Graphing Outside the Box...

These are graphs we've made based upon the data compiled so far in our blog. The graphs consist of significant events that occured in conjunction with a certain innovative design or invention that transpired from the 1980's and onward. There is also the inclusion of a timeline summarizing what was changing or beginning to evolve at the time, as well as driving factors of the decade and pictures to display a visual example of change during the given time period.


1980's graph PDF

1990's graph PDF


2000's graph PDF


Posted By: Rob Goodman

Canola Oil, the "Better" Oil

Beginning in the early 90’s, Canola oil became a face product for what was known as the low-fat food craze.

Canola oil, the name actually derived from a mixture of the words Canada, oil, low and acid, comes from the rape seed. Although originally rapeseed oil was considered inedible due to its high euric acid content, and was originally used in lamps and for lubrication purposes, the rapeseed was eventually bred to a point where the euric acid was reduced to a very low non-harmful level.

Beginning in the 80’s and culminating in the early 90’s, the health benefits of Canola oil became rather publicized and the product proved very popular at a time when losing weight and staying in shape was key to consumers. Canola oil boasts a very low saturated and high monounsaturated fat content, as well as having omega-3 fatty acids which promote heart health.
Oppositely, there are many that believe Canola oil to be harmful to the heart rather than helpful as it is believed by some that the euric acid content of Canola is indeed actually harmful to the heart. However, these allegations have been discredited by numerous health institutions and studies.

In 1995 the first crop of Canola oil was genetically engineered to be resistant to herbicide; followed in 1998 when crops of Canola oil were genetic engineered to be disease and drought resistant. This has caused controversy in some parts of the world for various ethical and economic reasons.

Regardless of such controversy, Canola oil remains one of the biggest selling oils today. In 2000, it was the world’s 3rd leading source in oil. Today it is categorized as having one of the biggest selling genetically-modified crops with 80% of being genetically modified. These numbers cement the status of Canola oil as a health beneficial food product.

Posted By: Rob Goodman

Sources:

Barthet, V. (2009). Canola. The Canadian Encyclopedia. Retrieved October 25, 2009 from http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=A1ARTA0001356

No Author. (2007). What is Canola? A problem with weeds—the canola story. Retrieved October 25, 2009 from http://www.biotechnologyonline.gov.au/foodag/weeds.html

No Author. (2007). Canola Facts: Why Growers Choose GM Canola. Canola Council of Canada. Retrieved October 25, 2009 from http://www.canola-council.org/facts_gmo.aspx.

Image retrieved October 27, 2009 from http://vinniey.wordpress.com/2006/10/22/good-oils-for-good-health/.

Tamper-Evident Packaging Saves the 80's

Tamper-evident packaging involves the use of a closure on some sort of packaging that if opened, it is clearly visible to anyone that sees.

The need and importance of such packaging came full-circle in the early 1980’s, when certain groups with the intent of using blackmail or for unknowable reasons, claimed they had tampered with jars of baby food with poisonous substances. Due to this, all supplies had to be thrown out since there was no way of knowing which jars had been tampered with. Companies responded by making jars with a button on top of their lids that popped up and made a noise indicating the package was un-tampered with since being bottled. Actions such as this were vital since tampering with products became not only an issue of social importance, but of economic significance as well. Companies experienced losses from throwing out supplies and from their tarnished image.

One such company that received a massive backlash was Tylenol. In 1982, tampering of their over-the-counter product led to the death of more than 7 people, when authorities discovered that the Tylenol each individual had taken was laced with potassium cyanide. The media labeled the incident as the TYMURS (a mix between Tylenol and murders), and a nation-wide recall of Tylenol bottles was issued and Tylenol’s market share fell from 35% to 8%.

Incidents such as this forced the Food and Drug Administration (FDA) to create stricter tamper-evident packaging laws, and companies like Johnson & Johnson added triple layer tamper-evident packaging to Tylenol’s products to help them save their image. Their strategy worked and ever since this incident, the FDA has progressively created more and more laws to reinforce the protection of marketable products, creating the need for more technology to create tamper-proof closures and seals.

Posted By: Rob Goodman

Sources:

Wolnik, KA, Fricke, FL, Bonnin, E, Gaston ,CM, Satzger ,RD (March 1984). The Tylenol tampering incident - tracing the source. Analytical chemistry. 56 (3), pp. 466A–470A.

Image retrieved from http://www.medidose.com/15mlpolyethylenevial-1.aspx

Ford's "Kinetic" Design

In 2004, Ford Motor Company began to experiment with a new design concept that became known as “kinetic design.”

