Angol
taken specially for Conran Octopus by S, mon Lee: 5 top. 22-23. 29 below. 30-31. 43 I:CHINA 23 above. 53 left. 58. 71 We would like to thank the following for their cooperation: The Conran Shop Design Museum Rosenthal Sasaki Every effort has been made to trace the copyright holders and we apologize In advance for any 2:METALWARE 37 unintentional omission and would be pleased to Insert the appropriate acknowledgment In any subsequent edition of thIS publication. AUTHORS' ACKNOWLEDGMENTS The authors wish to thank all those manufacturers and designers 3:GLASS 49 who answered queries and searched through their archives. the supportive and professional staff at Conran Octopus and Sir Terence Conran for his personal interest and guidance. NOTE TO READER Names of objects and deSigners printed In roman or bold type denote that a photograph of the 4:CUTLERY AND object or a biography of the designer can be found elsewhere in PLASTICS 61 the book. BIOGRAPHIES 72 INDEX 80 6 TABLEWARE THE SIGNIFICANCE OF TABLEWARE DESIGN The way we eat and entertain, and the objects we put on our tables relate to the most fundamental cultural rituals of our society. Over centuries the rite of dining has evolved into a complex social activity in which rules are obeyed and customs observed. Table manners and table objects say a lot about us - the cultures to which we belong, the economic systems to which we adhere and our sense of our own style and status.
