lucienne day interview

A key moment in both their careers was the Festival of Britain in 1951. There are chairs designed by Robin everywhere, so many that we can't decide on a place to sit. Greene, T. Joan miro 2016 - Just another painter “The painting rises from the brushstrokes as a poem rises from the words. Woodbridge: Antique Collectors's Club, pp.24 , 36,. N.B For further insights, check out the following links.-Lucienne Day obituary-An interview of Robin and Lucienne Day with Wallpaper magazine, December 2008.-V&A Lucienne Day archives Lucienne Day would have been 100 this year. Lucienne and Robin Day, of Great Britain, shared this philosophy—that good design should be affordable, and that through their work they could not only transform homes but also improve lives. Flowers and plants were a key source of inspiration in Lucienne Day’s life and work. Read our, © Victoria and Albert Museum, London, 2020. Over 60 years in design, they have seldom worked together, but their careers have run in parallel. In her highly thoughtful approach to design, Day also benefitted from an appreciation of contemporary fine art as well as possessing something of an artist's sensibility herself. Charles and Ray Eames, Robin and Lucienne Day, Massimo and Lella Vignelli: all couples who made a big mark on post-war Modern design. Inspired by abstract art, she pioneered the use of bright, optimistic, abstract patterns in post-war England, and eventually grew celebrated worldwide. Sep 6, 2017 - Explore Emma Print Pattern's board "Lucienne Day", followed by 528 people on Pinterest. The Museum's collection provided inspiration again for Script (1956), drawn from a poem by Maulana Jalal Al Din Runi. A receptive audience was waiting, ready for a breath of fresh air after the visual bleakness of the war years. There were group shows to be invited into, but no solo shows. Lucienne Day in conversation with Jennifer Harris (author of Lucienne Day: A career in design Contrary to their fears, Lucienne Day's new design turned out to have great market appeal and became one of many commercial successes in a long-standing partnership between Heals and the … An obsession.". I suppose that's a fairly vain thing to say. The Days became something of a celebrity couple. The design embodies the springing energy of new growth, perfectly encapsulating the spirit of the Festival and general social optimism of the time. Why Lucienne Day Loved the Uplifting Power of Mustard Yellow Post navigation ← The Inventor of the Colour Wheel: Michel Eugene Chevreul Viggo Mortensen makes a … People would go over there quite a lot, and in school after the holidays there was always a certain cool around the people who came back with Harrods bags. Her husband Robin had already secured the commission to design all the seating for the Royal Festival Hall, the newly-built auditorium and concert hall constructed on London's South Bank as part of the Festival of Britain – a major exhibition intended to showcase Britain and its achievements. But it can also be dangerous. And yes, when I sit on a chair I do find myself analysing it. "We believed in democracy. Their commitment to designing low-cost, mass-produced, good-quality furniture and fabric was politically motivated, prompted by the needs of postwar society. I particularly admire the playfulness and wit of Lucienne Day’s designs, her use of colour and the fluidity of her pattern repeats. ", In the 1950s furniture design had certain clear challenges to meet; what does he think the challenges are today? He worked solely with textiles for roughly six years, before branching out into other media. They said, 'We shan't sell any of this.' "I like to see structure clearly expressed and materials expressing their own character," says Robin. For the Festival of Britain, he was invited to contribute two room sets to the Homes and Gardens pavilion, the theme of which was space-saving. Both Lucienne and Robin fulfilled the brief perfectly: ambitious, highly talented and with a committed vision of the life-changing potential design could bring. Lucienne Day: Living Design Curated by Professor Emma Hunt and Dr. Paula Day TheGallery, AUB A centenary celebration of the birth and design legacy of one of Britain’s most influential textile designers, Lucienne Day. During the 1950s and 60s she produced a substantial body of carpet designs for Tomkinson's Carpets and Wilton Royal, including Tesserae which won a Design Centre Award in 1957. "I think that we are part of a pretty affluent society," he says, "and that the important things are to conserve material and energy and make things that will endure and can be recycled. "It gives me a great deal of pleasure," says Robin, "that the idioms that