Timeline

For Berger's centenary, the British Library is preparing a new public phase of the archive: a display drawn from the John Berger Archive is scheduled from 28 August 2026 to 5 February 2027, while Tom Overton's new biography John Berger: From Life follows in September.

In 2026 Dazed exists simultaneously as a print magazine, Dazed Digital, social channels, international editorial nodes, Dazed 100, Dazed Studio, Dazed Club and an events programme. Dazed Media's official structure makes the move from publisher to network of editorial, commercial and community formats explicit.

i-D states this almost literally in The Lore Issue through the phrase anti-algorithmic behaviour. Dazed, meanwhile, continues print issues in 2026 while maintaining a constant digital stream, international channels and live events. The models differ, but both attempt to preserve an editorial frame in an environment where publication itself is no longer scarce.

Because they built not an age-defined product but an infrastructure of visibility. i-D turned personal identity, street style and gesture into editorial document; Dazed turned cultural conflict, interdisciplinarity and talent discovery into a production method. In 2026 both already operate as multi-format media systems, yet their value still depends on an old skill: seeing what has not yet proven its popularity.

In 2026 Phaidon continues to publish and reissue Coddington's archive, including Grace: Now, a third portfolio volume focused on her more independent chapter and recent editorial collaborations.

The printed issue has not disappeared: Issue #49 "MEMPHIS" is the Summer 2026 edition. The simultaneity is what matters. 032c did not simply "move" from magazine to clothing or gallery. It made different carriers work as parts of one editorial world.

Vogue World moves further. It turns an editorial name into a live event and broadcast: physical space, performance, clothing, celebrities, partners and a digital audience gather around the magazine brand. Vogue World: Milano is scheduled for 22 September 2026 as the next edition of that event series.

In August 2026 Anthem Press published Georgina Ripley’s Ray Petri in the Fashion Auteurs series. The study frames Buffalo through subcultural style, diversity, gender politics, masculinity, queer context and influence on contemporary practitioners. The existence of a dedicated monograph marks a shift: the stylist is now treated as a subject of history rather than a footnote to photographer or magazine.

At Louis Vuitton, broadcast logic is visible in the infrastructure of the show itself. The Fashion Shows section inside Louis Vuitton Magazine stores a continuing stream of men’s and women’s shows, while individual pages offer a full recording alongside the looks. New 2026 shows keep entering the system as new instalments.

Prada Films maintains a distinct archive of short works, from Thunder Perfect Mind and A Therapy to Past Forward and Re-Nylon. Prada Frames works differently, building a programme around design, environment and critical conversation; in 2026 it reached its fifth edition. One house can therefore act at once as advertiser, producer, archivist and organiser of cultural discourse.

Open Pradasphere in 2026 and Fashion Shows sits beside Campaigns, Special Projects, Events, Films and Places; the current feed connects collections with Prada Mode, Prada Frames, collaborations and other projects. This is no longer the structure of a single advertisement. It resembles an editorial hub with several recurring formats.

As of 2026 Visionaire officially describes itself as an experiential agency rooted in limited-edition publishing and now working across public art, film, immersive and interactive experiences, branded content and art multiples. At the same time its site retains the edition archive, shop and the label Visionaire Publishing 2026.

This evolution is especially clear in Glass Handel. In spring 2026 the project was presented in Madrid at Teatro Real as part of Bloomberg CityLab; Cecilia Dean and James Kaliardos described it through the same logic that once structured an issue of Visionaire: invited artists, filmmakers, choreographers and designers receive room for independent interpretation while the audience becomes part of a moving composition.

After a pause, i-D returned to print in 2025 under editor-in-chief Thom Bettridge and by 2026 again connects a physical issue with a website, shop, archive, Substack channel and separate print experiments. Spring 2026 issue 376, The Lore Issue, explicitly framed itself around anti-algorithmic behaviour, while April brought i-D Beauty's first print zine.

On Vogue's current masthead Coddington is listed among contributing editors. Her name also continues to appear in specific fashion credits, including Emma Stone's September 2025 story and the May 2026 Anna Wintour and Meryl Streep shoot, where she is credited as Fashion Editor.

