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UN/SEEN: Rewriting the History of Women in Early Graphic Design

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A groundbreaking publication, “UN/SEEN—Women in Graphic Design up to the Bauhaus,” is redefining the historical understanding of early graphic design by bringing to light the significant, yet frequently ignored, contributions of women. This comprehensive work, curated and released by Slanted Publishers, delves into a rich collection of previously underrepresented archives, showcasing the profound impact of female designers across various disciplines, including book design, poster creation, typography, illustration, and packaging.

The initiative also features an accompanying digital platform, UN/SEEN—Women Design, which serves as a dynamic repository for ongoing research and additional historical documents. This dual approach ensures that the revised narrative of women’s involvement in graphic design history is not only established but also continually enriched and made accessible to a global audience. The project critically engages with conventional design histories, challenging established frameworks and re-evaluating the narratives through which graphic design's past has been constructed. By doing so, it firmly positions women as active, indispensable figures in the development of visual communication and professional practices that continue to shape contemporary design thinking.

Reclaiming Her Story: Women's Impact on Early Graphic Design

This scholarly work, spanning ten detailed chapters, draws upon contemporary research and a diverse array of historical examples to meticulously document the professional journeys and creative outputs of pioneering women in graphic design. It meticulously illustrates how these innovative designers were instrumental in shaping and advancing modern graphic design principles, often without receiving the due historical recognition for their crucial roles. The project aims to correct this oversight by integrating their stories and works into the mainstream historical discourse, providing a more complete and accurate picture of the field's origins.

The publication and its digital counterpart provide a fresh perspective on the history of graphic design, moving beyond traditional accounts to reveal a more inclusive narrative. By scrutinizing established frameworks and re-evaluating how design history has been chronicled, "UN/SEEN" champions the role of women designers as pivotal creators of foundational visual languages and professional methodologies. This effort is vital for a thorough understanding of design's evolution, demonstrating that their innovative spirit and work continue to influence current design conversations and practices. It underscores the importance of acknowledging all contributors to fully appreciate the rich tapestry of design history.

Shaping Visual Narratives: From Bauhaus to Modern Discourse

The publication, titled "UN/SEEN—Women in Graphic Design up to the Bauhaus," is a research-driven initiative that provides a critical examination of women’s invaluable contributions to early graphic design, extending through the influential Bauhaus era. This extensive book, thoughtfully edited and published by Slanted Publishers, assembles a wealth of previously marginalized materials related to female designers who were active in various design domains, including book, poster, typography, illustration, and packaging design. It highlights their forgotten ingenuity and creativity.

The project endeavors to build a parallel archive of graphic design practices by re-examining prevailing narratives and the established methods through which graphic design's history has been documented. This careful re-evaluation serves to firmly establish women designers as integral and active contributors to the fundamental visual languages and professional approaches that underpin and continue to inform contemporary design discourse. Their work is presented not merely as footnotes, but as essential chapters in the comprehensive history of graphic design, ensuring their rightful place in shaping the aesthetic and conceptual foundations of the field.

The Enduring Floral Challenge in Contemporary Craftsmanship
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The Enduring Floral Challenge in Contemporary Craftsmanship

Nordic Knots' Approach to Timeless Textile Design
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Nordic Knots' Approach to Timeless Textile Design

Gentle Monster's "Veggie Collection" Transforms Retail Spaces into Surreal Farms
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Gentle Monster's "Veggie Collection" Transforms Retail Spaces into Surreal Farms

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Baobab Waterfall: A Visionary Ocean-Powered Complex for Madagascar's Sustainable Future

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Ahmad Eghtesad's 'Baobab Waterfall' is an ambitious architectural concept designed for Madagascar's coastline, aiming to tackle the nation's energy crisis and its associated social problems. This innovative proposal, which draws its inspiration from the iconic Baobab tree, envisions a self-sustaining floating complex that harnesses the power of the ocean to generate electricity. Beyond energy production, the project integrates rehabilitation programs within transparent greenhouses, offering inmates agricultural training and valuable life skills. The structure is also designed to evolve into a public eco-resort, fostering tourism and economic growth while promoting ecological harmony and sustainable development for the island's future.