one had all those years ago are still valid and still thought to be OK - that they perhaps have some intrinsic merit. This exhibition traces her design career through a photographic history, which unfolds in a sequence of images drawn from the Robin and Lucienne Day … It's all very well talking about good design. Contrary to their fears, Lucienne Day's new design turned out to have great market appeal and became one of many commercial successes in a long-standing partnership between Heals and the designer. The silk mosaicsLucienne Day was skilled at adapting her designs to the requirements of a commission, and her designs were constantly progressing. "We were both keen to make careers out of designing for industry - most of our contemporaries went in to teaching. It's a sort of habit. Robin Day and Lucienne Day’s design oeuvre is complete. This deferred launch of Lucienne Day's career coincided with a major governmental initiative to boost the nation's industrial production by elevating the status, training and consequently the output of British designers. They still look much as they did in the early 1950s, when Robin was building a career as a furniture designer and Lucienne was in the process of changing the taste of a nation with her witty, abstract, printed fabrics. In the later 1960s, her designs moved with the spirit of the times to larger geometric based pattern in bold colours, illustrating her ability to adapt and evolve. Flotilla (1952) and Lapis (1953) were produced with this in mind. Her fabrics defined an era. By the end of the 1940s Lucienne Day had found work with Edinburgh Weavers, Cavendish Textiles (the John Lewis house brand) and Heals. Plants and the sense of growth – the sense of growth more than the plants, the kind of upward movement – was an important inspiration. Enthusiastic to produce affordable textiles, she embraced newly developed and cheaper man-made fibres, such as rayon. It is now recognised as a seminal piece of British post-war design. Lucienne Day's designs were documented in detail in Lesley Jackson's book Robin and Lucienne Day: Pioneers of Contemporary Design (2001). And, well, the Labour party.". Designs such as the witty Spectators, in which abstracted, spindly Giacometti-like figures turn out to be cheekily sporting spectacles, are virtuosic in their handling of colour and pattern. Photographs show the lead up to her career breakthrough at the Festival of Britain 1951, with her pioneering ‘contemporary’ design Calyx. When trying to locate Dodd to set up this interview, I reached out to Pennsylvania artist Catherine Prescott, who has been friends with Dodd since the 1980s and who painted a portrait of her in 2005. In an interview for BBC Two’s The Late Show [12.5.93] Day cites the artists Klee, Miro and Kandinsky as her key influences though she didn’t want to be a painter: “ I thought painting was for oneself. These creations occupied the decades of the 1980s and 1990s for Day, as she prepared them both for exhibitions and commissions. Lucienne Day's colourful, bold fabrics have become synonymous with Fifties and early Sixties design. Her long-running association with Heal's established her as the best-known textile designer of that period, and her work complemented the modern aesthetic of post-war British interiors. Regardless of the increasing celebrity status of both her and her husband, Lucienne Day remained committed to answering the material needs and demands of the consumer market. Inspiration and influencesDuring her training at the Royal College of Art, Day spent many hours in the galleries of the Victoria and Albert Museum. In Herb Antony (1956), plant elements are transformed into graceful line-drawn forms that take on a unique character, hovering between reality and imagination. "Good design should - and I still believe this - enhance people's quality of life. Along with Robin's sleek, simple furniture, Calyx launched an era in British design that translated European modernism into a contemporary style imbued with postwar optimism, colour and playfulness. Day believed that a designer must be practical and meet market needs – her early designs were well-judged to appeal to traditional consumer tastes. The design emerges through carefully juxtaposed blocks of colours and weave textures. Along with her husband, furniture-designer Robin Day, she promoted modern living and embodied the image of the newly styled professional designer. As our careers progressed we were each able to get an honest opinion from the other about our work - without being polite. The meaning comes later.” During that decade, Lucienne couldn't put a foot wrong - her work had an originality and energy that still looks startlingly fresh. 