The main principle of kinetic design is to make lines on the car that make it feel “athletic, dynamic and in shortness, make it look like its moving even when it’s standing still.” Kinetic is literally defined as “energy in motion” and Ford very much wanted to make their cars looks as if they are moving forward and in a constant state of evolution. Martin Smith, Ford of Europe’s executive design director, stated that Europeans wanted a Ford that showed emotion and a sense of refinement, rather than something that looked lifeless and cartoonish.

With this in mind, designer’s formulated the SAV in 2005, the first concept car to display the kinetic design aesthetic. Since then they’ve created kinetic features on most of their European models, such as the Ka and the Focus.

At this point, the question Ford faces the most is will kinetic design translate to American car-buyers? In 2005, Peter Horbury, the Executive Director of Ford North American Design, stated that “kinetic design DNA doesn't mean the same thing to buyers in this market, so it won't resonate the same way.” Horbury further acknowledged that while many Americans are of varied cultures and have different values, they still tend to share the same universal idea about life. They don’t enjoy the quite, but rather they prefer directness and action. Therefore, he believes Americans would prefer a bolder, structured design, something loud and flashy rather than sleek and refined.

Whether or not Americans will embrace or reject kinetic design still remains to be seen, since U.S audiences only recently at the 2008 Detroit Auto Show got their first look at the Ford Verve, a kinetic designed sedan planned to go to market in Europe and Asia by 2009 and in America by 2010.

Ford currently believes that Americans are looking for “technology, design and fuel efficiency.” The smaller, economical, European kinetic design is their answer.



Posted By: Rob Goodman

Sources:

No Author. (2009). Ford Kinetic Design. Ford of Britain. Retrieved from http://www.ford.co.uk/Cars/KineticDesign/mdp=v1204941954768

Abuelsamid, Sam. (2008) Detroit 2008: Ford Verve Sedan concept brings "Kinetic design" to the U.S. for the first time. Auto Blog Green. Retrieved from http://green.autoblog.com/2008/01/13/detroit-2008-ford-verve-sedan-concept/#.

Image retrieved from http://green.autoblog.com/2008/01/13/detroit-2008-ford-verve-sedan-concept/#.

Guggenheim Museum: "The Building of the Century"

In the center of Bilbao, Spain, the Guggenheim Museum opened in 1998, gaining more publicity in the year it opened than any other building that year. The reason for the extreme exposure of the museum had much to do with the incredibly abstract, contemporary and remarkable design for the building, which did not conform to traditional architecture standards at the time.

The designer of the building, Frank Gehry, began to experiment with his unique style in the late 1970’s using “non-traditional forms and using found objects to create collage-like models.” His style has become characterized as an example of“Deconstructivism,” a development of postmodern architecture that borrows greatly from the idea of fragmentation and is defined by:

-An unfinished or broken looking appearance
-A combination of formal compositions standards with a sort of disjointed aesthetic
-The non-use of rectangular forms and surfaces to create a distorted look
-Shape and forms grouped incongruently together

The building’s lack of uniformity raised its profile tremendously worldwide, and because the building was located in the Basque region of Spain which was commonly recognized as a region of political strife for years, it gave a sense of pride and calm to the people of the region, and in 2002, tourism in Bilbao reportedly increased five-fold with 80% of all tourists coming mainly to see the museum.

The success ultimate of the Guggenheim Museum was due mostly to the boldness of Gehry’s design in taking standards and completely turning them on their head. It proved people’s readiness to embrace something so different, and ultimately brought on a sense of change. Shortly after it’s opening, Time Magazine declared the Guggenheim Museum as “The Building of the Century.”

Posted By: Rob Goodman

Sources:

Friedman, Mildred ed. (1999). Gehry Talks: Architecture + Process. New York, NY: Rizzoli International.

Image retrieved from http://www.worldenough.net/picture/English/lab/Lab_street/3.cypriot_abroad.htm

Art Goes Online

With the rise of the internet in the early 1990’s, information became more and more accessible on line and limitations seemed endless. This reasoning translated as well to the art world, especially in the 1994-95 art seasons when art that would more than likely never be seen outside of an art gallery in a certain locale, could be viewed by absolutely anyone in the world at anytime through online galleries. This concept is not limited to art in general, but also to museums and other tours as well.

One primary benefit of presenting art online is that an unknown can gain exposure they otherwise may have had a hard time finding. The downside of displaying art online is the quality of the image online compared to seeing a piece in person. In a way, it undermines the physical viewing experience, and can even elicit different emotions the artist perhaps did not intend to bring forth with their work.

