This publication is a highly visual celebration of the massively popular, but now largely forgotten, Britain Can Make It exhibition. Organized by the Council of Industrial Design, it was held in empty ground-floor galleries of the Victoria & Albert Museum, from September to December 1946. A groundbreaking, morale boosting exhibition, it showcased British design and manufacturing. Despite its short run, it boasted an incredible 1.5 million visitors, and remains one of the most visited exhibitions ever held at the V&A. Long before the end of the Second World War hostilities, the government's Post War Export Trade Committee recognized the importance of promoting the country's manufacturing capabilities. Plans for an exhibition of 'National Importance' were set in place in October 1942, for an event that would illuminate the gloom of austerity, educate the public in the value of good design, and most importantly, boost much needed foreign trade. Britain's need to promote, manufacture and export its goods was urgent. The job of organizing the exhibition was given to the Council of Industrial Design on behalf of the government's Board of Trade. From its early planning stages, there was a desire to create an exhibition that was full of color, light and airy, and far removed from the browns and greens of the inter-war years. The exhibition was also intended to work as a public morale boosting exercise and it did, attracting visitors from around the country. Mile-long queues constantly formed outside the V&A. Interviewed in 1984, James Gardner, the designer of the exhibition, commented on the motivation for it: 'We'd got to get British manufacturers to produce well-designed goods quickly and to cheer the British public up. They were so depressed. Give them something to look forward to. You know, this was the dream of the future, if you like.' BCMI was not a trade show. Manufacturers had to put forward their products and only those deemed the best examples were chosen by specialist committees. An accompanying catalog detailing the manufacturers of products (and significantly, wherever possible the names of the designers of each product), could be bought by visitors from one of the bookstalls dotted around the exhibition. The catalog explained when goods would be available for the home and trade markets: 'Now, ' 'Soon' or 'Later.' Most often they were 'Later' for the home market which led to negative comments in the press, such as: 'Britain Can't Have It, ' 'Britons can't buy it, ' and 'Britain Can't Get It.' Products representing key consumer groups, including clothing, leisure, and domestic products were displayed. These were diverse, from pottery and glass, to radios, women's and men's wear, furniture, fabrics, toys, jewelry, boilers, taps, and sporting equipment. The Furnished Rooms section showcased room sets that sought to show how a range of people from different professional groups might live. By taking its structure loosely from the exhibition itself and from the accompanying Design '46 catalog, Britain Can Make It will take the reader through an eclectic range of subject areas and consumer products. The book begins with a discussion of the political climate and economic motivations that led to this exhibition of 'National Importance' taking place, and an overview of the contemporary social context. Additional essays will cover specific aspects of the exhibition itself, including the surrealist design of the exhibition, the art and artists involved, the naming, and the 'Design Quiz.' Most chapters will be in the form of short illustrated essays.

This Separated Isle explores how concepts of ‘Britishness’ reveal an inclusive range of understandings about our national character. Featuring a diverse range of photographic portraits and narrative stories from across the UK, this landmark book examines the relationship between identity and nationhood, revealing the ties that bind us together.

Recording Britain was an artistic documentary project compiled as Britain was facing the potentially devastating impact of the Second World War. This book brings together highlights from the collection by artists such as John Piper, Michael Rothenstein, Barbara Jones and Stanley Badmin.

What are countries famous for making? For Japan, the answer might be electronic goods. For Germany, automobiles. For France, perhaps a Louis Vuitton bag. But what about Britain? Here, Evan Davis sets himself the task of finding out. Offering a fascinating look at our manufacturing industries and revealing the various companies that might not be household names, but are very much world leaders in their fields, he shows how we have learnt to specialise in high end and niche areas that are the envy of the world. Taking in our disappointments and successes, Made in Britain is a brilliantly readable tour of our economic history, exploring the curious blend of resilience, innovation and economic free-thinking that makes us who we are.

Nine essays and a collection of documents intended as a working tool for students of the post-war period and in particular of design within the period. They discuss the textiles, pottery, and furniture industries in terms of the shifts in meaning and location during the transition from highly controlled wartime production to the more market-based structure that would become characteristic after the immediate reconstruction. Among the specific topics are the place of the exhibition in the history of design; patriotism, politics, and production; adapting utility furniture to peace-time production; and aesthetic idealism and economic reality. Distributed in the US by Books International. The CiP data shows the main title as Popular Politics and Design in Post-War Britain. Annotation copyrighted by Book News, Inc., Portland, OR

Think Michele Guinness meets Bill Bryson. Finding Myself In Britain is a witty, insightful look at faith, identity and the quirks of British life by a stranger-turned-friend. With a conversational style, this book explores rooting our faith in Christ to weather any storm and flourish in the sunshine. It helps readers look at Britain and its culture with fresh eyes while finding Jesus in the midst of it. "You don't have to be an American to enjoy this book. Or British. Or a vicar's wife. You just have to be somebody who has found themselves in an unusual place, felt a bit out of their depth, and wondered where God was in all of that. That's most of us, I think." Bob Hartman.

"The book challenges the common view that the Exhibition symbolized peace, progress, prosperity, and the emergence of an industrial middle class. Auerbach suggests instead that the Great Exhibition became a cultural battlefield on which proponents of different visions of industrialization, modernization, and internationalism fought for ascendancy in the struggle for a new national identity."--BOOK JACKET.