Sabine Wieber is Lecturer in History of Art, Architecture and Design at the University of Glasgow, UK. She has contributed writing to various publications including Stitching the Self (Bloomsbury, 2020), Design and Agency (Bloomsbury, 2020) and Designing the Modern Interior (Berg, 2009), and has written for several journals including Journal of Design History and Rethinking History.

Discussing many actors not widely known outside specialist circles, Sabine Wieber demonstrates the important roles women played not only in questions of design and creative practice, but also in social and political reforms, feminism, and education...The structure of the book is well-conceived to consider the broader categories beyond artist or designer, allowing Wieber to weave a narrative around complex social and political questions without falling into tropes of design icons or individual hagiographies.

• List of Figures Acknowledgments Introduction: A New Style for a New Age?0.1 Modern Women0.2 The Cultural Geography of Munich around 19000.3 Munich – Berlin0.4 Prince Regent Luitpold 0.5 The Term Jugendstil0.6 Chapters Summary1. Maker: Margarethe von Brauchitsch and the United Workshops 1.1 Introducing Margarethe von Brauchitsch1.2 The Vereinigte Werkstätten für Kunst im Handwerk 1.3 The Kunstsalon Littauer 18961.4 The ‘Seventh International Art Exhibition’ at the Munich Glaspalast1.5 The United Workshops and Margarethe von Brauchitsch1.6 A New Direction for Embroidery1.7 The Materiality of Margarethe von Brauchitsch’s Embroideries1.8 Interiors and Textiles1.9 Machine Embroidery 1.10 Embroidery and Jugendstil Historiography1.11 Was Margarethe von Brauchitsch a Jugendstil Woman?1.12 Relegated to the Sidelines2. Activists: The Elvira Photography Studio and Munich Feminist Politics 2.1 August Endell’s First Commission2.2 August Endell and Munich Jugendstil2.3 The Building and Its Facade2.4 The Interior2.5 The Patrons: Antia Augspurg and Sophia Goudstikker2.6 Studio Photography in Munich around 19002.7 The Photo-Studio Elvira and Munich’s Women’s Movement2.8 The Association for Women’s Interests (1894)2.9 Going their Separate Ways2.10 Jugendstil Experimentation and Political Advocacy 2.11 Postscript3. Students: Education Women at the Debschitz School3.1 The Debschitz School at Dresden3.2 Hermann Obrist (1862-1927)3.3 Wilhelm von Debschitz (1871-1948)3.4 The Lehr- und Versuchsatelier für Angewandte und Freie Kunst3.5 The Curriculum3.6 Women at the Debschitz School 3.7 Art and Design Education in Munich around 19003.8 The Royal Applied Arts School (1868)3.9 The weibliche Abteilung at the Royal School of Applied Arts (1872)3.10 The Munich Women Artists’ Association and its Frauenakademie 3.11 Women at the Debschitz School3.12 Emilie Butters (1879-1961)3.13 Modernism’s Paradox4. Patron: Fashionable Taste at Elsa Bruckmann’s Salon4.1 Elsa Bruckmann (1865-1946)4.2 Munich-Vienna: The Todesco Palais4.3 Marrying into a Publishing Empire4.4 The Bruckmanns’ New Headquarters4.5 Munich-Glasgow: The Dining Room4.6 Munich-London: Hermann and Anna Muthesius4.7 Elsa Bruckmann’s Debut as Salonnière4.8 A Brief History of Salon Culture4.9 The Mackintosh Dining Room-cum-Salon4.10 Salon Culture and Gender 4.11 Elsa Bruckmann’s ‘Enhanced Independence’5. Reformers: Dressing the Part5.1 What is Artistic Dress?5.2 Künstlerkleider and German Dress Reform5.3 Dress and Function5.4 Fashion/Anti-Fashion5.5 Maria van de Velde and Alfred Mohrbutter 5.6 Artistic Dress and Jugendstil Interiors5.7 Health and Beauty5.8 German Life Reform5.9 Dress Reform and Germany’s Women’s Movement 5.10 Jugendstil Women and Dress Reform5.11 Anna Muthesius and Else Oppler5.12 Artistic Dress and the Department Store5.13 The Kaufhaus Oberpollinger and the Warenhaus Hermann Tietz5.14 ShoppingConclusionBibliographyIndex

Sabine Wieber is Lecturer in History of Art, Architecture and Design at the University of Glasgow, UK. She has contributed writing to various publications including Stitching the Self (Bloomsbury, 2020), Design and Agency (Bloomsbury, 2020) and Designing the Modern Interior (Berg, 2009), and has written for several journals including Journal of Design History and Rethinking History.

