Modernism as a movement reminisces cultural theory seen through design history. An interpretation of this inspires future direction through recognition of contextual reference and emplaced design theories. In essence, the analysis of previous findings entails for more enriched future successes, with direct reference to trends and subcultures especially.

Close concentration to such areas provides context in design; an essential aspect when producing creative work commercially. It is vastly recognised that a designer must be able to interpret context in order to form substantial understanding with regards to purpose, intent, target audience, aesthetic and general desired nature. The translation of such values should then be defied through semiotics, implemented through visual entities. This is the job of a designer; To display interpreted values through signs and signifiers, while considering connotations to ensure the language of reality and the language of the visual world measure up. This is the process of utilising semiotics in a working, creative industry. This is known to be a modernist movement.

Modernism surfaced amongst the eras of the late 90s to the mid-20th century following a period of heightened industrialisation, mass production and consumerism. This futurist movement was recognised to be a collective expression of freedom, with the desire to try something new and ultimately move forward in the world. Self reflexive of world events, such as war, and a society which deemed this as an acceptable notion, many public reactions stemmed directly from emotions of unease and discontent. Rebellion reformed purpose here, leading to the abundance of the following art styles- constructivism, skepticism, subjectivism, and relativism. Bauhaus was a leading symbol of the ever-evolving creative world aside such movements, bringing the importance of art and design into the world, while redefining reality. This, therefore, shifted the light on public attention, known as the enlightenment era.

Modernists believed they could redesign a better society, modifying the views of their audience. For this reason, the modernist movement was the most influential of the 20th century, led by Bauhaus. Unconventional style and revolutionary nature is clearly noticeable through work, see above.

“Function should always dictate form” is a famous practice demonstrated initially by the artists, designers and art critics of the modernist era. This relates to architecture and interior design, where design should be interpreted from an understanding of intent. For example, a building should be considered of movement and how people are able to react with the layout, and designer around such a principle.

It was within this time that design became more commercialised, breaking down cultural divide, as well as the idea that it exists as a luxury. Different trends and styles obtained by numerous societies began to merge together, bringing the world closer. Additionally, this proved how the creativity can have an impact on the way the world operates collectively.

“Function should always dictate form” entailed for elements of maths and science to be embraced and brought forward in design. This was unconventional, and not yet explored, heightening a sense of reality. The famous grid was brought forward as a  compositional asset, before being deliberately broken to play with the idea of rules and restrictions. This made design stand out, becoming its own revolution. Sharing a similar motivational drive to that of the public, self-reflection of pervious events and the negativity drawn from these proved to shape the way in which design, and design theory, was generated.

The Avant-Garde
The term ‘Avant-Garde’ originated from the French language, translating to mean ‘advanced guard’, or in more simplistic terms, the following of a movement driven by a select group of individuals. Socialist ideas, aside the progression of modernism influenced this collaboration, bringing about new, experimental creations, testing the limits of art and design. With regards to mediums, artists began to rework process, utilising new technological advancements to create vivid, imaginative, and original outcomes. For this reason, photography and film as singular assets began to combine with more traditional creative processes.

Alexander Rodchenko, see above, is a greatly recognised artist with respect to the avant-garde. He begun designing inspired by the decorative style of Art Noveau, later becoming a futurist, before ultimately pioneering constructivism. Many of his works insight the dissection of pictorial and sculptural art, reducing these down to their basic structures. He then replicated such structure, using it as a backbone within his personal inventions. Rodchenko’s ability to break down line, colour, form, composition and perception reformed a modernist mindset , prompting a certain relevance to be obtained within a newly replenished creative industry. He then implemented such techniques and strategies into photographic methods, producing outcomes proved later to be revolutionary. Fuelling modernistic advancements, the photography-based constructivist outcomes of Rodchenko inspired a wave of newly found creativity.

Alexander Rodchenko is just one of the many artists who contributed to the avant-garde, where each of them presented fragments of culture to invent, recreate and portray the modern and upcoming world.