This is not proof that a magazine brand is immortal. Pauses, ownership changes and stopped production reveal the fragility of the model. But they also expose a strange property of the contemporary magazine: cultural capital can outlive a particular production cycle. The Face archive already operates as museum history; the 2025 Culture Shift exhibition at the National Portrait Gallery turned past pages into a public cultural object in their own right.

In 2025 Buffalo entered major museum and exhibition contexts. V&A projects used the archive within the history of Naomi Campbell and fashion culture, while the National Portrait Gallery gave Buffalo a prominent place in The Face Magazine: Culture Shift. Fast magazine images had become museum objects.

2024 — the Almaty maslikhat adopts the current urban development regulation describing meridional streets as ventilation corridors.

The physical extension is especially legible. 032c WORKSHOP opened in Berlin as a stand-alone retail venue in which an exhibition zone precedes the product area; the brand framed the relationship almost architecturally, placing culture in front and commerce behind. In 2024 it launched a permanent 032c Gallery with its own exhibition programme.

Test timeline event for a photo shoot day, added by the converter.

2020 — The HfG marks 50 years as a state art university and critically revisits its longer history.

In 2020 GucciFest offered another way to turn a fashion release into a media event. Ouverture of Something That Never Ended was structured as a seven-part film collaboration by Gus Van Sant and Alessandro Michele; Gucci Stories still holds individual pages from the first episode through the seventh and final one.

2019 — Visa Fashion Week Almaty is held.

Major exhibitions at Fondation Louis Vuitton in 2019–2020, the Design Museum in 2021 and Kunstmuseen Krefeld in 2025–2026 present Perriand as a figure who can no longer be treated as a footnote to Le Corbusier.

2018 — The Väre building opens for the School at Otaniemi.

Limited editions, complex production and unusual materials turned Visionaire into a collectible object. Some issues exist in hundreds or thousands of copies; particular series were produced in even smaller numbers. In 2017 Visionaire 67 Fetish with Steven Klein appeared as a set of ten original colour C-prints in an edition of 200 numbered copies.

In 2016 Coddington stepped down as creative director of American Vogue and moved into a looser relationship described at the time as creative director at large / contributing work, allowing her to retain a connection to Vogue while taking outside projects.

2015 — Digital Product Design and Development launches.

2014 — UNESCO inscribes the traditional knowledge and skills of making Kyrgyz and Kazakh yurts on the Representative List of the Intangible Cultural Heritage of Humanity.

2014 — fire severely damages the Mackintosh Building.

2014 — the first Mercedes-Benz Fashion Week Almaty is held.

2012 — The School of Arts, Design and Architecture begins in its current form.

In 2012 i-D joined VICE, retaining its editorial importance as a platform for new voices and images.

Miu Miu Women’s Tales makes the difference between campaign and programme especially clear. The official site describes it as the longest-running commissioning platform for female-led short films: more than fifteen years and more than thirty individual episodes, beginning in 2011.

In 2011 Visionaire released issue 61, Larger Than Life. Its deluxe edition measured roughly 57.5 by 79 inches - almost one and a half by two metres. This is no longer a magazine that can sit on your lap on a train. To see it, the reader needs floor or wall space, distance, time and often another pair of hands. Scale itself forces the body to behave differently.

2010 — The University of Art and Design Helsinki becomes part of the new Aalto University.

Gruau continued to influence Dior after his death. Vogue has noted John Galliano’s direct engagement with his graphic language; the 2010–2011 Dior Illustrated exhibition returned the Gruau–Dior relationship to public view. In 2025 official Dior again included Gruau illustrations in Christian Dior: Jardins Rêvés.

The 2009 documentary The September Issue made Coddington widely recognisable outside the professional fashion world. Viewers saw not just finished spreads but disagreement, selection, reshoots and the tension between a photograph and the final page.

2007 — Interaction Design begins as a degree programme.

2007 — Zurich University of the Arts (ZHdK) is formed from predecessor institutions.

2004 — Almaty Fashion Week launches.

The Face offers a more anxious example. The magazine closed in 2004 and was relaunched in 2019, then entered another institutional break. In May 2026 C86 announced that it had acquired The Face from Wasted Talent, while the current homepage says that The Face will return.

