Two countries, separated by the Iron Curtain, but sharing a common history¿this was the historically unique situation of German design in the era of the country¿s division between 1949 and 1989. This book presents Germany¿s double design history for the first time in a comprehensive overview. With numerous examples from industrial, automotive, and furniture design to fashion, graphics, and interiors, it shows the significant role design played in daily life on both sides of the Berlin Wall, the part it played in reconstruction, and its role as an instrument of political propaganda during the Cold War. Key objects and protagonists¿from Dieter Rams or Otl Aicher in the West to Margarete Jahny or Karl Clauss Dietel in the East¿are presented alongside formative factors such as the Bauhaus legacy and important institutions such as the Ulm School of Design (HfG) and the University of Fine and Applied Arts in Berlin-Weißensee. GDR design of colourful, cheap plastic or the cool functionalism of the FRG: The book dispels such clichés, and reveals¿in addition to all the differences in industry, politics, and society¿the many parallels and links that connect design in East and West.

The cheap, colourful plastic designs from East Germany pitted against the cool functionalism of West German design: The publication German Design 1949–1989: Two Countries, One History does away with such clichés. More than 30 years after German reunification, it presents a comprehensive overview of German design history of the post-war period for the first time ever. With over 300 illustrations and numerous examples from the fields of design—fashion, furniture, graphics, automobile, industrial, and interiors—the book shows how design featured in daily life on both sides of the Wall, the important part it played in the reconstruction process and how it served as a propaganda tool during the Cold War. Key objects and protagonists—from Dieter Rams or Otl Aicher in the West to Rudolf Horn or Renate Müller in the East—are presented alongside formative factors such as the Bauhaus legacy and important institutions such as the Hochschule für Gestaltung (HfG) Ulm. The exceptional case of the division of Germany allows a unique comparative perspective on the role design played in promoting socialism and capitalism. While in the Federal Republic to the West, it became a generator of the export economy and the »Made in Germany« brand, in the East it was intended to fuel the socialist planned economy and affordability for broad sections of the population was key. While the book highlights the different realities of East and West, the many cross references that connected design in both are also examined. It impressively illustrates the many facets of German design history in the post-war period: from the domestic sphere to global politics, from industrial products to design’s role as a tool of protest that foreshadowed the fall of the Berlin Wall in 1989.

With contributions by Paul Betts, Greg Castillo, Petra Eisele, Siegfried Gronert, Jana Scholze, Katharina Pfützner, Eli Rubin, Katrin Schreiter, Oliver Sukrow, Carsten Wolff, among others; interviews with Prem Krishnamurthy, Renate Müller and Dieter Rams.