Before the 1905 Constitutional Revolution in Iran, women were assigned a very insignificant role in the society. In fact, the Constitutional Revolution marked the beginning of a new era of political, social, and cultural activity for Iranian women and gradually engaged them in social issues, unlike the Qajar era and the sex segregation imposed on all segments of the society. The Constitutional Revolution’s main feature was the simultaneous presence of women and men in the society. Although women had no say during the Movement, they were influential in the society’s fundamental transformations. At that time, women’s intellectual movement was affected by two major trends. One was the West, particularly Europe, and the prevalent feminist tendencies, and the other was the socialist movement in Russia.
The 1979 Islamic Revolution also made a great change in the activity of the Iranian women. The new sociopolitical atmosphere drew women more into the Iranian society’s problems and made their role increasingly effective and critical, so that a growing number of women appeared in various cultural, artistic, literary, and social arenas.
Today, the population growth and the development of educational and academic centers has also led to a considerable rise in the number of students and graduates of art disciplines, particularly visual communication and design. Women now comprise more than half of university graduates in graphic design. They constantly struggle for an equal social status with men, through entering the labor market and accepting professional responsibilities. According to Helen E. Fisher, anthropologist, women “tend to collect more pieces of data when they think, put them into more complex patterns, see more options and outcomes. They tend to be contextual, holistic thinkers.”1
The concept of gender inequality is not confined only to Iran; it more or less exists all over the world. The most natural reaction of women to these discriminations is to demonstrate their competence and capabilities in professional positions shared with men. Today, women are active in most of the professional positions within the society; therefore, naturally they are also engaged in the various branches of design. In addition to their equal presence in the workforce, women are successful in many social contexts, such as management, side by side with men. At present, women work along with men as designers, art directors, creative directors, project managers, and senior managers of design studios and advertising agencies and are make an impact based on their role. They are also serious and influential in teamwork. Nevertheless, many of the women who seek to enter the professional workforce are not allowed to hold the position they deserve.
However, the number of women who have managed to attain an appropriate, well-deserved position in their specialties is not small. These women constantly try to perform their role in their specialized fields and do not consider gender as a determining factor in their success or failure.
Although 80 percent of the current graduates of her country’s art schools are female, Gitte Kath, Danish graphic designer, believes that “In general the female students have higher grades from high school tests when they get accepted into the design schools – but grades are not necessarily important to make it as an artist or designer. It’s the originality, courage and the basic talent to express ideas that makes an interesting designer. To generalize, maybe 20% of all the design school students have what it takes to be a good designer. … I believe that women in the world of design, and in the world in general, will get even stronger in the future.” Furthermore, women’s dual responsibility –that is, their social and occupational duties from the one hand, and motherhood and taking care of the family from the other hand- has given them a deeper understanding and insight into their surroundings; Thus, although female designers are now lower in number compared to male designers, they can be expected to lay the groundwork for the growth and development of tomorrow’s design by virtue of this thorough understanding.
Evidently, “Women and Graphic Design” is chosen as the main theme of the current issue of Neshan in order to focus on the work of the female designers of Iran and the world and to highlight their presence in the field of design and not with a sex segregation approach. Through the history of design, there have always been accomplished designer women who have considerably influenced the design’s future outlook:
Ray Eames (1912-1988) and her husband, Charles, had a major role in developing furniture design and modern architecture in the 20th century. Thanks to an incredible natural talent, their designs visualize the modern age with no terror, technology with no environmental pollution, and science with no bombs, etc. As a designer, Eames strongly believes that, “recognizing the need is the primary condition for design.”2
April Greiman (b.1948) provided one of the most significant postmodern design experiences in the 20th century digital age in her first attempts in digital design, through discovering various visual features and employing them. “I was working first in video early 80s and then went onto using video ‘paintboxes’ (used by the broadcast industry) to begin to explore new imagery and new media. It was easy to move into using Macintosh 128k then in 1984 because I was a bit fluent with computers for design.”3 she describes.
Zaha Hadid (1950-2016) is an influential figure in architectural deconstruction, alongside the great architectural designers of the 21st century. Her works are a blend of non-Euclidean geometry, primary modernism, and the contemporary digital world. “I don't design nice buildings. I don't like them. I like architecture to have some raw, vital, earthy quality.”4 she says.
Paula Scher (b.1948) who “joined the company of men in 1991 …”, as she puts it, is one of the key directors and partners of Pentagram, the world’s largest independent design consultancy. She has played a major role in the contemporary typography and visual culture with her designs for music, visual identity, packaging, environmental design, poster, etc. This is how she views art and design: “Design has a purpose, art has no purpose. There is an economic structural difference. design is commissioned: art is made on its own.”5
Eiko Ishioka (1938-2012), Japanese art director and costume designer, rose to a worldwide fame with the costumes she designed for the contemporary movies. Her complicated visual allusions and her surrealist, avant-garde view were the source of inspiration for several custom designers. This is how she describes herself: “is very important in attracting people's souls.”6
To conclude, it is worth noting that Neshan has introduced the world’s influential female designers as well as the men, in its previous issues, and has presented their work in different fields of design and visual communication. Some of these women include Debbie Millman (Design Matters), Paula Scher (Pentagram), Homa Delvaray, April Greiman, Cordula Alessandri, Daniela Haufe (Cyan), Marcia Lausen (Studio Lab), Evelyn ter Bekke (Atelier ter Bekke & Behage), Liza Ramalho (R2), Paula Troxler, Anita Kunz, Julia Hasting (Phaidon Press), and Katherine Zask. In the current issue as well, the works of female designers are explored. The presented works are no less valuable and prime than the work of the men; rather, they are more influential and successful in some areas. Although it is not possible to totally cover the subject of women and graphic design in one issue, I hope the discussions in the current issue would be a beginning for you to pursue the matter further in your mind.
1. https://www.newscientist.com/article/mg17823965-600-a-century-for-women/
2. Mootee , I., Design Thinking for Strategic Innovation (Wiley, 2013)
3. Face to Face: Made in Space, and interview with April Greiman, Neshan 27, Spring 2012, p. 93
4. https://www.theguardian.com/artanddesign/2006/oct/09/architecture.communities
5. Face to Face: Painting Maps, and interview with Paula Scher, Neshan 25, Summer & Autumn 2011, p. 92
6. http://www.nytimes.com/2012/01/27/arts/design/eiko-ishioka-designer-dies-at-73.html