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This Italian design movement emerged as a counter to the increasingly loose definitions associated with Postmodernism. As the word ‘Modernism’ in its title implied there were some ideological links with the attachment to a functional aesthetic and rejection of past styles by the international avant‐garde of the 1920s and 1930s. However, Neo‐Modernists acknowledged the significance of an individual aesthetic as a ‘functional’ dimension of design, together with their acceptance of a pluralist outlook rather than the search for universal solutions associated with the Modernist cause.

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