christopher dresser’s toast rack’s

christopher dresser is undoubtedly one of the 19th century's most innovative designers ................................................................................................

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christopher dresser’s toast rack’s

christopher dresser was one of the most influential
designers of his time. a contemporary of william morris,
he is widely known as britain's first independent,
industrial designer. at a time when the design of mass–produced
items often favoured novelty and availability over taste or rational,
dresser pioneered a new modern style creating beautiful
objects for the emerging consumer culture.
where dresser differed most from his contemporaries was
in his designs for metalware. he was determined that cost
should not place products ‘beyond the reach of those who
might otherwise enjoy them’.
dresser believed that people's surroundings influenced their
well-being, that art should be available to everyone regardless
of their socio-economic status and that mass-production did
not automatically lead to ugliness but could be used just as
easily to fashion beautiful objects.
christopher dresser not only designed an impressive number
of different articles for the preparation and serving of hot food
and drink such as teapots, kettles, soup tureens and ladles,
tea and coffee sets and egg-coddlers,
but also designed an impressive variety of toast racks !
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short bio
christopher dresser was the son of a tax collector, born in
glasgow in 1834, the same year as william morris.
he attended the government school of design at the
exceptionally early age of thirteen where he studied both
design and botany, following a system of art education set
up to train designers for industry.
his mentors, pugin, cole and owen jones forged a modern
style, their particular concern being fitness for purpose.
dresser himself was to invent a language of design inspired
by his study of botany and cultures beyond the confines of
the west. he was a natural propagandist and his influences
included abstract pattern based on his study of botany
as well as japanese, egyptian and asian art and design.
a trip to japan in 1876 transformed his style, leading him to
focus on the quality of materials and simplicity of form.
he died in 1904 in mulhouse, france.

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dresser’s books
his writing career began when he was 23 and his publishers
were among the most successful of his time.
in 1857 his series of articles on 'botany as adapted to the arts
and art-manufacture' appeared in the art journal.
by 1860 he had published three botanical books,
and received his doctorate from jena university.
the ‘art of decorative design’ (1862) was his pioneering manifesto.
in it dresser set out his ideas on how designs could be created.
‘principles of decorative design’ (1873) started out as a series of
articles for ‘the technical educator’, a self-improvement monthly
magazine. He wrote, he claimed, for 'the working man'.
he regarded ‘studies in design’ (issued in parts, 1874-6),
magnificently illustrated in colour, as his most prestigious publication.
his book ‘japan, its architecture, art and art manufactures (1882)
did much to advance enthusiasm for things japanese.
’in modern ornamentation’ (1886) he demonstrated his command
of historic and new styles.

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the exhibition
shock of the old: christopher dresser
victoria & albert museum, london
9 september - 5 december 2004
http://www.vam.ac.uk/vastatic/microsites/1324_dresser

this exhibition is the first UK retrospective on dresser and
examines the whole spectrum of his work, including
metalwork, furniture, ceramics and textiles, from his early
more decorative designs to his later streamlined minimalist
work. the exhibition includes some 350 objects.
(before it was shown at the cooper- hewitt national design
museum, new york, 5 march - 25 july 2004).

in 1951 the V&A held and exhibition of victorian and
edwardian decorative arts in which dresser was
featured following his rediscovery after a period of long
neglect after his death.
in addition to the current exhibition, dresser is also
displayed in several galleries as part of the V&A's
permanent collection, including a display devoted to
dresser's work and influence in the victorian section of
the british galleries