Overall, the availability in viewing art online is just another prime example of the fluidity of information the internet has instigated since its conception. It also gives rise to the notion that art can be made strictly to be viewed on the internet, and that the internet can be used as a great tool for art education.

Posted By: Rob Goodman

Sources:

Atkins, Robert. (1995). The Art World and I Go Online. Art in America. 83 (12), pp. 58-59, 63.

Image retrieved from http://seattlejew.blogspot.com/2007_11_01_archive.html.

Ford's "New Edge" Design

Starting in the mid 1990’s and continuing into the first half of the next century, the Ford Motor Company , looking to create something new and exciting that would also be favorable to their production needs, created an innovative styling technique known as “new edge.”

The basis for this name came from the use of adding sharp angled lines, arcs, and curves on a vehicles body surface that collided with one another to create the effect of highlighting and shadow. Not only was this technique aesthetically pleasing, but because the parts of the body were assembled by piece to create such lines in the design, it made it more labor easy and cost effective to produce. Ford initially utilized the styling technique in several of their concept cars which never fully came to fruition, such as the GT90 in 1995. However, the design was first publicly featured and produced in Europe with such models as the Ford Ka in 1996, and most notably the Ford Focus in 1998. In 1999, the Ford Mustang’s 4th generation pony car became the first North American vehicle to feature the new edge design, followed shortly by the introduction of the Ford Focus into the North American market in 2000.

Although other popular Ford vehicles followed suit by having particular new design elements added to them, Ford has yet to produce another fully new edge designed vehicle since they switched gears to the new “kinetic” styling technique.


Posted By: Rob Goodman

Sources:

Krebs, Michelle. (1997). New Designer To Take a Seat at Ford’s Drawing Board. The New York Times. Retrieved from http://www.nytimes.com/1997/09/28/automobiles/new-designer-to-take-a-seat-at-ford-s-drawing-board.html.

Winter, Drew. (1998). Living on the Edge: New Ford styling trend isn’t too tough, stampers say. Ward’s Auto World. Retrieved from http://wardsautoworld.com/ar/auto_living_edge_new/.

Image retrieved from http://www.carprices.co.uk/models/Ford/fordfocus

DVD Technology

DVD, which alternately means Digital Video Disk or Digital Versatile Disk, was founded in 1995 as a successor to the Video Home System (VHS), and in some respects the Compact Disc (CD). In 1993, two different formats at the time, the Multimedia Compact Disc (MMCD) and the Super Density (SD) disk, were being poised against each other to overcome the VHS format. With companies such as Sony and Toshiba separating themselves on which formats to support and produce, a war similar to that between VHS and Betamax years prior was beginning to ensue, and computer companies such as Apple and IBM began to take notice. In an effort to end a similar dispute from reoccurring, Computer software companies joined together to boycott the industry, stating they would not use either formats being produced by the companies unless they were able to come up with one single one. Both sides agreed to make one single format, and from this the DVD. In 1997, DVD video was finally mass marketed to the United States as a high quality alternative to VHS.

The DVD, in comparison to the VHS or the CD, is an optical format able to hold extensive amounts of data, such as a feature length film, because it uses a 650 nm laser diode as opposed to the 780 nm of a CD, allowing for greater capacity. Also, the DVD is able to record on dual layers, meaning information can be recorded to either side of the disc. DVD, especially in comparison to VHS, also provides better sound and picture quality that doesn’t fade. Other options include language selection, cutting to scenes, bonus features, and multi-angle selection, all of which VHS has never been able to provide in one single package.

Throughout the years as DVD players have become smaller and less costly to produce due to their growing popularity, they’ve also begun to overtake the rental and sales of VHS as early as 2003. The DVD format has gained the status of being a standard, yet its staying power remains to be seen as the emergence of more advance high-definition formats in the market, such as the Blu-Ray disc in 2006, are gaining momentum.


Posted By: Rob Goodman

Sources:

Bakalis, Anna. (2003). It’s Unreel: DVD Rentals Overtake Video Casettes. The Washington Times. Retrieved from http://washingtontimes.com/news/2003/jun/20/20030620-113258-1104r/?page=2.

Wempen, Faithe. (2001). Build Your Skills: A Comparison Between DVD and CD-Rom. Tech Republic. Retrieved from http://articles.techrepublic.com.com/5100-10878_11-1047035.html.