8 Miller, R., All in a Day… We could say what we thought, that it was bloody awful or whatever. This has been used as the primary source of information in revising and extending the existing text and placing Day's work in an accurate historical and artistic context. Collection H. Kirk III Brown and Jill A. Wiltse 7 An interview with Lucienne Day on the Late Show, BBC 2 11th May 1993. President Donald Trump and first lady Melania Trump will hold up to two holiday events a day between now and Christmas with nary a mention of masks on the invites. Blog. In 1958, Heal's mounted a solo show of her work, which encompassed not only fabric but wallpaper and ceramics designs. Botanical form was an important source of inspiration throughout Day's career – her treatment of this theme provides much of the visual delight and innovation in her designs. Meanwhile Lucienne had prepared a furnishing fabric called Calyx for the pavilion. There are things that are needed; but also a lot of rubbish that is foisted upon the public in the guise of fashion. At the time, says Lucienne, she had no idea what effect the fabric would have. She had gone some way to achieving one of her aims: that designers should be recognised by name for their work. Needing a new channel for her creativity, Day started creating one-off compositions in silk. A playful series of six silk mosaic works called Decoy and Pond (1983) is now in the V&A collection, along with the more abstract Flying in Blue (1985). The absorbed influence of the work of artists such as Juan Miró and Paul Klee can sometimes be perceived – and in many cases Day's work can be seen to anticipate or equal fine art influences. However, as the restrictions of the war began to lift, she quickly built on her relationships with existing manufacturing clients to produce modern furnishing textile designs. Graduating from the Printed Textiles department of the Royal College of Art in 1940, the effects of the Second World War initially limited the prospects of design work, and Lucienne Day supplemented her design career with teaching roles. Using a construction technique derived from traditional patchwork, her 'Silk Mosaics' are composed of 1 cm squares and strips of coloured silk. Their Chelsea house was photographed by stylish interiors magazines. Lucienne Day. Interview: Nevada Republican Elector Suing for the State to Be Certified for Trump Explains Why They Should Win Lawsuit. Her breakthrough pattern 'Calyx', which is now considered to be an iconic 20th-century textile design, was first shown at the Festival of Britiai in 1951. Diabolo was one of three wallpapers launched at the Festival of Britain in 1951. She was a passionate gardener and abstracted plant and flower … The daughter of Robin and Lucienne Day talks to Dezeen about preserving her parents' legacy and the launch of a new stripped-back version of the 675 Chair. But the return to traditional floral patterns and 'period' style that took hold in the late 1970s was not to Day's taste, and she began to feel less engaged with manufacturing design. Heals were initially hesitant to support the design due to its radical nature – it was a huge leap on from the type of pattern compositions found on fabrics at the time – but they eventually agreed. ", "It came from our political beliefs," adds Lucienne. Graphica (1953) for example, is a highly accomplished minimal geometric abstraction and Causeway (1967), a brilliant execution of colour block contrast. Robin wanted something that the ordinary man or woman in the street could buy. Lucienne Diver is a wife, mother, writer AND an agent with the Knight Agency. Apex (1967) and Sunrise (1969) remained favourites of Day's. ... Robert Stewart’s textiles and an interview with his family feature in our print magazine, MidCentury 08. ", But there's no time for resting on laurels, for Robin at least. Jun 6, 2020 - Explore Phyllis Hill's board "Art Deco Meets Mid Century Modern", followed by 286 people on Defiantly modern and modishly dynamic, it was nothing like the chintzy florals or drab utility fabrics that had been dominant in Britain till then. "I don't like to see a massive piece of furniture with upholstery concealing some kind of timber framing, and with tiny little feet emerging from it in some mysterious way. She's one busy, focused lady! Lucienne also conceived a new textile design, Calyx, intended to complement Robin's more costly living/dining room. Désirée Lucienne Day was born in 1917 and died this year aged 93. • Robin and Lucienne Day: Pioneers of Contemporary Design is at the Barbican Gallery, London EC2 (020-7638 8891), from tomorrow until April 16. Lucienne Day died earlier this year.In addition to their daughter, he is survived by a brother, Stanley. Here