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Produced in greater numbers than any other Allied aircraft, the single-seat fighter aircraft that is the Submarine Spitfire made it’s first flight in 1936. Designed by R J Mitchell, the Spitfire also holds the accolade for being the only Allied aircraft in production throughout the duration of the Second World War.

Primarily flown by the RAF from 1938, the distinctive elliptical winged design gave the Spitfire a higher top speed than many of its contemporaries. More of a bit part player in the Battle of Britain (the Hawker Hurricane did more damage to the German forces), the Spitfire’s status is legendary in aircraft folklore. By its retirement in 1957, over 20,000 had been produced.

Did you know?
The Spitfire was almost called the Shrew. Sir Robert MacLean, director of Spitfire maker Vickers-Armstrong in 1936 suggested the legendary name, as it was the affectionate name of his daughter, Ann. Dating from Elizabethan times, ‘Spitfire’ signifies a fiery type of person.

Founded in 1935, British publisher Penguin soon became a byword for popular fiction, selling over one million books in its first year. Right from the start, the design of the company’s book covers was simple, with three horizontal bands of colour, instantly making them different from the illustration laden competition.

The top and bottom panels were coloured contrastingly accordingly to the type of genre to which the books belonged; the iconic orange and white palette signifying general fiction. Designed by 21-year-old Penguin office junior Edward Young, the books’ white central panel featured the author’s name and title in Eric Gill’s sans serif typeface Gill Sans. Young’s basic design was popular and timeless, being used until the 1950s.

Did you know?
Recent editions of Penguin imprints have revisited the classic three-band design, so recognisable is the look. The original 1935 colour scheme for the fiction books included green and white for crime, red and white for travel, blue and white for biographies, purple and white for essays, and grey and white for world affairs.

No worker’s desk is complete without an anglepoise lamp, and few realise that this icon of light was designed by a British car designer. George Carwardine created the anglepoise in 1932, when he was working on suspension systems; the lamp can be adjusted into a range of positions and remain stationary and self supported without the need for clamps.

With a patent granted and manufacturing under way, Carwardine evolved the four-spring design into other uses, such as a support for microphones. Still in use today, the original lamp was intended for use in working environments, but quickly found a place in homes the world over. Extensive copying and a timeless design more than helped the anglepoise lamp gain its popularity.

Did you know?
Contrary to popular belief, Carwardine’s original anglepoise design is not related nor based on the concept of human limb movement.

London Underground employee Harry Beck’s easy to understand and world famous 1931 schematically designed map for the Capital’s rapid below-street rail system was based on an electrical wiring diagram. The basic topographical concept of Beck’s original design has influenced other underground network maps around the world.

Tentatively introduced to the travelling public in 1933, Beck’s map was a spare time and non-commissioned project which soon became popular. Beck continued to slowly evolve the map until 1960, and even today, the modern version enjoys a strong resemblance to the original. Cited a design classic, the design is usually not permitted to be altered for any purpose.

Did you know?
There are eight versions in total of the London Underground map, including High Frequency Services (the more frequent lines are highlighted), Bicycle, and web-based Real Time Disruption variants.

The oldest icon depicted on the Royal Mail British Design Classics stamps is Sir Giles Gilbert Scott’s K2 telephone kiosk, dates from 1926. An unmistakable sight on the streets of the UK, the red telephone box came about as a result of a 1924 competition to design a kiosk that would be acceptable to the London Metropolitan Boroughs which had resisted efforts from the Post Office to put up older K1 kiosks on their streets.

Entries from respected architects, the Post Office, and The Birmingham Civic Society were all considered, with Gilbert Scott’s design being triumphant. A trustee of the Sir John Soane’s Museum, Gilbert Scott had topped his design with a dome similar to Soane’s self-designed mausoleum, and had suggested that the K2 was painted silver. The Post Office painted the cast iron design red, and its place in British culture was assured.

Did you know?
The red paint finish was chosen to make the K2 easy to spot, and the kiosk also appeared on the streets of British principalities Gibraltar and Malta.