Lucienne Day has 4 works online. A versatile and influential designer, “There must also be the ability to weld the single units into a homogenous whole, so that the pattern seems to be part of the cloth." A worldwide hit, produced in the millions, it has spawned innumerable copies, although none can compare with the subtlety of the original. Ground Floor, Her designs, which were used for fabric, carpet, wallpaper and ceramics, were inspired by the modern art of Wassily Kandinsky, Joan Miró and Alexander Calder, as … ISBN: 0903261294 9780903261296: OCLC Number: 29919376: Notes: Published to coincide with the exhibition by the same name held at the Whitmore Art Gallery, University of Manchester, 23 April-26 June 1993; the Royal College of Art, London, 20 Nov.-18 Dec. … Lucienne Day's career in design spans 60 years and the freshness and originality of her work ensures that it is still relevant to contemporary interiors. Light, strong, flexible, scratch-proof, heat-resistant and hard-wearing, polypropylene had numerous advantages over other materials in use at the time. Sep 6, 2017 - Explore Emma Print Pattern's board "Lucienne Day", followed by 528 people on Pinterest. Lucienne Day's career in design spans 60 years and the freshness and originality of her work ensures that it is still relevant to contemporary interiors. Lucienne’s arresting abstract-patterned textiles and wallpapers were displayed alongside Robin’s steel and plywood furniture in the Homes and Gardens Pavilion. Continuing on from yesterday’s post on the pattern designs of Mina Perhonen, I thought I would make a bit of a jump in time and tone! Robin & Lucienne Day: Pioneers of Contemporary Design When I was 19 and studying in London, I went to see an exhibition of Robin & Lucienne Day’s work at the Barbican. The Festival of Britain, the Days realised, was an opportunity not to be missed. She was in her final year studying printed textiles. They married in 1942. Whereas the Eameses designed as a team, the Days mostly worked independently in separate fields. CIRC.205-1951. Several of her later designs had full-width repeats, such as 1967’s Causeway designed specifically for the large floor-to-ceiling picture windows then in vogue. A pioneer of ergonomics long before the term was invented, his designs invariably combine practicality with durability. Glasgow, Reid Building, The furniture designer Robin Day (1915–2010) and his textile designer wife Lucienne (1917–2010) transformed British design after World War II by pioneering a new modern idiom. By the end of the 1940s Lucienne Day had found work with Edinburgh Weavers, Cavendish Textiles (the John Lewis house brand) and Heals. Lucienne Day (1917-2010) was a British textile designer whose vibrant and innovative work changed the industry. © Robin and Lucienne Day Foundation/Victoria and Albert Museum, London Jun 11, 2012 - Design Archives ID no. These habits became deeply ingrained in his design psyche. The Lucienne Day teatowel designs, originally launched in 1962, encapsulate the sensitive, organic and progressive talent of one of Britain's true and lasting creative spirits. Lucienne herself has selected the 12 designs which she feels are the strongest most appropriate for revival. During the war they teach at Beckenham School of Art, Lucienne designs dress fabrics for companies, including Stevenson & Son, Mark & Spencer and Horrockses, and furnishing fabrics for Cavendish Textiles (John Lewis), Morton Sundour and Edinburgh Weavers, Robin teaches at the School of Architecture at Regent Street Polytechnic, where he meets the architect Peter Moro. Lucienne Day's work combined organic shapes with bright patterns inspired by contemporary abstract painters such as Kandisky and Miro. Museum no. She was in her final year studying printed textiles. Lucienne Day’s career in design spans over 60 years. Fresh and original and oh so relevant even now. It also explains their astonishing productivity throughout the 1950s. Lucienne Day’s fresh and progressive textile designs were revolutionary, epitomised by her most famous 1951 Calyx design which was showcased at the 1951 Festival of Britain. Over the next 20 years she produced over 70 outstanding patterns for Heal’s, all remarkable for their inventiveness. In 1957 Lucienne reflected: “In the very few years since the end of the war, a new style of furnishing fabrics has emerged… I suppose the most noticeable thing about it has been the reduction in popularity of patterns based on floral motifs and the replacement of these by non-representational patterns — generally executed in clear bright colours, and inspired by the modern abstract school of painting… Probably everyone’s boredom with wartime dreariness and lack of variety helped the establishment of this new and gayer trend.". 