032c describes itself as a media and fashion company for the 21st century: the project began as a Berlin magazine in 2000 and now connects magazine publishing, ready-to-wear and cultural experiences. On its current site, Magazine, Store, 032c Readytowear and editorial categories exist side by side.

By the 2000s Buffalo was already operating as a reference system for younger stylists, photographers and designers. Books, features and special magazine projects returned Petri to professional memory. In 2009 Arena Homme Plus revisited his legacy, reconnecting Jamie Morgan’s archive with current menswear culture.

By the end of the twentieth century institutions increasingly canonised Gruau, including exhibitions at the Musée du Costume / Palais Galliera and the Musée de la Publicité. Musée des Arts Décoratifs links him to the opening of the new advertising museum space in 1999.

Visionaire 18: Fashion Special Louis Vuitton, published in 1996, was the project's first full Fashion Special. RISD records loose sheets, a specially designed Louis Vuitton leather portfolio made for the monogram centenary, and an enormous contributor list spanning designers, photographers and artists.

28. CFDA Lifetime Achievement, 1994: скрытая профессия получает публичное признание In 1994 the Council of Fashion Designers of America honoured Mellen with a lifetime achievement award.

26. Allure, 1992–1999: опыт Vogue переносится в новую beauty-систему In 1992 Mellen became creative director of Allure and remained in the role until 1999; she retired fully in 2001.

The first Dazed was even more radical in defining its role. The four-page 1991 issue called itself not a magazine and spoke of "urban ideas for creative people." Within a few years that attitude became an editorial method: fashion, music, art, politics and photography could collide in the same issue because culture itself did not arrive in clean departmental boxes.

After 1991, architecture, graphic design, fashion and commercial design in Kazakhstan begin a renewed search for a national visual language rooted in ethnic ornament and craft.

Visionaire 01: Innocent: Spring appeared in 1991 in a numbered edition of one thousand. RISD describes a mixture of loose sheets and small volumes, vellum and multiple papers; the publishers later recalled using printer remnants so that pages deliberately did not share the same stock. Bill Cunningham contributed an early fashion report.

Without photographic language, both projects would have been far less influential. i-D built an archive of faces, bodies and gestures in which the cover, straight-up and fashion story became evidence of changing ideas of beauty and normality. Dazed developed its own visual scene in the 1990s through Rankin and a widening network of later photographers, stylists and art directors.

Adobe Photoshop 1.0 is released in 1990, moving retouching from a craft into a digital process.

29. 1995–2012: New Yorker, Unzipped и The Editor’s Eye превращают работу в архив In the mid-1990s Mellen continued beyond the conventional Vogue sitting, working with Avedon and Doon Arbus on In Memory of the Late Mr.

Ray Petri died in 1989 from AIDS-related illness. Contemporary museum and scholarly accounts rightly place his work against the crisis that devastated queer communities while reshaping public discussion around the body, sexuality, fear and solidarity.

In 1988 Coddington joined American Vogue as Anna Wintour began her editorship. Phaidon identifies the move as the start of Coddington's American period; she later became the magazine's creative director.

In 1987 Coddington moved to New York to become design director at Calvin Klein. The short period matters as a test of the boundary between editorial freedom and work inside a single brand.

1986 — The University of Art and Design Helsinki moves to the Arabia factory complex.

1986 — Hofmann concludes his long teaching career in Basel.

1985 became Buffalo’s period of greatest concentration. Many images later treated as canonical were made then or close to that moment: The Face issue 59, the Felix Howard stories, early Naomi Campbell images, Nick Kamen portraits, Jamie Morgan’s black-and-white photography and Petri’s radical combinations.

In 2025 Jamie Morgan published 1985 Buffalo from rediscovered contact sheets, negatives and known images. The form of the archive is itself important: it shows variation, not just icons, making it possible to see how a face, pose and garment combination moves through several decisions before becoming a magazine image.

20. Nastassja Kinski и змея, 1981: минимальная одежда, максимальная fashion image Avedon’s photograph of Nastassja Kinski with a snake, made on 14 June 1981 and published by Vogue, became one of their best-known collaborations.

i-D officially describes itself as a voice of identity, style and culture that grew out of punk-era London in 1980 with a commitment to emerging talent. Dazed describes itself today as an independent fashion, culture and arts publisher operating across print, online, social channels, campaigns and events.