Markoff, John. (1995). Business Technology; a Battle for Influence Over Insatiable Disks. The New York Times. Retrieved from http://www.nytimes.com/1995/01/11/business/business-technology-a-battle-for-influence-over-insatiable-disks.html.

Image retrieved from http://www.vidcam.com.au/copy/index.html.

Technology. (n.d.). DVD Forum. Retrieved from http://www.dvdforum.org/forum.shtml

"Fly-By-Wire": Analog vs. Digital

First used in a test research aircraft from 1972 to 1985, NASA revolutionized the business of commercial and military airplanes by developing the F-8 digital “fly-by-wire (FBW)” system.

FBW involves a series of wires connected to the hydraulic system of an aircraft that checks for diagnostics involved with the stability of the plane. The pilot is connected and aware of this system by a computer which they control, rather than using the older traditional method of flying with a manual steering wheel. The main benefit of the digital system compared to the manual is the increase in aerodynamic efficiency. Essentially, you can better maneuver the aircraft more accurately without the sacrifice of losing natural stability. Stability is of utmost importance when operating an aircraft, because if it is disturbed by an outside force such as a gust of wind, the flight path can diverge drastically, increasing the “g-forces” pressed upon the the aircraft, which can result in the failure of the structure of the aircraft, causing it to fall apart and crash.

What FBW control provides is a “high-integrity automatic stabilization of the aircraft.” This type of faultless control allows aircraft designers more freedoms to create aircrafts that are lighter, and have better aerodynamic structure. Overall efficiency is the key word.FBW controls were first introduced into military aircraft with the redesign of McDonnell Douglas’ (now Boeing) YF-17 into the F/A-18, flying first in 1980.

In 1988, Airbus became the first commercial company to incorporate FBW into their airplanes with the introduction of the A-320. Other companies followed suit, such as Boeing who first used FBW technology in their 777 model in 1993, and then produced the airplane first with United Airlines in 1995. It should be stated that while FBW does offer many modern conveniences, it is also another case of technological advancements causing the manuals jobs of humans to become obsolete, as the system limits the autonomic actions of the pilot. However, the efficiency of FBW is undeniably a great step towards making modern transportation faster and more convenient.

Posted By: Rob Goodman


Sources:

Collinson, R.P.G. (1999). Fly-by-wire Flight Control. Computing and Control Engineer Journal. 10 (4), pp. 141-152.

Sabbagh, Karl. (1996). 21st Century Jet. New York, NY: Scribner.

Curry, Marty ed. (2009). Past Projects: F-8 Digital Fly-By-Wire. NASA. Retrieved October 18, 2009 from http://www.nasa.gov/centers/dryden/history/pastprojects/F8/index.html.

Image retrieved October 26,2009 from http://www.nasa.gov/centers/dryden/history/pastprojects/F8/index.html

Recycling #6: Reforming EPS

Expanded Polystyrene, also known as EPS, has been a source of controversy ever since it’s invention in 1959. On one hand, it is a remarkably useful invention used widely in packaging for its shock absorbing abilities (Styrofoam peanuts and molds) and outstanding insulation properties (food packaging). On the other hand, it is unable to biodegrade when exposed to all the elements of the earth, on top of the flammability hazards and issues regarding o-zone depletion during its creation among other things. Acknowledging the contradicting qualities of EPS and other plastics, scientists and others began to see the need and benefits of recycling such materials so they could be produced into a form again without causing further harm to the environment. EPS Recycling in particular came to fruition in the early 1990’s, starting in 1991 when a nation-wide system known as the National Polystyrene Recycling Company was formally created to begin recycling EPS with the recycling number of “6”.

The process itself is often very expensive and labor intensive, since the actual recycling method involves sorting and breaking down of the post-recycled materials, and the heating and extrusion of the materials into a formless pile where they can then be stored and shaped for whatever future purpose intended. Due to this matter, recycling EPS is still rather scarce in comparison to other recycled materials. However, since the system’s inception it has seen steady growth and it receives more and more attention every year. According to the Alliance of Foam Packaging Recyclers (AFPR), “post-consumer and post-commercial EPS is currently being recycled at an average annual rate of 10-12%.”

This trend of growth proves that EPS Recycling remains extremely significant to the further design and production of polystyrene products in the market. Without its introduction into the packaging market, it is likely EPS production in general would have fallen under the pressure of environmental concerns, and its incredible product performance would have been underutilized in today’s market.




