Introduction
The spark of World War I excels Australia’s industrial span; its growth stimulates urban modernity (School of Historical Studies 2008). During the 1920s, the increasing scale of manufacturing advances and urban sprawl were seen clearly in conjunction with new materials, powered machines, suburban trains and trams, modern household appliances, developed engineering and steel production (School of Historical Studies 2008). The interwar period provided Australians with an opportunity to debate modernists ideals, they had earned their independence, and celebrated modernity. Central to this was the magazines-advertisements, occupying a distinguished national enthusiasm, where Australians became increasingly ambitious, emphasising the designer’s role (Hetherington 2006, p.6).
The Dawn of modernism
Fig 1 Float showing the advances of electric power, Pageant of Progress, (1936), < http://adelaidia.sa.gov.au/sites/default/files/styles/gallery_full_crop/public/media/gn09910.jpg?itok=lZ8m1A1->
Between 1917-1939, was a period in which the reception of modernism was highly interdisciplinary in nature, and the designer’s role as the driving force to social – aesthetic change was identified (Stephen, McNamara & Goad 2008, pp. xviii-xxxiii). The period was inspired by the modernist movement, and expressed the influence of European migrant’s modernity, revolutionary approaches and concepts of design and architectural potential explored (Agency, DT 2016). The rejection of traditional forms articulated by aspirations, to social and technological transformations, shaped the emergence of modernist cultures (Stephen, McNamara & Goad 2008, pp. xviii-xxxiii). Caban (1983, p.24) states, by 1910 commercial industry had not been provided with prospect, as was in Europe, and designers were not given enough freedom. It has been argued by Stephen, McNamara & Goad (2008, pp. xviii-xxxiii), that local Commercial artists were widely investigative of the modernist movement and experimented in colour and form. Since 1917, the publicity power of advertising became an important element of selling (Hetherington 2006, p.6), and between 1919-1939, Sydney and Melbourne emerged as the Australian centres of commercial art, due to the calibre of Australian industry in these two cities (Caban 1983, p.97).
The Home Lens
Appreciated interest in good design led by department stores, helped increase the number of quality magazines (Caban 1983, p.97), and constituted an active strain to link art and life, while simultaneously exploring the issue of representation critically (Stephen, McNamara & Goad 2008, pp. xviii-xxxiii). The reception of modernism in Australia was promoted to the public with colour reproductions through the lens of Ure Smith’s magazine “The Home” (1920) (Hetherington 2006, p.7). Embracing the iconic equation of Australia’s modernism through magazines and advertising, shaped the way of modern society and new concepts, with opportunity placed on designers (Caban 1983, p81).
Fig 2 Hera Roberts, illustration for The Home, Magazine cover, (1926), < https://cdn.theconversation.com/files/27461/width754/tgkzvdd7-1373865970.jpg>
Inarguably, “The Home” magazine was an iconic streamline to the reception of modernism in Australia (Hetherington 2006, p.7); the culture front of modern design. A clear message by Adrian Feint of the international community, stated, rapid industrial change and Australia’s contribution, joined them to the rest of the world (Wood 2008, p.252). Australian acceptance of modernist products and design trends were demand focused (Bogle 1998, pp.68-69). Ultimately, growing urban needs fostered a design culture and, department stores, retailers, and illustrated Australian magazines facilitated desirable objects, stimulating the consumer’s desire, drawing attention to modernism and designers (Bogle 1998, pp.68-69)
Fig 3 Adrian Feint, Illustration for The Home magazine, (1928), <http://www.theage.com.au/news/arts/the-home/2008/06/26/1214472678762.html>
Modernism developed a theatrical panorama of occurrence (Stephen, McNamara & Goad 2008, xviii-xxxiii). ‘The Home’ mirrored the new look woman, fashion, architecture and interior design advertisement had shifted beyond the product dominated (Holden 1995, p.116), and a platform for modern aesthetic sprawl from Deco to Bauhaus (Hetherington 2006, p.7). From the automobile to cosmetics – “Lux-Soap” portrayed Deco style, and reinforcing conventional glamor to everyday functional, yet, desirable objects (The Age 2012).
Fig 4 Hera Roberts, illustration for The Home, Magazine cover, (1927), <https://photos.smugmug.com/The-Home/The-Home-1927/The-Home-November-1927/i-Nr37C7S/0/XL/The%20Home%2C%20Vol.%208%2C%20No.%2011%2C%20Nov%201927%20001-XL.jpg>
Horizons Open – up
Objectively, modern movement shifted magazine design principles, and invented printing technologies transformed communication ideas, therefore establishing new visual vocabulary (Owen 1991, pp.20-29). By the 1920s, improved colour reproduction, photomontage and machine printing, conceptualized modern progress with profound visual appeal (Cuffley 2007, p.40). Griffin’s article in 1922 issue ‘Sunshine in the Home’, highlights his ideals; by means of spiritual and universal architecture basics, and through natural material for a structure (Stephen, McNamara & Goad 2007, p.252).
