A dictionary of design styles, written from the works themselves.
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169
デコラ / late 1990s– / Style / Street Style
A Harajuku style that layers masses of hairclips and toy-like accessories until sheer quantity becomes the organizing principle. It is maximalism worked out on the body.
Masses of hairpins / Layered accessories / Saturated multicolor / Character goods
170
サプール / 1920s– / Style / Street Style
The Congolese Society of Ambience-Makers and Elegant People turns the flawless wearing of vivid suits into a practice of dignity. It is a peaceful dandyism whose weapon is dress.
Vivid three-piece suits / Strict color discipline / Gesture and gait / Festivity inside daily life
171
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ストリートウェア / 1980s / Style / Street Style
Puts a large printed image or logo at the center, and shows the body as a broad face of heavy cloth rather than a silhouette.
A logo printed large on chest or back / Heavy hooded and crew sweats / Loose, straight cut / Sneakers at the feet
172
ノームコア / 2013– / Aesthetic / Subculture Style
The trend-forecasting group K-HOLE gave a name to stepping out of the race to differentiate and choosing a plainness that can connect with anyone. Naming it turned fashion discourse on its head.
Plain, standard clothes / No logos / Deliberate ordinariness / Freedom from style
173
スペースエイジ・ファッション / 1960s / Style / Fashion History
The couture avant-garde of the 1960s translated the optimism of the space race into experiments with material, using metal, plastic and geometric cuts to present the body as an object of the future.
Mini A-lines / Metal and plastic / Helmets and goggles / White and silver
174
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ドイツ表現主義映画 / 1919–1927 / Style / Cinematic Visual Styles
Warped sets, painted shadows and extreme contrast turned a character's inner state directly into landscape, bringing a scenery of the mind into cinema.
Warped sets / Painted-on shadows / Oblique compositions / Extreme chiaroscuro
175
ソビエト・モンタージュ / 1924–1930s / Technique / Cinematic Visual Styles
An editing theory that generates meaning from the collision of opposing shots. Meaning lives not in the single image but in the gap between two.
Colliding shots / Rhythmic cutting / Crowds against details / Inserted symbols
176
サイレント映画の字幕カード / 1900s–1920s / Technique / Film Technology
Dialogue and description were cut into the film as separate cards of type. This is where cinema and typography first met.
Text cards on black / Ornamental frames / Hand lettering / Alternating rhythm with the action
177
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テクニカラー / 1922–1950s / Technique / Film Technology
Brought saturated color to cinema by separation negatives and dye transfer, fixing 'color more vivid than reality' in film memory.
Saturated primaries / Dye-transfer depth / Color supervision / Color-coding dream and reality
178
イタリアン・ネオレアリズモ / 1943–1952 / Style / Cinematic Visual Styles
Cinema that left the studio to film non-professional actors in the street, taking postwar poverty and daily life as its subject and standing on the side of reality.
Location shooting / Non-professional actors / Available light / Postwar streets
179
ヌーヴェル・ヴァーグ / 1958–1968 / Style / Cinematic Visual Styles
Critics picked up cameras and went out into the street, using handheld shots, jump cuts and self-reference to turn the grammar of film into a playground.
Handheld camera / Jump cuts / Street locations / Cinema about cinema
180
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キアロスクーロ / 16th century– / Technique / Painting Techniques
It carves form out of strong contrast and lets light itself tell the story and carry the feeling. The grammar of that light runs from painting through to film noir.
A single light source / Deep darkness / Form carved by light / Dramatic shadow
181
表現主義 / 1905–1930s / Style / Avant-garde
Painting what was felt rather than what was seen. Warped forms, violent brushwork and unnatural color moved the anxiety of the city and the age straight onto the surface.
Distorted form / Unnatural color / Rough brush and cut / Urban anxiety
182
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クーフィー体 / 8th century onward / Style / Calligraphic Traditions
Keeps the uprights short and draws the horizontals long, massing letters of straight strokes and right angles into a band of even height.
Horizontals drawn long / Short angular uprights / Letters turning at right angles / Lines massed into an even band
183
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ペルシア細密画 / 13th–17th century / Style / Persian and Indian Painting
Multiple viewpoints, jewel-like pigments and a composition unafraid of empty space paint poetry and history as complete worlds contained inside a book.
Multi-viewpoint space / Saturated mineral pigments / Ornamentalized nature / Script united with image
184
カーリーガート絵画 / 19th century–1930s / Style / Persian and Indian Painting
Pilgrims bought these paintings by the sheet at the temple gates of Calcutta, where thick contours and bold omission rendered gods and social satire in the same hand.
Thick fluent contours / Bold omission / Watercolor transparency / Gods beside satire
185
ミティラー画（マドゥバニ） / traditional–present / Style / Persian and Indian Painting
Women of the Mithila region in Bihar have painted these festival images on walls and floors for generations. Pattern crowds out every empty space, and the mythic imagery is still alive and still being updated.
Pattern filling the plane / Double outlines / Mythic imagery / Natural pigments
186
バティック（ジャワ更紗） / traditional–present / Technique / Textile Traditions
Javanese cloth resisted with wax and dyed over and over again. The line drawn by the canting builds a pattern system that also speaks of rank, region and rite.
Crackle of the wax resist / The canting's line / Layered indigo and soga brown / A semantic pattern system
187
ワヤン・クリ（影絵芝居） / traditional–present / Style / Stage Design
Javanese shadow theater works pierced leather puppets between a lamp and a screen, and in doing so perfected a formal language of contour, silhouette and the stylized profile.
Pierced leather puppets / Stylized profiles / Shadow and light source / All-night performances
188
ケンテ / 17th century– / Style / Textile Traditions
The strip-woven cloth of Ghana's Asante and Ewe gives every color and every pattern a name and a meaning, so that wearing it makes a statement.
Strips sewn into cloth / High-key gold, red, green / Named patterns / Ceremonial dress
189
アディンクラ / 19th century– / Style / Symbol Systems
The Akan compressed their proverbs into figures and stamped them onto cloth with gourd blocks. One shape carries one thought, which makes the set a working graphic language.
Figures that carry proverbs / Gourd-stamp printing / Repeating grids / Cloth of mourning and rite
190
ボゴランフィニ（泥染布） / traditional–present / Technique / Textile Traditions
Bamana cloth from Mali is drawn with fermented river mud. Iron reacting with plant dye yields a black-and-cream geometry that records story and protection.
Mud-dyed black and cream / Hand-drawn geometry / Signs that tell stories / Each cloth unique
191
ンデベレの家壁画 / 1940s– / Style / Mural Traditions
Ndebele women in South Africa paint high-chroma geometry across the walls of their houses. The straight lines are ruled by hand alone, and the house itself becomes a banner of resistance and identity.
Freehand straight lines / Black outlines, primary color / Geometry across whole walls / A women's inherited skill
192
アズレージョ / 15th century– / Style / Ornament
Portugal's blue-and-white tile works as the skin of architecture, opening story, map and ornament onto the street until the city itself can be read as a printed plate.
Blue-and-white tile / Narrative panels wall-high / Repeating pattern / One body with the building
IndexStyle is not a list of every term used around design. An independent entry must describe a visual language that can be recognised, reproduced and distinguished from its neighbours. Editorial standard