London, 1980. The first issues of i-D did not wait for readers to enter a major bookstore: Terry Jones recalled leaving copies in King's Road fashion shops, Kensington Market, Camden Lock and record stores such as Rough Trade. Eleven years later, the first Dazed & Confused was assembled in the corridors of the London College of Printing as a four-page handmade publication, almost a pamphlet, declaring: "This is not a magazine."

i-D emerged in London in 1980 as an independent magazine about style and youth culture.

In the early 1980s the stylist was not yet as institutionally visible as the role is today. Research into styling history shows that selecting, combining and organising clothes had long existed under other names: fashion editing, editorial preparation or assistant work. V&A Dundee explicitly connects Petri’s legacy with the emergence of the fashion stylist as a central creative role.

The Face, i-D and Arena gave Petri a space in which risky styling could exist before the market recognised it as commercially safe. Mainstream fashion photography remained comparatively formalised, while new style magazines could place music, clubs, street life, photography and fashion on the same page.

Buffalo repeatedly joined sportswear to tailoring: tracksuits with brogues, MA-1 jackets with Levi’s, Armani suits with Dr. Martens. High-low styling is now so normal that its original friction is difficult to recover. In the mid-1980s these combinations damaged the clean boundary between street, sport and luxury.

Petri worked with signs connected to reggae, Rastafari, Native American imagery, military history, cowboy mythology and other cultural systems. In the 1980s such eclecticism was often read as anti-hierarchical and anti-racist, allowing references excluded from fashion establishment to occupy the same image.

Many of the best-known Buffalo pictures are black and white and carry associations with gangster films, westerns, documentary photography and classical portraiture. This places 1980s clothing inside a much longer visual history, helping the photographs outlive the season in which the garments were current.

16. Bathhouse, май 1975: купальник перестаёт быть рекламой тела In May 1975 Vogue published There’s More to a Bathing Suit Than Meets the Eye, photographed by Deborah Turbeville and fashion edited by Mellen.

17. The Story of Ohhh…, тот же май 1975: другой язык риска The same issue carried The Story of Ohhh…, photographed by Helmut Newton and edited by Mellen.

18. Май 1975 как редакционный эксперимент: два конфликта в одном выпуске Condé Nast corporate photography director Ivan Shaw called the simultaneous publication of the Bathhouse and The Story of Ohhh… an extraordinary feat and linked it to Mellen’s courage.

19. Mellen и Avedon: фотография рождается между характерами The Avedon Foundation and Vogue preserve decades of shared work, while The Met holds Avedon’s large 21 August 1975 portrait of Mellen herself.

Battle of Versailles (1973): a joint show of American and French designers at Versailles — a turning point for international recognition of prêt-à-porter.

Ways of Seeing was broadcast by the BBC in January 1972 as four television programmes created by Berger with producer-director Mike Dibb and other collaborators. The British Library describes the series as addressing both the Western canon of art history and contemporary consumer culture.

In 1972 Berger's novel G. won the Booker Prize. He immediately transformed the literary award into a critical act: in his acceptance speech he examined the economic history of Booker McConnell and argued that the prize had to be turned against itself.

The danger in Berger's legacy is turning an anti-canonical book into a new canon quoted without testing. Ways of Seeing was made in a specific Britain of 1972, worked largely with Western European imagery and compressed differences for the clarity of a television argument.

1972 — The design college is reoriented toward Ulm design principles.

Working alongside Helmut Newton, Guy Bourdin and other powerful authors of the 1970s taught Coddington that provocative imagery requires more, not less, editorial control. Photographers could be erotic, severe, theatrical or absurd, while the fashion editor still had to keep clothing and editorial purpose legible inside their visual language.

1970 — HfG Offenbach becomes a state art and design university.

During the 1970s Rams began formulating what later became known as the Ten Principles for Good Design. Vitra Design Museum connects them to a criticism of consumerism and to the desire to define design goals beyond permanent stimulation of novelty.

By the mid-1970s Petri was back in Britain and working around antiques and vintage goods at Camden Passage. This stage matters because his understanding of dress developed through found objects outside the current collection: an old jacket, used suit or accessory with a previous life could carry more character than a complete seasonal look.

