In 1939, Vogue magazine invited commercial designer Raymond Loewy and eight of his contemporaries—including Walter Dorwin Teague, Egmont Arens, and Henry Dreyfuss—to design a dress for the "Woman of the Future" as part of its special issue promoting the New York World's Fair and its theme, "The World of Tomorrow." While focusing primarily on her clothing and accessories, many commented as well on the future woman's physique, predicting that her body and mind would be perfected through the implementation of eugenics. Industrial designers' fascination with eugenics—especially that of Norman Bel Geddes—began during the previous decade, and its principles permeated their theories of the modern design style known as "streamlining." In Eugenic Design, Christina Cogdell charts new territory in the history of industrial design, popular science, and American culture in the 1930s by uncovering the links between streamline design and eugenics, the pseudoscientific belief that the best human traits could—and should—be cultivated through selective breeding. Streamline designers approached products the same way eugenicists approached bodies. Both considered themselves to be reformers advancing evolutionary progress through increased efficiency, hygiene and the creation of a utopian "ideal type." Cogdell reconsiders the popular streamline style in U.S. industrial design and proposes that in theory, rhetoric, and context the style served as a material embodiment of eugenic ideology. With careful analysis and abundant illustrations, Eugenic Design is an ambitious reinterpretation of one of America's most significant and popular design forms, ultimately grappling with the question of how ideology influences design.

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As Latin American elites strove to modernize their cities at the turn of the twentieth century, they eagerly adopted the eugenic theory that improvements to the physical environment would lead to improvements in the human race. Based on Jean-Baptiste Lamarck’s theory of the “inheritance of acquired characteristics,” this strain of eugenics empowered a utopian project that made race, gender, class, and the built environment the critical instruments of modernity and progress. Through a transnational and interdisciplinary lens, Eugenics in the Garden reveals how eugenics, fueled by a fear of social degeneration in France, spread from the realms of medical science to architecture and urban planning, becoming a critical instrument in the crafting of modernity in the new Latin world. Journeying back and forth between France, Brazil, and Argentina, Fabiola López-Durán uncovers the complicity of physicians and architects on both sides of the Atlantic, who participated in a global strategy of social engineering, legitimized by the authority of science. In doing so, she reveals the ideological trajectory of one of the most celebrated architects of the twentieth century, Le Corbusier, who deployed architecture in what he saw as the perfecting and whitening of man. The first in-depth interrogation of eugenics’ influence on the construction of the modern built environment, Eugenics in the Garden convincingly demonstrates that race was the main tool in the geopolitics of space, and that racism was, and remains, an ideology of progress.

An examination of eugenic thinking past and present, from forced sterilization to prenatal screening, drawing on experience with those who survived eugenics. Part science and part social movement, eugenics emerged in the late nineteenth century as a tool for human improvement. In response to perceived threats of criminality, moral degeneration, feeble-mindedness, and “the rising tide of color,” eugenic laws and social policies aimed to better the human race by regulating reproductive choice through science and technology. In this book, Rob Wilson examines eugenic thought and practice—from forced sterilization to prenatal screening—drawing on his experience working with eugenics survivors. Using the social sciences' standpoint theory as a framework to understand the intersection of eugenics, disability, social inclusiveness, and human variation, Wilson focuses on those who have lived through a eugenic past and those confronted by the legacy of eugenic thinking today. By doing so, he brings eugenics from the distant past to the ongoing present. Wilson discusses such topics as the conceptualization of eugenic traits; the formulation of laws regulating immigration and marriage and requiring sexual sterilization; the depiction of the targets of eugenics as “subhuman”; the systematic construction of a concept of normality; the eugenic logic in prenatal screening and contemporary bioethics; and the incorporation of eugenics and disability into standpoint theory. Individual purchasers of this book will receive free access to the documentary Surviving Eugenics, available at EugenicsArchive.ca/film.

Eugenic thought and practice swept the world from the late nineteenth to the mid-twentieth century in a remarkable transnational phenomenon. Eugenics informed social and scientific policy across the political spectrum, from liberal welfare measures in emerging social-democratic states to feminist ambitions for birth control, from public health campaigns to totalitarian dreams of the "perfectibility of man." This book dispels for uninitiated readers the automatic and apparently exclusive link between eugenics and the Holocaust. It is the first world history of eugenics and an indispensable core text for both teaching and research. Eugenics has accumulated generations of interest as experts attempted to connect biology, human capacity, and policy. In the past and the present, eugenics speaks to questions of race, class, gender and sex, evolution, governance, nationalism, disability, and the social implications of science. In the current climate, in which the human genome project, stem cell research, and new reproductive technologies have proven so controversial, the history of eugenics has much to teach us about the relationship between scientific research, technology, and human ethical decision-making.

A counterhistory and new historiography of design. In Design by Accident, Alexandra Midal declares the autonomy of design, in and on its own terms. This meticulously researched work proposes not only a counterhistory but a new historiography of design, shedding light on overlooked historical landmarks and figures while reevaluating the legacies of design's established luminaries from the nineteenth century to the present. Midal rejects both linear narratives of progress and the long-held perception of design as a footnote to the histories of fine art and architecture. By weaving critical analysis of the canon of design history and theory together, with special attention to the writings of designers themselves, she draws out the nuances and radical potentials of the discipline—from William Morris's ambivalence toward industry, to Catharine Beecher's proto-feminist household appliances, to the Bauhaus's Expressionist origins, and the influence of Herbert Marcuse on Joe Colombo.

This book reveals how art and sex promoted the desire for the genetically perfect body. Its eight chapters demonstrate that before eugenics was stigmatized by the Holocaust and Western histories were sanitized of its prevalence, a vast array of Western politicians, physicians, eugenic societies, family leagues, health associations, laboratories and museums advocated, through verbal and visual cultures, the breeding of 'the master race'. Each chapter illustrates the uncanny resemblances between models of sexual management and the perfect eugenic body in America, Britain, France, Communist Russia and Nazi Germany both before and after the Second World War. Traced back to the eighteenth-century anatomy lesson, the perfect eugenic body is revealed as athletic, hygienic, 'pure-blooded' and sexually potent. This paradigm is shown to have persisted as much during the Bolshevik sexual revolution, as in democratic nations and fascist regimes. Consistently posed naked, these images were unashamedly exhibitionist and voyeuristic. Despite stringent legislation against obscenity, not only were these images commended for soliciting the spectator's gaze but also for motivating the spectator to act out their desire. An examination of the counter-archives of Maori and African Americans also exposes how biologically racist eugenics could be equally challenged by art. Ultimately this book establishes that art inculcated procreative sex with the Corpus Delecti - the delectable body, healthy, wholesome and sanctioned by eugenicists for improving the Western race.