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. The cabinets in their flexible, multi-functional storage system were fabricated from a tube of moulded plywood cut into sections — a radical innovation for the time. the post-war revival of design and manufacture and extended the boundaries of modern design, enjoying international recognition. Lucienne Day is best known today for her pioneering textile designs from the 1950s and ’60s, particularly her iconic ‘Calyx’ pattern, which was shown at the Festival of Britain in 1951. Lucienne discovered her métier for printed textiles at Croydon School of Art. The couple who transformed British design after World War II by pioneering a new modern idiom. See more ideas about lucienne day, textile patterns, textile design. The brief was complex and demanding, including restaurant and foyer furniture, auditorium seating and orchestra chairs, each with specific functional demands. Jun 18, 2019 - Explore MaggieMoo Textiles Cushions & 's board "Lucienne Day", followed by 193 people on Pinterest. The playfulness and linearity of her early patterns was superseded from the late 1950s by a growing interest in architectural compositions, as 1950s Sequoia. Her work is recognised through a multitude of awards and is an essential part of museums worldwide. The originality of Lucienne’s early patterns grew from her love of modern art, particularly the paintings of Joan Miró and Paul Klee. Fluellin, furnishing fabric, Lucienne Day, 1950, England. They rose to prominence during the 1951 Festival of Britain, which provided an ideal showcase for their talents. The couple marry and set up home in a maisonette at 33 Markham Square, Chelsea. “It is not enough to ‘choose a motif’, nor enough to ‘have ideas’ and be able to draw," she observed. Robin continues to design exhibition stands for ICI and Ekco until the early 1960s, Robin Day and Clive Latimer win the storage section of the International Competition for Low-Cost Furniture Design organised by MoMA, New York, Hille commissions Robin to design furniture for mass-production. The ground floor served as the Days’ joint studio for almost five decades, although the couple rarely worked together, apart from their consultancy work for BOAC and the John Lewis Partnership. The Festival of Britain, the Days realised, was an opportunity not to be missed. As part of the nationwide Lucienne Day centenary celebrations, this exhibition opens in spring 2017. ... And true, her design – abstract, irregular forms resembling flower heads on slender stems – evoked the work of contemporary artists like Joan Miró and Alexander Calder. Visually stimulating, but not over-insistent, her patterns are sophisticated and multi-layered, with cleverly balanced assertive and recessive elements, thereby working both from a distance and close up. Acting as mutual catalysts, they spurred each other on to realise their ambitions and to produce their most original work. Robin Day, the son of a police constable in High Wycombe, and Désirée Lucienne Conradi, who grew up in Croydon, the daughter of Belgian reinsurance broker, met at a Royal College of Art dance in 1940. They were both extremely talented and shared a passionate commitment to modern design. His talents were also evident in the two room settings he designed for the House and Gardens Pavilion at the Festival: one low-cost, one high-cost, both equipped with his latest storage furniture and chairs. They collaborate on a series of exhibitions, mainly for the Central Office of Information. An exhibition at TheGallery, Arts University Bournemouth Opens 12 January – 22 March, 2017. They were married in 1942 and made a very striking couple. These patterns have now come to define mid-century print design and remain wildly popular, and are being celebrated for her centenary today. Today I will be focusing on the work of Lucienne Day – a mid-century textile designer who, along with her husband Robin Day, were the British answer to uber design couple Charles and Ray Eames!. Lucienne Day is best known for her furnishing fabrics, but in the decade 1959-1969 she devoted a lot of her time to the design of household goods: bathroom accoutrements (towels and bathmats) kitchenware (cheeseboards, plates, bowls), and these glass towels, which she made in collaboration with the Irish firm Thomas Somerset and their subsidiary Fragonard Ltd. Significantly, the Days were already in their mid-thirties by the time of the Festival, having trained at the Royal College of Art in London before World War II. Lucienne Day Fabrics. Lucienne’s Calyx printed furnishing fabric for Heals is created for this display, The Days move to 49 Cheyne Walk, Chelsea, which they refurbish in the ‘Contemporary’ style, As well as designing up to six printed textiles a year for Heals, Lucienne creates furnishing and fashion fabrics, carpets, ceramics and table linen, as well as joining the Rosenthal international designers’ panel, Robin designs televisions, radios and stereograms for Pye, The Days act as design consultants to BOAC and develop an interior scheme for the Super VC10 and a refreshment tray for Boeing 707, The Days design furniture and furnishings for Churchill College, Cambridge, The John Lewis Partnership employs the Days as design consultants to develop a new house style and to design interiors for John Lewis stores and Waitrose supermarkets, Robin designs the Polypropylene chair for Hille, which becomes one of the best-selling chairs of all time, Employed as a consultant for the Barbican Arts Centre, London, Robin He designs the seating for the foyer, bar and five auditoria, Robin designs Series E school chairs for Hille, Lucienne produces over 144 silk mosaics, including 1990’s Aspects of the Sun for the John Lewis department store at Kingston-on-Thames, The exhibition Hille – 75 Years of British Furniture is held at the Victoria & Albert Museum, London, After the sale of Hiller, Robin specialises in public seating for sports stadia and auditoria such as the 1984 RD seating for NHS waiting rooms and the 190-91 Toro and Woodro project for the London Underground, The exhibition Lucienne Day: A Career in Design is held at the Whitworth Art Gallery, Manchester, Habitat reissues the Polypropylene chair in new colours, and a duvet featuring an enlarged version of Lucienne’s Black Leaf tea towel pattern, Robin is invited to design furniture for twentytwentyone and SCP, A retrospective exhibition, Robin and Lucienne Day – Pioneers