Madagascar, despite its rich natural bounty and distinctive ecosystems, grapples with extensive energy poverty, leaving a substantial portion of its population without access to electricity. This pervasive issue is a major contributor to economic hardships and an escalation in criminal activity, leading to overburdened correctional facilities. In response to these interwoven difficulties, the 'Baobab Waterfall' project, conceptualized by Ahmad Eghtesad for the Jacques Rougerie Foundation competition, offers a transformative architectural solution. It reimagines these challenges as opportunities for significant economic and social advancement.

The central design motif of the complex is deeply rooted in the indigenous Baobab tree, a national symbol renowned for its exceptional capacity to retain water and sustain life in harsh conditions. Emulating the Baobab's robust trunk and extensive, protective canopy, the primary building serves as a multi-story administrative and residential center, towering above the surrounding tropical landscape. This conceptual floating structure introduces a vast, continuous network of deep-ocean waterfalls, engineered to produce renewable electricity on a monumental scale, akin to the grandeur of natural phenomena.

Through the construction of an immense, circular marine infrastructure, ocean currents are channeled directly into subterranean turbines positioned deep beneath the surface. This ingenious dual-purpose design functions both as an exceptionally efficient green power plant and an architectural landmark. The sweeping cascades also create a sheltered, palm-lined central sanctuary, protecting it from the expansive open sea and establishing a visually stunning attraction poised to draw global eco-tourism.

Initially conceived as a rehabilitative environment, the architectural framework is designed to facilitate positive engagement between its inhabitants and the natural world. The central 'trunk' incorporates multi-level, transparent greenhouse facilities where residents can participate in contemporary agricultural training initiatives. By cultivating produce and engaging in trade along sun-drenched pedestrian pathways, they acquire crucial economic competencies for a successful reintegration into society. Below the ocean's surface, a formidable, pressure-resistant glass dome bridges human ingenuity with marine biology, offering residents an unobstructed view of a thriving coral reef ecosystem, all while ensuring the unhindered migration of marine life. As crime rates diminish and society progresses, the modular complex is envisioned to seamlessly transform into a public eco-resort and a hub for green energy, thereby securing a prosperous and self-sufficient future for the island nation.

The 'Baobab Waterfall' project, developed by Ahmad Eghtesad, represents a forward-thinking solution to Madagascar's pressing energy and social challenges. By integrating sustainable energy generation with rehabilitative agriculture and eco-tourism, this visionary complex not only provides a powerful source of renewable energy but also offers a path towards socio-economic rejuvenation. Its design, inspired by nature and focused on community well-being, promises a brighter, more sustainable future for the island and its people.

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Vario VERSA: A Reversible Watch for Global Timekeeping and Style
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Vario VERSA: A Reversible Watch for Global Timekeeping and Style

High Line Bangkok: Recycled Textiles Transform Urban Infrastructure into Public Canopy
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High Line Bangkok: Recycled Textiles Transform Urban Infrastructure into Public Canopy

Redefining Concrete: URBI et ORBI's Sustainable Design Innovations
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Redefining Concrete: URBI et ORBI's Sustainable Design Innovations

Building materials

Issey Miyake and Atelier Oï Unveil O Series Lighting at Copenhagen's 3daysofdesign

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In the vibrant city of Copenhagen, during the esteemed 3daysofdesign festival, a captivating exhibition at Gallery 2112 unfolded, showcasing the innovative synergy between A-POC ABLE ISSEY MIYAKE and the Swiss design collective atelier oï. This presentation marks a significant evolution in their collaborative journey, extending their shared expertise from the realm of fashion into the intricate domain of lighting design. The centerpiece of this display is the second generation of their 'O Series' portable lighting collection, a conceptual project that challenges traditional boundaries between disciplines.