Discussing many actors not widely known outside specialist circles, Sabine Wieber demonstrates the important roles women played not only in questions of design and creative practice, but also in social and political reforms, feminism, and education...The structure of the book is well-conceived to consider the broader categories beyond artist or designer, allowing Wieber to weave a narrative around complex social and political questions without falling into tropes of design icons or individual hagiographies.

• List of Figures Acknowledgments Introduction: A New Style for a New Age?0.1 Modern Women0.2 The Cultural Geography of Munich around 19000.3 Munich – Berlin0.4 Prince Regent Luitpold 0.5 The Term Jugendstil0.6 Chapters Summary1. Maker: Margarethe von Brauchitsch and the United Workshops 1.1 Introducing Margarethe von Brauchitsch1.2 The Vereinigte Werkstätten für Kunst im Handwerk 1.3 The Kunstsalon Littauer 18961.4 The ‘Seventh International Art Exhibition’ at the Munich Glaspalast1.5 The United Workshops and Margarethe von Brauchitsch1.6 A New Direction for Embroidery1.7 The Materiality of Margarethe von Brauchitsch’s Embroideries1.8 Interiors and Textiles1.9 Machine Embroidery 1.10 Embroidery and Jugendstil Historiography1.11 Was Margarethe von Brauchitsch a Jugendstil Woman?1.12 Relegated to the Sidelines2. Activists: The Elvira Photography Studio and Munich Feminist Politics 2.1 August Endell’s First Commission2.2 August Endell and Munich Jugendstil2.3 The Building and Its Facade2.4 The Interior2.5 The Patrons: Antia Augspurg and Sophia Goudstikker2.6 Studio Photography in Munich around 19002.7 The Photo-Studio Elvira and Munich’s Women’s Movement2.8 The Association for Women’s Interests (1894)2.9 Going their Separate Ways2.10 Jugendstil Experimentation and Political Advocacy 2.11 Postscript3. Students: Education Women at the Debschitz School3.1 The Debschitz School at Dresden3.2 Hermann Obrist (1862-1927)3.3 Wilhelm von Debschitz (1871-1948)3.4 The Lehr- und Versuchsatelier für Angewandte und Freie Kunst3.5 The Curriculum3.6 Women at the Debschitz School 3.7 Art and Design Education in Munich around 19003.8 The Royal Applied Arts School (1868)3.9 The weibliche Abteilung at the Royal School of Applied Arts (1872)3.10 The Munich Women Artists’ Association and its Frauenakademie 3.11 Women at the Debschitz School3.12 Emilie Butters (1879-1961)3.13 Modernism’s Paradox4. Patron: Fashionable Taste at Elsa Bruckmann’s Salon4.1 Elsa Bruckmann (1865-1946)4.2 Munich-Vienna: The Todesco Palais4.3 Marrying into a Publishing Empire4.4 The Bruckmanns’ New Headquarters4.5 Munich-Glasgow: The Dining Room4.6 Munich-London: Hermann and Anna Muthesius4.7 Elsa Bruckmann’s Debut as Salonnière4.8 A Brief History of Salon Culture4.9 The Mackintosh Dining Room-cum-Salon4.10 Salon Culture and Gender 4.11 Elsa Bruckmann’s ‘Enhanced Independence’5. Reformers: Dressing the Part5.1 What is Artistic Dress?5.2 Künstlerkleider and German Dress Reform5.3 Dress and Function5.4 Fashion/Anti-Fashion5.5 Maria van de Velde and Alfred Mohrbutter 5.6 Artistic Dress and Jugendstil Interiors5.7 Health and Beauty5.8 German Life Reform5.9 Dress Reform and Germany’s Women’s Movement 5.10 Jugendstil Women and Dress Reform5.11 Anna Muthesius and Else Oppler5.12 Artistic Dress and the Department Store5.13 The Kaufhaus Oberpollinger and the Warenhaus Hermann Tietz5.14 ShoppingConclusionBibliographyIndex

Sabine Wieber is Lecturer in History of Art, Architecture and Design at the University of Glasgow, UK. She has contributed writing to various publications including Stitching the Self (Bloomsbury, 2020), Design and Agency (Bloomsbury, 2020) and Designing the Modern Interior (Berg, 2009), and has written for several journals including Journal of Design History and Rethinking History.

