Day in the life
Passing through Cirencester, we spot a large temporary yellow sign telling us that there’s an exhibition of Lucienne Day’s textile designs at the New Brewery Arts Centre.* We have time to spare, so pull in, to find a single, very pleasing room of the work of one of Britain’s best, best loved, and most influential designers of the second half of the 20th century.
Lucienne Day specialised in textile design at the Royal College of Art, met her husband, the furniture designer Robin Day there, and left college in 1940. With the world at war, there wasn’t much work for a textile designer, so she taught for a few years, starting as a freelance designer after the war ended. Widespread recognition came with the 1951 Festival of Britain, when she created her Calyx fabric design for two of the Festival pavilions that contained work by her and Robin. She also sold the design to Heal’s, although their fabrics director Tom Worthington didn’t think it would sell so only gave her half her usual fee. Calyx was a lasting success and was followed by many others – around 70 designs for Heal’s alone.
Calyx (two colourways of which are on the rear wall in my photograph, which can be enlarged by clicking on it) draws on Day’s love of modern art: it seems to speak of the paintings of Paul Klee and Joan Miro and perhaps the mobiles of Alexander Calder too. It’s a far cry from the old floral prints that people were used to, but it’s not aggressively modern. It combines newness and bright colours with a certain charm. It’s also rooted in stylised natural forms (parts of flowers, seed heads – Day was a keen gardener). This use of natural motifs (albeit abstracted or transformed) is one reason for the exhibition’s title, Lucienne Day: Living Design.
The main display in my photograph shows a selection of Day’s fabrics. In the foreground, Flotilla (1952) is similar in spirit to Calyx and draws on the appearance of buoys floating at sea. Magnetic (1957) is based on a repeated horseshoe magnet motif and is shown here in a particularly vibrant colourway; it was roller-printed and so cheaper than most of the fabrics, which were screen-printed. Dandelion Clocks (1953) is another design drawing on abstracted natural motifs – dandelion seeds and seed heads. Then come Spectators (1953) with its stylised human figures, the tree-based Larch (1961), and another colourway of Calyx.†
The exhibition also includes smaller pieces of fabric, artwork, and images of room sets (some also featuring Robin Day’s furniture). It makes up an engaging and informative picture of the work of a fine designer, someone who helped to create the style we now think of as mid-century modern and had a huge influence on the look of British interiors from the 1950s onwards.
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* Lucienne Day: Living Design is at the New Brewery Arts Centre, Cirencester, until 20 May 2018.
† As it is difficult to see Larch and Spectators in my picture, I have provided links to the site of the Robin and Lucienne Day Foundation, where there is much information about the designers’ work.
Sorry to say, these are exactly the designs I'd strip off a wall and replace with something else! Analysing this attitude, does this just mean I'm a child of my time, a slave to the Zeitgeist - is there any possibility of an objective aesthetic standard independent of the fact of being born in 1951? Any suggestions?
ReplyDeleteFunny, I've just read someone else's post about this very same exhibition. I used to hate typically 1950s stuff, because it seemed (and was) out of date then, and I associated it with tired old living rooms where nobody had changed the decor for 30 years. Now I appreciate what a breath of fresh air it was.
ReplyDeleteJoseph: Probably not! However, like Jenny, I have started to appreciate these designs for the qualities they were perceived to have when they were made – above all something one could perhaps best describe as freshness. But maybe that's because I am most at home with designs that are out of date!
ReplyDelete