960) was an American industrial designer, architect, illustrator, graphic designer, writer, and entrepreneur.Often referred to as the "Dean of Industrial Design", [1] Teague pioneered in the establishment of industrial design as a profession in the US, along with Norman Bel Geddes, Raymond Loewy, Henry Dreyfuss [2] and Joseph Sinel.
All Harleys since, including models in production now, are based on Stevens's body designs. His designs in home and kitchen appliances were popular, and he is recognized as the originator of the robin's-egg-blue phase of 1950s kitchen appliances, [5] as well as the iconic Skylark laminate design popularized by Formica. He also practiced ...
The Eameses' most famous foray into office furniture was a suite of lightweight designs created for Eero Saarinen and Alexander Girard to use in a home for J. Irwin Miller in 1958.
One of Dorothy Draper's most famous designs was The Greenbrier Hotel in White Sulphur Springs, West Virginia. During World War II it was used as a military hospital. After the war the Chesapeake and Ohio Railway repurchased the property and Dorothy Draper was retained to redecorate the entire resort. [10]
Four cities per season. Hundreds of shows per city. Double-digit looks per show. It all amounts to thousands of new runway looks every year. And hundreds more appear on the red carpet and in the ...
One of the NYC Hudsons given a streamlined casing of Henry Dreyfuss's design to haul the 20th Century Limited. Hoover model 150 vacuum cleaner (1936) Several Westclox Big Ben alarm clocks (1931–1956). The style 3 (1931), 4 (1934), 5 (1939) and 6 (1949) Big and Baby Ben cases were all designed by Dreyfuss. [3]
Raymond Loewy (/ ˈ l oʊ i / LOH-ee, French: [ʁɛmɔ̃ levi]; [2] November 5, 1893 – July 14, 1986) was a French-born American industrial designer who achieved fame for the magnitude of his design efforts across a variety of industries. He was recognized for this by Time magazine and featured on its cover on October 31, 1949. [3]
Robin Day's early designs reflected the optimistic, forward-looking mood of the post-war era. 'To many of us then, design was more than just a profession – we were dedicated, competitive and filled with evangelical zeal,’ he later recalled. [21] 'In my long years of designing, the thing that has always interested me is the social context of ...