she found inspiration for her degree show, in the form of a Chinese sculpture of a horse. There is no trickery or artifice, let alone any frippery or flippancy. Lucienne Day: Living Design tells the story of Day’s design career, unfolding in a sequence of photographs drawn from the archives of the Robin and Lucienne Day Foundation. Robert Stewart came from Glasgow and worked as a designer between 1956 and 1995. His chairs are everywhere from the Tube to the Festival Hall. Robin and Lucienne Day: Pioneers of Contemporary Design is at the Barbican Gallery, London EC2 (020-7638 8891), from tomorrow until April 16. Provence wallpaper, a previous design by Lucienne Day, was chosen for one room to illustrate an affordable interior. The Robin and Lucienne Day Foundation is a design education charity established by their daughter Paula Day in 2012. In Trio (1954), small groups of flower-like forms stand upright against a striped background. Designers Lucienne and Robin Day are taking a turn round the Barbican's retrospective of their work. ", The early work of the Days is supremely fashionable now - a reissue of Robin's polypropylene armchair is currently walking out of Habitat stores, while fabric influenced by Lucienne's 1950s work is everywhere. While the large scale, printed linen Calyx worked well in spacious interiors, hung from ceiling to floor, Heals also requested designs to suit smaller homes, and with a more modest price tag. Growing up in Lagos there was a big awareness of British culture; I always visited London regularly, and it has never felt like an alien place. ... they should function,” Mr. Day said in a 2005 interview … Though Lucienne Day is best-known for her patterns for furnishing fabrics, she also produced designs for many other applications. His pieces are always economical, in use of materials as well as production costs. You can almost see the sense of principle in Robin's furniture. For these room settings he needed a wallpaper and furnishing fabric that would sit comfortably with his modern furniture. Robin & Lucienne Day in conversation with Simon Alderson & Helen O’Brien Furniture designer Robin Day, 93 and his textile designer wife Lucienne, 91, are the grandmasters of modern British design.Robin’s low cost, mass-produced furniture, among which is the multi-million selling polypropylene chair, and Lucienne’s abstract, colourful prints led them to become … With companies such as Cole & Son, Crown, and German company Rasch, she collaborated to produce several successful collections of wallpapers. Now it must not be allowed to disappear into the design history archives, nor be exploited and abused by companies looking to get rich quick. Lesley Jackson's book accompanying the exhibition is published by Mitchell Beazley, £30. See more ideas about Lucienne day, Textile design, Textile patterns. Calyx uses a very traditional source of inspiration, botanical form, (in botany the word calyx refers to the outer parts of a flower), but the plant motifs are here stylised almost to the point of abstraction, and are linked with diagonal and vertical thin solid and dotted lines, suggesting flower stalks. "There were good modern fabrics around, but they were mostly woven fabrics, terribly expensive, not prints. Interview with...Lucienne Diver Today's guest is a type-A workaholic by her own admission. The official site for furniture designer Robin Day and textile designer Lucienne Day tells the story of their lives & designs and shows all licensed products. Her belief in modernism was steadfast and she was not intent on adapting to this market. Some of her most loved designs were for a series of tea towels for the Irish linen company Thomas Somerset, which include Too Many Cooks, Bouquet Garni and Black Leaf (all 1959), which was also recognised by a Design Centre Award in 1960. One is always looking at things, finding solutions to things. Dress fabrics were an important part of her design practice in the early post-war period. Find out more about Lucienne Day's silk mosaics, Explore the range of exclusive gifts, jewellery, prints and more. Mid-century textile design: Robert Stewart and Lucienne Day. The Days choose to sit in one of Robin's classic 1960s polypropylene chairs and a leather-upholstered Forum sofa, like the ones they had in their Chelsea house for decades, before they moved to Sussex last year. Robin had already made a mark - he had won, with his friend Clive Latimer, a competition to design low-cost furniture run by New York's Museum of Modern Art. In an interview for The Scotsman in 2003, Lucienne Day said of this last creative flourish, “I am very proud and pleased that I was able to change direction… It was a big step to take from designs