An Illumination of Innovation: The O Series at Gallery 2112

From June 10th to 12th, 2026, visitors to Gallery 2112 in Copenhagen were invited to immerse themselves in an interactive experience with the O Series lighting. The exhibition features a series of textile forms that exude a gentle glow, blurring the lines between functional luminaires and artistic objects. These creations are characterized by their delicate wire frameworks that cradle fabric, evoking the subtle beauty of draped textiles. Originating from the TYPE-XIII atelier oï project, the collection masterfully demonstrates how a simple piece of cloth and a length of wire can be transformed into something extraordinary. Attendees were encouraged to interact with the lamps, observing how diverse materials, colors, and textures contribute to the overall ambiance. This innovative approach to design, which first emerged at Milan Design Week in 2025, continues to push the boundaries of material exploration.

The core of this collaboration lies in a mutual fascination with materials and fabrication techniques. While atelier oï is celebrated for its diverse portfolio spanning architecture, interiors, and product design, Issey Miyake's experimental studio has dedicated decades to pioneering textile engineering and garment construction. This partnership effectively translates their collective knowledge from wearable art to household objects, investigating the potential of clothing-specific textile technologies when adapted for lighting. A pivotal technique employed is 'Steam Stretch,' a process integral to A-POC ABLE's garment creation. This method involves weaving design elements directly into a single piece of fabric, which then contracts into a three-dimensional pleated structure upon heat application.

For the O Series, this uniquely crafted textile is fashioned into a detachable lampshade, secured to an elegant oval wire frame designed by atelier oï. The interchangeability of these fabric shades allows for dynamic alterations in the lamp's aesthetic, making it adaptable to various settings and moods. The latest iteration of the O Series draws profound inspiration from nature, with new textile variations mimicking the intricate patterns of wood grain and the geological textures of stone. These fabrics are ingeniously designed to filter light, creating diverse luminous effects. Even when not illuminated, the lamps maintain a sculptural presence, their pleated forms holding volume and shape within their minimalist metal contours. Developed in conjunction with the Japanese portable lighting specialist Ambientec, these lamps are crafted for seamless integration into diverse interior environments. Their adjustable light output, offering four distinct levels from a warm incandescent glow to a bright daylight white, further enhances their versatility and adaptability. This inherent flexibility underscores the project's dedication to creating objects that can fluidly respond to their surroundings.

For designer Yoshiyuki Miyamae, this venture is a continuation of the philosophical inquiry that has defined A-POC since Issey Miyake first introduced the 'A Piece Of Cloth' concept in 1998. The original vision sought to revolutionize garment production by creating clothing from a single, continuous textile, thereby minimizing the stages between design, manufacturing, and usage. In the O Series, this same principle is recontextualized for furniture-scale objects, where fabric transcends its traditional role to become structure, surface, and light diffuser simultaneously. The installation at 3daysofdesign highlights a growing trend in the design world towards interdisciplinary projects. While fashion houses increasingly venture into furniture, lighting, and interior design, this collaboration stands out for its deep connection to the foundational techniques that birthed it. The O Series lamps are a direct outcome of the same textile experimentation that informs A-POC ABLE's apparel, offering a compelling demonstration of how material research can traverse different scales and applications while preserving its inherent character and innovative spirit.

The convergence of fashion and industrial design, exemplified by A-POC ABLE ISSEY MIYAKE and atelier oï, offers a refreshing perspective on how established creative practices can intertwine to forge truly novel solutions. This exhibition not only showcased beautiful objects but also sparked a contemplation on the adaptability of materials and techniques across diverse fields. It underscored the potential for design to be both aesthetically pleasing and profoundly intelligent, challenging us to see beyond conventional categories and embrace a more fluid, interdisciplinary approach to creation.

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