Nonetheless, the book provides a record of some of the most invigorating contributions that British designers have made to graphics, fashion, interior, and product over the past 10 years or so and is lavishly illustrated throughout. There is a useful section on Designer Biographies, complete with references, and a bibliography which provides further relevant material. As a piece of historical insight the book clearly has flaws, but as a document which may provide future historians of British with some interesting and exciting material it will certainly validate its place on library shelves. Design as a subject area of academic integrity has developed in many interesting ways in the curricula of the specialist undergraduate and post-graduate programs in the few British higher education institutions in which it is practiced. Students approach the subject from a variety of angles, are often at home with primary sources of some complexity, and would recognize many of the historical and methodological shortcomings in the plethora of design history books that are flooding the bookshops. It is to be hoped that their understanding of in terms of meaning, production, retailing, consumption (and history) will eventually provide some corrective to the continuing deluge of books on individual stars, organizations, and styles. The problem is perhaps that the commissioning and publishing of design history is too often allied to the expectations of the profession, itself much concerned with success, media profile, and profitability. Presentation rather than content appears to be the dominant factor in historical publication, and so the future health of the subject, concerned as it is with many wider and more significant issues, may well lie in the forging of closer links with other more appropriate fields of expertise and rigorous inquiry.
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