which were comparatively inexpensive, and made in hundreds of yards, to very elitist one-offs. "If you have any social conscience at all you can't remain an elitist and work just for the few," says Robin. Although Day was already creating progressive designs for the dress industry, her first commercially produced furnishing textiles were not overly avant-garde, loosely acknowledging the long-favoured tradition of floral chintz for home furnishing fabrics. They were Britain's answer to the US's famed husband-and-wife design team, Charles and Ray Eames. It was an exceptionally large and bold repeat pattern of abstracted flowers, the petals simplified to Miro-esque cup shapes. But that's what we thought. Post navigation ← Why Lucienne Day Loved the Uplifting Power of Mustard Yellow Why Lucienne Day Loved the Uplifting Power of Mustard Yellow As part of a number of centenary celebrations, the Whitworth Art Gallery in Manchester presents a new exhibition entitled Lucienne Day: A Sense of Growth.. Day’s textile designs have been on display since the Whitworth reopened two years ago, but this new exhibition’s focus is on Day’s love of gardening and how botanical themes, flowers … She designed Miscellany, Quadrille and Palisade, all 1952, for British Celanese – a company that specialised in producing man-made fabrics from cellulose fibres, which were affordable as well as being soft and durable. "If you've been designing for 60 years you - at least I - can't suddenly just stop. There are chairs designed by Robin everywhere, so many that we can't decide on a place to sit. ", The Days were also drawn to each other by a shared sense of purpose and principle. Lucienne Day had an independent spirit as a designer and was sharp, hardworking and had strong ideas about all aspects of design. esigners Lucienne and Robin Day are taking a turn round the Barbican's retrospective of their work. LA has also been home to another designing couple, Jerome and Evelyn Ackerman, two Detroit artists who opened a studio in West LA in the early 1950s, and forged a path in artful craft, applying Jerry’s entrepreneurial savvy and Evelyn’s fine … But they did - it was instantly a great success.". Yinka Shonibare: I don’t think it’s a question of choice. Posted by ladydawgfan, ... Christmas parties a DAY inside the White House between now and 25th with no mention of masks on … Their success brought her further commissions and set her on the path to become a sought-after freelance designer. Pressed-steel benches from the London Underground, a seat from the auditorium of the Royal Festival Hall, the chairs used in hospital waiting rooms: they all compete for the designers' attention. Every purchase supports the V&A, +44 (0)20 7942 2000 In Lucienne Day‘s centenary year, twentytwentyone is celebrating her contributions to design with Day for Flowers, a collaborative exhibition that also marks the relaunch of one of Lucienne Day’s designs: the Flower Brick.. They even posed for a Smirnoff ad in the mid-1950s. He also designed room settings for the Festival's Homes and Gardens Pavilion, which showcased his own contemporary furniture. Pressed-steel benches from the London Underground, a seat from the auditorium of the Royal Festival Hall, the chairs used in hospital waiting rooms: they all compete for the designers' attention. I hope you have been inspired by the fantastic work of Lucienne Day. I took the fabric to Heal's to be made, where I had a contact. Aspects of the Sun (1990), a work comprised of five large-scale silk mosaics, was commissioned for the café of a new John Lewis store in Kingston, and was hung in 1990. While Lucienne has recently stopped making the fine handworked silk mosaics that have been her main output for the past 20 years, Robin is not slowing down. Robin is 85 years old, Lucienne is 84; they have been married since 1942. hello@vam.ac.uk, We use cookies to enhance your experience on V&A websites. 1st ed. In her design, Horse's Head, the horse is refined to a simple motif, which is alternated with fluidly drawn squares, hand-printed onto linen. As soon as they met at London's Royal College of Art, says Robin, they knew they were kindred spirits. Charlotte Higgins talks to Robin and Lucienne Day. In 1951 the perfect opportunity arose for Day to work outside of the constraints of a straightforward commercial commission. Of all the talented women textile designers of post-war Britain, Lucienne Day's influence is the most far-reaching. During these productive decades of her career, Day also collaborated with the prestigious German manufacturer Rosenthal, creating elegant designs for their china tableware, such as the Four Seasons series.

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