department stores also did their part. The stylists and the decorators helped. Europe contributed constant ideas which were gradually assimilated. America had finished building its houses and began to examine the furnishings. The desire for color, style, design aroused during the twenties has lasted on, spreading perhaps as the individual's prospects have become more somber. Hundreds of reasons could be marshalled to explain the extraordinary application of design to the package we are witnessing today. The most powerful of them is the fact that they all worked together. They were cumulative in their effect on the container which no one had seriously bothered with during the period of For Gilbert Products the designer, Gustav Jensen, typifies extreme cleanliness, inspires confidence in the product and at the same time has made his containers colorful. Covering as they do, a wide range of industry, these packages represent important contributions to American design. They escape the dear and dreadful "buckeye" on the one hand and the "arty" 011 the other. They are business-like and distinguished. The lady stylist of the mid-twenties had no hand in their creation nor are they the residt of an explosion of inspiration in some "art-idea" shop. Certain of them are the creations of advertising agencies; others are the work of independent designers; still others are anonymous because several minds con tributed to their development. From dog soap to Acousticon, from Dorothy Cray to W oolworth, in metal, glass, plastics, foil, cardboard, paper and Cello phane they have been planned to sell merchandise. Their clarity, simplicity, and distinction put the adver tising page of 1932 to shame. Has the designing urge fled from the magazine to the package? Has the picture become the product? What of good taste and the depression? Advertising shows signs of trading down. Here is merchandise trading up. Art directors are wringing their hands because clients will not O. K. distinguished campaigns with the striking illustrations of three or four years ago. Those same manufacturer- clients are installing art departments in their factories, paying for redesigned packages, consulting eminent stylists. Is the package on a rampage today blossoming into a three-days' wonder soon to collapse of its own weight of art, or are we facing a normal development in which art serves as a new business tool? What is this paradox of situation which deprives advertising of much of its beauty and attractiveness while at the same time it stimulates those same aspects of the package? Of one thing we may be sureit did not happen over night. Neither the public nor the designers would have been ready for it. Much of the credit for the long preparation period belongs to advertising. The

Advertising Arts en | 1932 | | page 35