1968 — Peter von Arx begins Film + Design teaching in Basel.

In 1968 Coddington became a fashion editor at British Vogue. This begins the central line of her career: not simply selecting clothes, but connecting collections, photographer, model, location, movement and emotional tone into one editorial story.

1968 — HfG Ulm closes.

Verner Panton and Herman Miller/Vitra present the world's first single-piece plastic chair in 1967.

11. Twiggy, 1967: съёмка как точная хореография A 1967 New Yorker report from Avedon’s studio shows Mellen at work with Twiggy: she helps adjust details of the look while the photographer builds pose, light and rhythm.

1967 — The RCA receives a Royal Charter and university status.

In 1966 Berger spent several months with country doctor John Sassall in the Forest of Dean. A Fortunate Man, published in 1967, combined Berger's writing with Jean Mohr's photographs. Canongate stresses that the book explores both one doctor and the social fabric of a community.

Yves Saint Laurent opens Rive Gauche (1966) — the first prêt-à-porter line from a couture house, moving authorial design into industrial production.

9. Great Fur Caravan, 1966: редакционная амбиция становится экспедицией For the project remembered as The Great Fur Caravan, Mellen, Richard Avedon and Veruschka travelled to Japan.

In 1964 Coddington was one of Vidal Sassoon's models and wore the celebrated Five-Point Cut. Vogue later remembered this moment as part of the shift from photographing a hairdo to treating the haircut itself as a graphic form.

In 1962 Berger left Britain and spent most of the rest of his life in continental Europe, principally in France and Switzerland. The Booker Prize Foundation describes the move as a permanent departure from Britain.

The 620 Chair Programme of 1962 works as a kit of interchangeable parts. A single chair can become a sofa, a low back can become a high back, and bases can be exchanged. Vitsœ still makes it as a modular system.

1962 — The Darwin Building opens in Kensington.

1961 — The school moves into Hermann Baur’s new complex on Vogelsangstrasse.

Gruau also worked for stage culture through posters, costume and theatrical projects. Musée des Arts Décoratifs records, among other projects, La Belle de Paris in 1961 and his wider involvement with performance imagery.

Rams was appointed head of product design at Braun in 1961. From this point the task was not simply to design individual appliances but to sustain a common language across many categories. Braun lists him as Head of Design from 1961 to 1995; Vitsœ records his retirement from Braun in 1997, probably reflecting the distinction between title and final departure.

1960s–1980s — the period of Soviet modernist architecture and major public spaces that shaped the city's light-and-shadow scenography.

British Vogue gave Coddington not one signature look but a long practice: different photographers, models, editors and budgets; constant location work; and repeated adaptation as fashion shifted from the late 1960s into the 1980s.

From the late 1960s Perriand became a central figure in Les Arcs in the French Alps. French state and regional heritage archives document her long involvement in planning, architecture and interiors.

8. Vogue, середина 1960-х: sittings editor как ключевая роль Vogue connects Mellen’s move into American Vogue with Diana Vreeland and the mid-1960s.

Audio 1 from the early 1960s shows Braun gradually turning hi-fi into an architecture of components. MoMA preserves the Audio 1 Radio-Phonograph as a distinct object, but for Rams its relation to speakers, furniture and the room is just as important.

The 606 Universal Shelving System was launched in 1960 and remains in production by Vitsœ. Its core is a set of tracks, shelves, cabinets and tables that can be rearranged and extended rather than freezing the room into one finished composition.

1960 — Müller-Brockmann concludes his teaching period at the school.

In 1959 Coddington won a British Vogue modelling competition and entered the industry from the other side of the camera. At the time, models often carried much of their own practical preparation: makeup, hair, accessories and the logistics of moving between jobs. Her education was physical and procedural rather than theoretical.

The TP 1 of 1959 combined a transistor radio and record player in a portable system. The importance lies not only in compactness, but in the idea of components that work together while retaining a degree of independence. MoMA presents TP 1 as an example of a new mobility in domestic electronics.

Berger's first novel, A Painter of Our Time, appeared in 1958. The British Library preserves several working notebooks for the book, and Verso continues to include it in the core Berger catalogue.

