Fredie Floré is an engineer-architect and obtained a PhD in Architectural History at the University of Ghent in 2006. Since October 2014 she is associate professor at KULeuven, Faculty of Architecture and program director of the Master in Interior Architecture, KULeuven.
Fredie Floré wrote a PhD on the history of discourses on 'better living' in Belgium in the period 1945-1958 (published in 2010 by Leuven University Press). Currently her research focuses on the representational role of architecture, interiors and furniture design in the second half of the 20th century. Floré is co-editor of two books and published many chapters and articles in national and international books or journals, including The Journal of Architecture, the Journal of Design History, Interiors, Architectural History and De Witte Raaf. Together with Cammie McAtee (Harvard University) she is currently editing a volume for Ashgate on 'The Politics of Furniture. Identity, Diplomacy and Persuasion in Post-War Interiors.'
Claire Wintle is a senior lecturer in the History of Art and Design at the University of Brighton, UK.
Her book, Colonial Collecting and Display: Encounters with Material Culture in the Andaman and Nicobar Islands (2013) is published by Berghahn, and Cultures of Decolonisation: Transnational Productions and Practices, 1945-1970 (edited with Ruth Craggs) will be published by Manchester University Press in January 2016. Her research is increasingly focused on museums and decolonisation between 1945 and 1970, and Indian cultural diplomacy in the middle years of the twentieth century.
Katarina Serulus is a PhD Candidate and Lecturer at the Faculty of Design Sciences at the University of Antwerp. In October 2011, she started her research “Design and Politics: The Promotion of Industrial Design in Postwar Belgium (1954-1986),” which deals with national design policies in Belgium.
Meghen Jones is Assistant Professor of Art History at the New York State College of Ceramics of Alfred University.
Previously, she was a Robert and Lisa Sainsbury Fellow at the Sainsbury Institute for the Study of Japanese Arts and Cultures (2013–2014), Teaching Fellow in Japanese Studies at Earlham College (2011–2013), and a Fulbright Fellow based at the Crafts Gallery of the National Museum of Modern Art, Tokyo (2009–2010). Her research on Japanese ceramics, modern craft, and art in transnational perspective has been published in several journals and catalogues, and she is currently completing a book manuscript on the ceramics of Tomimoto Kenkichi. She received a PhD in the History of Art and Architecture from Boston University and an MA in Industrial, Interior, and Craft Design from Musashino Art University.
Sonnet Stanfill is Acting Senior Curator of 20th century and contemporary fashion at the V&A, where she has worked since 1999.
Her exhibitions include Ossie Clark (2003), New York Fashion Now (2007) and Ballgowns: British Glamour Since 1950 (2012). After curating Italian Style: Fashion Since 1945 in 2014, Sonnet joined the curatorial team for Alexander McQueen: Savage Beauty (2015). Sonnet holds an MA in the history of dress from the Courtauld Institute of Art and a BA in Art History from Smith College. She has published and lectured widely on varied aspects of fashion design.
Tom Wilson is Head of Collection and Research at the Design Museum.
He is completing an AHRC-funded collaborative doctorate at the University of Brighton and the Design Museum, researching the design and display strategies of the Commonwealth Institute in London. In August 2013 Tom was Curator in Residence at the National Institute of Design in Ahmedabad as part of the British Council’s Design Curation Programme in India.
Harriet Atkinson is a design historian.
She is section editor of the forthcoming Bloomsbury Encyclopedia of Design and her book The Festival of Britain: A Land and its People was published by I.B. Tauris in 2012. She teaches history of art and design, critical and cultural studies at University of Brighton and at University of the Arts, London.
Verity Clarkson is a design historian at the University of Brighton, teaching historical and critical studies and history of art and design. She studied history at St Hilda’s College, Oxford University before taking an MA in History of Design at Brighton, exploring the material culture of vintage analogue synthesizers. Her PhD thesis (AHRC collaborative award, Brighton and the V&A Museum), investigated the organization and reception of eastern bloc exhibitions of art, design, trade goods and historical artefacts in Britain during the Cold War. She has also worked at the Natural History Museum and the Crafts Council.
Susan E. Reid is Professor of Cultural History in the Department of Politics, History and International Relations at Loughborough University, and until 2015 was Professor of Russian Visual Culture in the Department of Russian and Slavonic Studies, University of Sheffield.
She has published widely on visual and material culture, gender and consumption in the USSR, with a focus on the Khrushchev era. Her publications on Cold War culture include: “Cold War Binaries and the Culture of Consumption in the Late Soviet Home,” Journal of Historical Research in Marketing, 2015; “The Soviet Pavilion at Brussels ’58: Convergence, Conversion, Critical Assimilation, or Transculturation?” Cold War International History Project Working Paper No. 62 (2010); and “‘Who Will Beat Whom?’ Soviet Popular Reception of the American National Exhibition in Moscow, 1959,” Kritika: Explorations in Russian and Eurasian History 9, no. 4 (2008): 855-905. Other recent publications include: “Khrushchev in Wonderland: The Pioneer Palace in Moscow’s Lenin Hills, 1962,” in Andreas Müller and Susanne Pietsch, eds, Walls that Teach (Japsam, 2014); “Makeshift Modernity: DIY, Craft and the Virtuous Homemaker in New Soviet Housing of the 1960s,” History, Culture and Modernity 2, no. 2 (2014): 87-124; “This is Tomorrow: Becoming a Consumer in the Soviet Sixties,” in Anne Gorsuch and Diane Koenker, eds, The Socialist Sixties: Crossing Borders in the Second World (Indiana University Press, 2013).
Trained in design in the UK and Germany, Michael Thomson established Design Connect in London in 1995.
As an independent design strategist, Michael has shaped and facilitated strategies and projects for both private and public sector clients across Europe, as well as in Asia and the US.
As President of The Bureau of European Design Associations, (2007-2009), Michael initiated and drove the high-level, lobbying process that saw design included in the EU’s innovation strategy for the first time in 2010. Michael has worked on further strategic, design policy projects in Austria, Iceland, Ireland, Italy, North America (New York), Qatar and the UK.
The University of Brighton awarded Michael the Honorary Degree of Doctor of Arts, in recognition of his ‘significant contribution to design’ in February 2014.