of Contemporary Design, is held at the Barbican Art Gallery, London, Several of Lucienne’s early patterns are digitally reprinted by Glasgow School of Art, Polypropylene and tubular steel chair, manufactured by Hille, 1963, Painted plywood chair, 1999, from Childsply exhibition at Twentytwentyone. Robin also designed the furniture for the Royal Festival Hall. “I wanted to avoid seeing the frame fixings though the seat of the chair, and designed bosses integrally moulded with the underside of the seat. Becoming Lucienne Day. One of the few British-based fashion designers to combine commercial success with critical credibility, Paul Smith (1946-) is renowned for his idiosyncratic take on traditional British styling -'classics with a twist' - both in his fashion collections and his shops. There are chairs designed by Robin everywhere, so many that we can't decide on a … There are 647 textiles online. In the interim, Lucienne designed dress fabrics, while Robin turned his hand to exhibition and poster design. Lucienne Day was, without doubt, the most influential and significant of all 1950's pattern designers. In post-war Britain, a young Lucienne Day made her name in design conveying the buoyant national mood through jubilant, modernist textiles. As well as designing printed textiles, she responded to a flood of invitations from manufacturers to design carpets, wallpapers, tea towels, table linen and ceramics. Creating repeat patterns for textiles is a laborious process, but Lucienne’s designs convey an impression of effortless spontaneity. Robin’s success brought him to the attention of a British manufacturer, Hille, which had specialised in period furniture, but was eager to modernise. After moving to 49 Cheyne Walk in Chelsea in 1952, Lucienne and Robin Day transformed the interiors of this Victorian house into a model of ‘Contemporary’ design. She went on to the Royal College of Art from 1937-40, where, in her final year, she met the furniture designer Robin Day. A versatile and influential designer, Lucienne was commissioned by a wide range of companies and extended her very particular vision to carpets, wallpapers, tea towels and ceramics as well as textiles. Centre for Advanced Textiles in 1951 and subsequently received the coveted International Design Award of the American Institute of Decorators. Désirée Lucienne Lisbeth Dulcie Conradi was born in Surrey, England, in 1917. Robin went on to create a whole ‘polyprop’ family — the 1967 Polypropylene armchair, the 1971 Series E school chairs and the 1975 jaunty indoor/outdoor Polo chair. There is an exhibition of the Days' work at Pallant House Gallery, Chichester, East Sussex, until 26 June. Designer of home furnishing. Their partnership continues for 25 years, resulting in over 70 designs, Robin designs the furniture for the Royal Festival Hall and two room settings for the Homes and Gardens Pavilion at the Festival of Britain featuring his furniture and Lucienne’s textiles and wallpapers. Born Désirée Lucienne Conradi in 1917, Day was brought up in the south London suburbs by her English mother and Belgian father. In collaboration with TheGallery, Arts University Bournemouth, the Robin and Lucienne Day Foundation announces Lucienne Day: Living Design, an exhibition that celebrates the life and work of one of most influential designers of the post-war generation, born 100 years ago on 5 th January 1917. Placed side by side, Robin’s furniture and Lucienne’s furnishings are remarkably harmonious in ethos and aesthetic, reflecting the creative synergy between them. See more ideas about lucienne day, textile design, textile prints. Lucienne Day - A Sense of Growth Best-known for her textiles, Lucienne Day (1917 – 2010) is recognised as a virtuoso pattern designer and colourist. There will be events around the UK and a full list can be found at The Robin and Lucienne Day Foundation.. The 1950s and 1960s were a time of feverish activity for Lucienne. Meanwhile, the exhibition Lucienne Day: Living Design is touring the United Kingdom, celebrating the legacy of this one-of-a-kind artist with archival photographs documenting her life and work. A role model for young designers and a consummate professional she was appointed OBE in 2004. She also produced a large body of designs for three leading British carpet manufacturers: Tomkinson, Wilton Royal and Steele’s. With her husband Robin she pioneered She believed that good design should be affordable and her breakthrough print was 'Calyx', a brightly-coloured textile that she created for … Right from the start of his career Robin was totally committed to the design of low-cost, mass-produced furniture. Her best known textile design 'Calyx' was launched at the Festival of Britain Initially her principal client, Heal Fabrics was sceptical about this avant-garde design, but Calyx was so widely praised, nationally and internationally, that the company enthusiastically embraced the ‘Contemporary’ style and championed Lucienne’s work. Lucienne Day was an enthusiastic gardener and plant forms inspired many of her textile designs. She sought to create a similar energy and vitality in her patterns through dynamic, ebullient compositions, as in 1953’s Spectators and Perpetua, and bold colour contrasts, as in the 1956 Herb Antony. Although understated, the Polypropylene chair is extremely refined. The collection launch contributes to a year-long centenary programme highlighting the different aspects of Lucienne Day’s life and work. War II by pioneering a new modern idiom typified often by bold geometric designs but by! 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