1958 — the first fashion magazine, "Sымbat," is launched.

The T3 pocket radio of 1958 looks almost like an abstract diagram: compact rectangle, circular tuning dial, minimum visual signals. MoMA holds it as a Rams work in the context of Hochschule für Gestaltung Ulm and Braun.

1957 — the college officially closes.

1957 — Max Bill finally leaves HfG amid conflict over the teaching model.

Alongside Braun, Rams began designing furniture. In 1957 Otto Zapf asked him to develop furniture for his family company; in 1958 Rams met Niels Vitsœ, and in 1959 Vitsoe+Zapf was founded to realise his furniture designs.

1957 — Josef Müller-Brockmann begins teaching at the school.

William Klein publishes Life is Good in New York (1956) — a photobook in which sequence and graphic design become an independent statement.

Charles and Ray Eames present the Lounge Chair in 1956, combining industrial production and craft quality in a single object.

The SK 4 of 1956 is one of the best tests of attribution. MoMA credits the Radio-Phonograph model SK 4/10 to Dieter Rams and Hans Gugelot. The transparent lid, pale case and clear separation of functions made it visually radical, but the object belongs to a collaboration between Braun and Ulm rather than to one name.

1955 — Emil Ruder begins advanced typographic training that attracts international attention.

1955 — the HfG campus designed by Max Bill officially opens.

Saul Bass designs the title sequence for "The Man with the Golden Arm" (1955) — the first title sequence recognised as a work of graphic design in motion.

1955 — under Jay Doblin, systems and functional approaches intensify.

Rams joined Braun in 1955 specifically as an interior architect. Vitsœ preserves an early episode: he presented a sketch for modernising Braun interiors, and on the back wall one can already see the first notion of a track-based wall storage system.

Vogue preserves a 1954 example in which Gruau’s drawing of a Givenchy dress is superimposed on a photographic portrait of Veronica von Hagen by Erwin Blumenfeld.

1953 — the Merce Cunningham Dance Company forms at Black Mountain.

1953 — HfG Ulm teaching begins; the first 21 students study in temporary rooms.

1952 — Theatre Piece No. 1 takes place.

MoMA holds the 1952 Bench-Bookshelf for the Maison de la Tunisie, created by Perriand with Ateliers Jean Prouvé and other contributors. The name states the principle: seating and library become one element.

During the 1950s Berger became a prominent art critic and wrote for the New Statesman. The British Library archive preserves substantial runs of his published journalism from this period.

In the 1950s Berger argued sharply against the growing institutional canonisation of Henry Moore and against the idea of modern art as an autonomous succession of great individual geniuses. Tate now treats the conflict as an important part of the history around both figures.

From the mid-1950s Gruau produced numerous posters for the Lido. Musée des Arts Décoratifs and Christie’s document a long line of cabaret work.

Rams formed his practice in West Germany, where 1950s design was tied not only to a market for new goods but also to a project of cultural reconstruction. The object was expected to distance itself from decorative heaviness and the rhetoric of the past, becoming understandable, contemporary and suited to serial production.

The Met holds the House of Dior dress “Gruau” from fall/winter 1949–50 and explicitly states that Dior named it after his friend René Gruau, who provided early advertising illustrations for the house.

One of Gruau’s best-known works is the Rouge Baiser lipstick advertisement: a face with a blindfold, black graphic shapes and a sharp red accent. Palais Galliera dates the first poster to 1949.

1949 — The school reopens as Offenbacher Werkkunstschule.

1949 — The RCA is established as a National College.

1948–1949 — Buckminster Fuller teaches at the Institute of Design and guides a geodesic-dome project.

Ray Petri was born in Dundee in 1948. For fashion history this matters less as a local fact than as a reminder that one of the most influential stylists of 1980s Britain did not emerge from a ready-made London fashion hierarchy. His route passed through migration, music, markets, nightlife and a network of friends before his activity gained a stable professional name.

1947 — Armin Hofmann becomes head of the graphic-design class.

In 1947 Dior presented his first collection and Gruau began a long collaboration with the house. Society of Illustrators and Somerset House connect his graphic work to the wider perception of Dior’s new femininity.