Posted By: Rob Goodman

Sources:

Alliance of Foam Packaging Recycling. (2009). EPS Recycling. Retrived October 8, 2009 from http://www.epspackaging.org/info.html

Americanchemistry.com. (2007). Polystyrene Recycling- Long-term Market Trends. Retrieved October 8, 2009 from http://www.americanchemistry.com/s_plastics/sec_pfpg.asp?CID=1437&DID=5229#

Glam Spirit. (2008). Eco-friendly Packing Material. Retrieved October 8, 2009 from http://images.google.com/imgres?imgurl=http://blogs.glam.com/glamspirit/files/2008/07/packing-peanuts.jpg&imgrefurl=http://blogs.glam.com/glamspirit/2008/07/11/eco-friendly-packing-material/&usg=__HkctRJaLoFFLKwrlOtuV1l-Sdzk=&h=346&w=347&sz=135&hl=en&start=2&sig2=uLvg44iIRjTdNrYGpeak0A&um=1&tbnid=qEjs3ZHXHhnKWM:&tbnh=120&tbnw=120&prev=/images%3Fq%3Dfoam%2Bpeanuts%26hl%3Den%26um%3D1&ei=hKzOStG2O4fktAPqmNy_Dg.

Hong, Charlie. (2007, July 20). Polystyrene recycling, Styrofoam recycling [video file]. Retrieved October 8, 2009 from http://www.youtube.com/watch?v=hvHuX32_--g.

Exceptional Design at Affordable Prices

In the mid-1990’s architect Michael Graves was approached by Target Stores to create original home product designs for the discount chain. Target, looking to attract and further cater to their growing amount of upscale customers, sought to establish a line of home products that were both aesthetically pleasing and yet very comfortable and affordable. In order to do this, they looked for help from Michael Graves’ firm, Graves Design.

Graves, an architect at heart with an avid interest in product design, began his work in the late 1960’s and early 1970’s and quickly cultivated an outstanding reputation in the architect world. He belonged to a group of several others architects known as the “New York Five” that believed in the ideals of post-modernism and more specifically “the use of modernized classical forms and emphatic uses of color.” Graves’ buildings in particular suggested a sense of irony in relation to classical forms. They were derisive yet fun imitations of popular standards of the past.

Graves steadily created a repertoire of unique and exciting product designs throughout the 1980’s and early 1990’s, such as his popular 1985 teapot that had a playful bird spout and was made for Italian design firm Alessi. Due to his work, Graves caught the eye of a merchandising director at Target who invited him to come to a store and take a look around. Graves found many products he believed could benefit from his distinctively kitschy yet sophisticated design aesthetic and they created over 350 different products from picture frames to patio furniture.

Graves’ designs proved so successful that his deal with target amounted to almost a quarter of Graves' entire business which helped him to reinforce his future endeavors in architecture. More importantly however, Graves and Target jointly fostered the idea of taking “the look for less” principle and relating it to home furnishings.

Posted By: Rob Goodman

Sources:
Goldberger, Paul. (February, 1999). A Postmodernist Goes Shopping. The New Yorker, pp. 23-24.

Business Week. (1999). Michael Graves Target Toaster. Retrieved October 7, 2009 from http://www.businessweek.com/1999/99_23/b3632043.htm.

Design For Everybody

In 1989, the Center for Universal Design formed in response to a need for revolution in architecture to make public places and houses more accessible to all. One of the pioneers of this change in architectural design was Diane Pilgrim. Pilgrim, a Fine Arts graduate of NYU who worked for many years as a museum curator, was diagnosed with multiple sclerosis in 1978. Due to previous conceived notions and her confinement to a wheelchair as a result of her condition, Pilgrim concluded that design as a whole was limited "visually and intellectually." According to Pilgrim,

"Anything human-made is design. Our mission is to make people aware that
design has a major impact on our lives every second of the day. People are
out there making decisions that affect our lives in wholly profound
ways."

In 1996, Pilgrim and others were able to convince the Cooper-Hewitt, National Design Museum in Washington, D.C. to add ramps and lifts to the multi-level historic building, making the museum more readily accessible to the elderly, disabled and accomodating to baby strollers.

With this accomplishment, Pilgrim and the Universal Design Center followed by making other areas accessible friendly, as well as updating home design guidelines. Their mission and philosophy included:

- Redesigning products and structures to make them easier to use


- Showing that anything created by humans should be both "eminently functional and aesthetically pleasing"


- Removing the stigma of accessibility including the common assumption that places designed for accessibility are ugly and awkward


-Universal designed products can be used by all people

Among all these things, univeral design seeks to prove that regardless of what the scale is, from a pair of household scissors to a landscape plan for a city, it ultimately benefits the world by promoting equality through unique artistic endeavours that don't seek to alienate groups of people.