Discussing many actors not widely known outside specialist circles, Sabine Wieber demonstrates the important roles women played not only in questions of design and creative practice, but also in social and political reforms, feminism, and education...The structure of the book is well-conceived to consider the broader categories beyond artist or designer, allowing Wieber to weave a narrative around complex social and political questions without falling into tropes of design icons or individual hagiographies.

• List of Figures Acknowledgments Introduction: A New Style for a New Age?0.1 Modern Women0.2 The Cultural Geography of Munich around 19000.3 Munich – Berlin0.4 Prince Regent Luitpold 0.5 The Term Jugendstil0.6 Chapters Summary1. Maker: Margarethe von Brauchitsch and the United Workshops 1.1 Introducing Margarethe von Brauchitsch1.2 The Vereinigte Werkstätten für Kunst im Handwerk 1.3 The Kunstsalon Littauer 18961.4 The ‘Seventh International Art Exhibition’ at the Munich Glaspalast1.5 The United Workshops and Margarethe von Brauchitsch1.6 A New Direction for Embroidery1.7 The Materiality of Margarethe von Brauchitsch’s Embroideries1.8 Interiors and Textiles1.9 Machine Embroidery 1.10 Embroidery and Jugendstil Historiography1.11 Was Margarethe von Brauchitsch a Jugendstil Woman?1.12 Relegated to the Sidelines2. Activists: The Elvira Photography Studio and Munich Feminist Politics 2.1 August Endell’s First Commission2.2 August Endell and Munich Jugendstil2.3 The Building and Its Facade2.4 The Interior2.5 The Patrons: Antia Augspurg and Sophia Goudstikker2.6 Studio Photography in Munich around 19002.7 The Photo-Studio Elvira and Munich’s Women’s Movement2.8 The Association for Women’s Interests (1894)2.9 Going their Separate Ways2.10 Jugendstil Experimentation and Political Advocacy 2.11 Postscript3. Students: Education Women at the Debschitz School3.1 The Debschitz School at Dresden3.2 Hermann Obrist (1862-1927)3.3 Wilhelm von Debschitz (1871-1948)3.4 The Lehr- und Versuchsatelier für Angewandte und Freie Kunst3.5 The Curriculum3.6 Women at the Debschitz School 3.7 Art and Design Education in Munich around 19003.8 The Royal Applied Arts School (1868)3.9 The weibliche Abteilung at the Royal School of Applied Arts (1872)3.10 The Munich Women Artists’ Association and its Frauenakademie 3.11 Women at the Debschitz School3.12 Emilie Butters (1879-1961)3.13 Modernism’s Paradox4. Patron: Fashionable Taste at Elsa Bruckmann’s Salon4.1 Elsa Bruckmann (1865-1946)4.2 Munich-Vienna: The Todesco Palais4.3 Marrying into a Publishing Empire4.4 The Bruckmanns’ New Headquarters4.5 Munich-Glasgow: The Dining Room4.6 Munich-London: Hermann and Anna Muthesius4.7 Elsa Bruckmann’s Debut as Salonnière4.8 A Brief History of Salon Culture4.9 The Mackintosh Dining Room-cum-Salon4.10 Salon Culture and Gender 4.11 Elsa Bruckmann’s ‘Enhanced Independence’5. Reformers: Dressing the Part5.1 What is Artistic Dress?5.2 Künstlerkleider and German Dress Reform5.3 Dress and Function5.4 Fashion/Anti-Fashion5.5 Maria van de Velde and Alfred Mohrbutter 5.6 Artistic Dress and Jugendstil Interiors5.7 Health and Beauty5.8 German Life Reform5.9 Dress Reform and Germany’s Women’s Movement 5.10 Jugendstil Women and Dress Reform5.11 Anna Muthesius and Else Oppler5.12 Artistic Dress and the Department Store5.13 The Kaufhaus Oberpollinger and the Warenhaus Hermann Tietz5.14 ShoppingConclusionBibliographyIndex