Palais Galliera dates one of Gruau’s early Dior advertising drawings to 1947 for Miss Dior. Perfume gives the illustrator a problem more difficult than a dress: the subject itself is invisible.

From 1947 Gruau increasingly worked in advertising across couture, accessories, lingerie, perfume and cosmetics. Advertising was not a fall in status after editorial illustration.

1947 — the founding of the Republican House of Fashion Models, the institutional starting point of Kazakhstan's fashion industry.

In 1947 Rams entered Wiesbaden School of Arts and Crafts for interior design, then completed a carpentry apprenticeship from 1948 to 1951 before returning to school and graduating as an interior architect. The sequence matters: drawing and space, then resistance from real material, then design again.

1946 — Eliel Saarinen’s presidency of the Academy ends.

The Metropolitan Museum of Art holds A New French Style: Eight Models from Pierre Balmain, a 1946 publication illustrated with Gruau lithographs. It establishes his stature before the rise of the House of Dior.

The decision of 23 January 1945 establishes Haute Couture as a specially regulated designation in France.

1944 — The applied-art classes are consolidated in the Kunstgewerbliche Abteilung.

In the late 1940s Berger began as a painter and teacher of drawing. Art UK records this early sequence explicitly: painter, drawing teacher, then writer and broadcaster.

In the late 1940s Gruau worked in the United States for Harper’s Bazaar and Vogue, while Fleur Cowles brought him into Flair. Society of Illustrators and Vanity Fair note his special position within that short-lived but visually ambitious magazine.

The digital Silhouettes archive shows photography gradually expanding within the fashion magazine of the 1940s: first small images beside drawings, then full-page and double-page photographs.

In 1940 Perriand travelled to Japan as an officially invited industrial-design adviser. In 1941 she organised Selection, Tradition, Creation.

1937 — László Moholy-Nagy founds The New Bauhaus in Chicago.

Perriand left Le Corbusier’s studio in 1937. The move was not a rejection of modernism but a transition to a more independent practice combining architecture, art and objects.

Martin Munkácsi publishes the first outdoor fashion photograph with movement in Harper's Bazaar — a break from the studio portrait tradition.

1933 — the Bauhaus ceases operations in Berlin.

1933 — Black Mountain College opens with 12 faculty members and 22 students.

1933 — Josef and Anni Albers arrive to teach after the Bauhaus closes.

1932 — Saarinen becomes the first president of Cranbrook Academy of Art.

Dieter Rams was born on 20 May 1932 in Wiesbaden. Biographies often recall his carpenter grandfather, but the useful point is not a myth of “correct origins”; it is the early understanding that quality comes from the relationship among material, tool, proportion and use. Before Rams became a symbol of industrial modernism, he knew a world in which an object first had to be well made.

Palais Galliera identifies 1931 as the moment Gruau established himself in Paris. He entered an environment where couture, magazines, advertising, theatre and social culture operated within the same city network.

1930 — Ludwig Mies van der Rohe becomes director.

During the 1930s and 1940s Gruau worked for Fémina, Marie Claire, L’Officiel de la Mode et de La Couture, Silhouettes and other titles. Palais Galliera specifically records his important role at Silhouettes.

During the 1930s Perriand participated in the Union des Artistes Modernes, a milieu advocating modern materials, production and a direct connection between design and social life.

Fondation Louis Vuitton emphasises Perriand’s social engagement and concern with housing. In the mid-1930s she took part in projects using photography and exhibition graphics to address poverty and living conditions in Paris.

1930 — VKhUTEIN closes, ending the institutional experiment.

Mies van der Rohe and Lilly Reich design the Barcelona Chair for the German Pavilion at the 1929 World Exhibition.

In 1929 Le Corbusier, Pierre Jeanneret and Charlotte Perriand presented Équipement intérieur d’une habitation, a model dwelling in which furniture, storage, bedroom and bathroom formed one system.

1928 — Hannes Meyer becomes director.

MoMA attributes the 1928 Revolving Armchair directly to Charlotte Perriand. A rigid tubular frame meets a soft cushion and rotation, proving that industrial logic does not eliminate bodily comfort.

MoMA attributes the 1928 LC4 Chaise Longue to Le Corbusier, Pierre Jeanneret and Charlotte Perriand; Cassina preserves the same shared authorship.