Posted By: Rob Goodman

Sources:

Pilgrim, Diane. (October, 1997). Making the Planet a Better Place. ARTnews. pg. 192.

Sumitomo Group Public Affairs Committee. (2009). Working to Build a Society Informed by Universal Design. Retrieved October 4, 2009 from http://www.sumitomo.gr.jp/english/discoveries/special/103_01.html.

Wonder Fabric of the 1990's

With a surgence of popularity in outdoor winter sports in the early 1990's, a demand grew that called for a textile material that presented better dimensional stability and tenacity for water exposure compared to standard wool. The answer to this demand came in the form of a synthetic material that became known as "fleece."

Although initially invented in the 1980's, the use of fleece gained momentum in the 1990's with the development of PolarTec®.

Marketed in 1991 as an improvement over a previous invention patented as PolarPlus®, Polartec® offered greater advantages than its predecessor such as:

-versatile enough to be used for different layers of clothing (outerwear to underwear)

-used for warm and cool

-insulating and breatheable

-blocking wind and rain

-quick drying

-"wick"'s moisture and sweat away from skin

-high warmth-to-weight ratio

In 1999, Time magazine named PolarTec® fleece "one of the most important inventions of the 20th Century." Statements such as this further cement the importance of fleece today and in the future.


Posted by: Rob Goodman

Sources:

Espen, Hal. (1998, February). Fleeced. The New York Times Magazine. pp. 20-23.

The Northface. (2007). Technology Partners. Retrieved September 30, 2009 from http://content.thenorthface.com/na/partners_technology.html.

David Carson: "The End of Print"

Graphic Designer David Carson made a splash in 1990 by publishing his work in the first issue of Beach Culture, a new cutting-edge surfing magazine.

In his ground-breaking design, Carson abstained from utilizing traditional print methods by creating a chaotic layout for the editorial that included:

-Experimental typography

-Overlapping Photos

-Numerous different fonts

- Folio numbers larger than the headlines

In all, Carson was lauded for his bold design, regardless of it's lack of a traditional, more legibile format. His "visually challenging" layout of text and images were famously used in other editorials such as Ray Gun magazine and paved the way for other designers to forego traditional typographic standards in favor of artistic expression.


Posted By: Rob Goodman

Sources:

Blackwell, Lewis ed. (1998). The End of Print: The Graphic Design of David Carson. San Francisco: Chronicle Books.

Digital Poetry Overview. (2009). Typographic Innovations: 1980's and Onward. Retrieved September 28, 2009 from http://glia.ca/conu/digitalPoetics/prehistoric-blog/?p=217.

Going For the "Grunge Look"

In the early 1990's, one trend originated in Seattle, WA that transcended others at the time was "the Grunge Look."

"Grunge" was defined by several trend factors such as:

-torn and dirty jeans (Dickies)

-clunky boots (Doc Martens, Catepillar)

-plaid flannel shirts

-long hair

-sloppy, laid back and comfortable clothing well worn and adapted from the industrial clothing worn by many loggers and manufacturing workers in the Pacific Northwest.

"Grunge" was viewed as a reaction by the anti-disestablishment youth of the the time in response to many of the clean and preppy looking business professionals that had found work in the area due to a growth in the high-tech industry with companies such as Microsoft and Amazon. Outside of this effect, the "grunge" trend was also influenced by local bands at the time such as Nirvana, Pearl Jam, Alice in Chains etc. all of whom had members that grew up in blue-collar households and had been exposed to such industrial clothing. The growing popularity of these bands greatly perpetuated the trend and introduced it to a global audience it otherwise may have never met.

In response to the "Grunge" trend, designers such as Calvin Klein became the first to produce jeans and other clothing that were intentionally damaged and dirty before they were put on the market. Although the style subsided after two years and was dismissed as a "ridiculous" fad, impressions of it can still be seen in the popularity of damaged denim jeans which continue to sell on the market.


Posted by: Rob Goodman

Sources:

Mason Blair, Karen. (1990). The Grunge Look: Alice In Chains. Corbis. Retrieved September 28, 2009 from http://pro.corbis.com.

Crave Online. (2009). 10 Things About the 90's I'd Like to See Make a Comeback. Retrieved September 28, 2009 from http://www.craveonline.com/entertainment/humor/article/10-things-about-the-90s-id-like-to-see-make-a-comeback-73055/2