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<TABLE CELLSPACING=0 CELLPADDING=0><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=80></TD><TD>List of plates</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>viii</TD><TD VALIGN=TOP>(5)</TD></TR><TR><TD>Acknowledgements</TD><TD WIDTH=40></TD><TD VALIGN=TOP>xiii</TD><TD></TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>1  Introduction:  illusory cities</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>1</TD><TD VALIGN=TOP>(22)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>2  Villes lumieres</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>23</TD><TD VALIGN=TOP>(30)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Exhibiting Paris as a `woman's city'</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>23</TD><TD VALIGN=TOP>(10)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The boutique and the pavillon</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>33</TD><TD VALIGN=TOP>(20)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>3  La boutique and the face of modern Paris</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>53</TD><TD VALIGN=TOP>(27)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Little shops</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>55</TD><TD VALIGN=TOP>(4)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>An Architectural face-lift for Paris</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>59</TD><TD VALIGN=TOP>(11)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Seductive surfaces</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>70</TD><TD VALIGN=TOP>(10)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>4  The art of the shop-window</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>80</TD><TD VALIGN=TOP>(34)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>A physiognomy of effacement</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>82</TD><TD VALIGN=TOP>(9)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Staging the commodity:  transformation scenes</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>91</TD><TD VALIGN=TOP>(5)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>The artist and the shop-window</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>96</TD><TD VALIGN=TOP>(5)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Mannequins at the 1925 Exhibition</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>101</TD><TD VALIGN=TOP>(13)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>5  Cars and jars:  L'Esprit Nouveau and a geometry of the city</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>114</TD><TD VALIGN=TOP>(32)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Cars: an `optique moderne'</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>118</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=40></TD><TD>Pots:  the contours of desire</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>130</TD><TD VALIGN=TOP>(16)</TD></TR><TR><TD><TABLE CELLSPACING=0 CELLPADDING=0><TR><TD WIDTH=20></TD><TD>6  Conclusion</TD></TR></TABLE></TD><TD WIDTH=40></TD><TD VALIGN=TOP>146</TD><TD VALIGN=TOP>(13)</TD></TR><TR><TD>Select bibliography</TD><TD WIDTH=40></TD><TD VALIGN=TOP>159</TD><TD VALIGN=TOP>(12)</TD></TR><TR><TD>Index</TD><TD WIDTH=40></TD><TD VALIGN=TOP>171</TD><TD></TD></TR></TABLE>

Designs on Modernity presents the 1925 Paris Exhibition as a key moment in attempts to update the image of Paris as &#34;capital of the nineteenth century&#34;. At the Exposition Internationale des Arts Decoratifs et Industriels Modernes, Paris itself, as much as the commodity, was put on show. Tag Gronberg focuses on the exhibition as a set of contesting representations of the modern city, stressing the importance of consumption and display for concepts of urban modernity. Here Le Corbusier&#39;s now famous Pavillon de L&#39;Esprit Nouveau with its Plan Voisin for the redesign of Paris confronted another equally up-to-date city: Paris as &#34;a woman&#39;s city, &#39; world center of fashion and shopping. Taking as her starting point one of the most dramatic 1925 exhibits, the rue des Boutiques which spanned the river Seine, Gronberg analyzes the contemporary significance of the small Parisian luxury shop. She shows how boutiques, conceived both as urbanism and as advertising, redefined Paris as the modern city. This emphasis on shops and shopping casts new light on French visual culture of the 1920s as well as on the role of gender in formulations of early twentieth-century modernity.

Designs on modernity : exhibiting the city in 1920s Paris