1928 — Keller designs the “Das Neue Heim” furniture-competition poster.

At the 1927 Salon d’Automne, Perriand presented Bar sous le Toit, an interior of chrome, aluminium, glass and clear geometry. It established her as the author of a new environment in her own right.

1927 — the school is reorganised as VKhUTEIN.

1926 — the Bauhaus complex opens in Dessau.

John Peter Berger was born in London on 5 November 1926. His generation was formed between economic crisis, war and post-war reconstruction, so culture never appeared to him as something outside history.

From 1926 Gruau collaborated with the Italian magazine Lidel. At a time when fashion illustration remained a principal way to communicate new clothes, the magazine demanded both accuracy and character.

1926 — Walter Klein establishes the first class for industrial design.

1925 — the school moves to Dessau.

Palais Galliera dates the beginning of Gruau’s career as a fashion illustrator to 1924. He was still a teenager and did not follow the long academic route commonly associated with the fine artist.

1. West Hartford, 1924: индивидуальность до индустрии Polly Allen Mellen was born in West Hartford, Connecticut, on 18 June 1924.

30. 1924–2024: fashion editor как катализатор изображения Polly Mellen died in December 2024 at the age of 100.

1922 — Eliel Saarinen enters the Chicago Tribune competition and soon moves to the United States.

From 1920 to 1925 Perriand studied at the École de l’Union Centrale des Arts Décoratifs. Decorative-arts training quickly became a point of departure: modernity required more than a new ornament.

The late-1920s team designed objects for sitting, resting, working and conversation. Frame, support, surface and user action became legible.

Modernist history long associated late-1920s furniture mainly with Le Corbusier. Museums and manufacturers now restore Perriand’s visibility, but correction should not create a reverse myth in which everything belongs to her alone.

1920 — VKhUTEMAS is established in Moscow.

1919 — Walter Gropius founds the Staatliches Bauhaus in Weimar.

1918 — Ernst Keller begins teaching and establishes the graphic-design class tradition.

Gideon Sundback patents the separable fastener — the first functionally reliable zip fastener.

1909 — the second phase of the building is completed.

René Gruau was born in Rimini on 4 February 1909 as Renato Zavagli Ricciardelli. Italian and museum sources connect him to an aristocratic Italian family through his father and a French line through his mother; professionally he adopted his mother’s surname, Gruau.

1909 — The school moves into Martin Elsässer’s purpose-built building.

1907 — The Royal Technical College for the Precious Metals Industry is founded.

Charlotte Perriand was born in Paris on 24 October 1903. Her own trajectory began before Le Corbusier, with furniture, materials and the physical use of space.

1902 — The predecessor institutions operate under the name Technische Lehranstalten.

1897 — the first phase of the Mackintosh Building begins.

1896 — the competition for the new school is won by Honeyman and Keppie with Mackintosh’s design.

1896 — The institution becomes the Royal College of Art.

1887 — The school moves into the Ateneum building.

1878 — Kunstgewerbliche Fachschule Zürich is founded.

1871 — The Craft School begins teaching in Helsinki.

1868 — A school for art-industry education opens in industrial Offenbach.

1864 — The school becomes the National Art Training School and moves to South Kensington.

Charles Frederick Worth opens the first fashion house on rue de la Paix in Paris, establishing the model of a named house with seasonal collections.

Charles Frederick Worth first presents clothes on living mannequins, establishing the show format as a collection presentation.

Aristide Boucicaut opens Bon Marché in Paris (1852) — the first modern department store with fixed prices and merchandise in open spaces.

The Great Exhibition of 1851 in London's Crystal Palace sets the precedent for the exhibition as temporary architecture of argument with thematic spatial organisation.

1850s–1900s — Almaty's regular street grid along north–south and east–west axes becomes established, tied to topography and ventilation.

1845 — Glasgow Government School of Design opens.

1837 — Government School of Design is founded at Somerset House.

1832 — The institution’s roots begin with a Handwerkerschule.

The Louvre opens to the public in 1793 as the first state museum with a permanent collection, establishing the model of a route and public access.

1776 — A drawing school is founded in Schwäbisch Gmünd.