I've always has a real soft spot for art that was produced in the 1950s, particularly the textile and surface pattern designs of the era. More specifically the Astro 50s look which was the inspiration behind my 2016 range of Christmas cards. With that in mind, this weeks instalment of the Sunday Inspirations blog will be focusing on a woman who is probably one of 20th century Britain's most influential designers and whose work, for me at least, really embodies the cheerful energy and optimism of Britain in the years after the Second World War. That woman is Désirée Lucienne Lisbeth Dulcie Day OBE RDI FCSD or better known as Lucienne Day.
Born in Coulsdon, Surrey, England, and raised in nearby Croydon, Day was half-Belgian; the daughter of an English mother (Dulcie Conradi) and a Belgian father (Felix Conradi). At the age of 17, Lucienne enrolled at Croydon School of Art, where she developed her interest in printed textiles. She went on to specialise in this field at the Royal College of Art, where she studied from 1937-40. During her second year she was sent on a two-month placement to the firm Sanderson, where she worked in the company's large wallpaper studio.
During the early period of her career, Day's textiles were characterised by energetic rhythms and a spidery, almost doodle-like graphic style. Although apparently spontaneous, her designs display a considerable amount technical skill, particularly with their colourways and repeats. As well as pure abstracts, she often created stylised organic patterns incorporating motifs such as skeletal leaves, spindly stems, feathery seed heads and butterflies. Her early textile designs were inspired by her love of modern art, particularly the abstract paintings of Swiss-German artist Paul Klee, which when compared to Day's works, it's quite clear to see the inspiration.
Calyx | Produced in a variety of different colourways, Calyx was considered the breakthrough design for Day's career
Calyx | Probably my favourite colourway that Calyz was produced in. The contrast between the yellow and the grey is stunning
Calyx | Even though there are many colourways, each one is expertly composed, with all colours working impeccably well together
One of her most well known textile designs, Calyx (pictured above), was originally shown at the Festival of Britain in 1951, and is considered her breakthrough design. Day collaborated with Heal’s (the British furniture and furnishing store chain) to create Calyx; a stylised floral design mixing muted and earthy colours, that represented a radical new aesthetic in pattern design. Lucienne said later in an interview that Heals’ then fabrics director, Tom Worthington, was unsure of the pattern, and “would produce it for me but only pay me half the fee of 20 guineas because he was certain he wouldn’t sell a yard”. She went on to produce around 70 patterns for the brand over 20 years, and Calyx still remains in production today.
Later in the decade, responding to new artistic trends such as abstract expressionism and the architectural fashion for floor-to-ceiling picture windows, Lucienne’s designs for Heal’s became more overtly painterly and much larger in scale.
Although abstraction was the dominant idiom in her work, Day also perpetuated the English tradition of patterns based on plant forms, often incorporating stylised motifs derived from nature, such as leaves, flowers, twigs and seedpods. After dabbling in painterly, textural abstraction during the early 1960s, she experimented with more hard-edged, multi-layered geometric designs composed of primarily of squares, circles, diamonds and stripes during the mid to late 1960s. Stylised florals and arboreal designs remained recurrent motifs until the mid 1970s.
Perpetua | For British Celanese, 1953
Herb Anthony | For Heal's, 1956
With a career spanning over six decades, Day had worked with countless big-name brands including the likes of Liberty, John Lewis, Cole & Son and Rosenthal, designing fabrics, wallpapers, carpets, homeware and ceramics. To each, she brought her unique flair for colour, line, form and composition, creating a recognisable style that feels fresh decades later. In an interview with It's Nice That, her daughter Paula stated that her work is ‘timeless’ in much the same way as that of William Morris' has become a veritable classic.
"I wanted the work I was doing to be seen by people and to be used by people. They had been starved of interesting things for their homes in the war years, either textiles or furniture."
It just so happens to be Lucienne Day's centenary this year, of which John Lewis are celebrating with a new collection of her prints. For me though, I wanted to look at the work of a prolific surface patter designer because it's an area that I want to consider as a new application for my own work.
While I enjoy screen printing for paper prints, I'd quite like to get into turning lettering work into more pattern-based prints for textiles and t-shirts. I have this vision in my mind of what it would be like to have my lettering used as a repeat pattern on the fabric of a smart shirt (this thought came about after seeing a gorgeous dress my friend Naomi has). The question now is, how do I go about this?
Well, it's been done before, I know that much. One of my career inspirations is Martina Flor; she's got a wide range of applications for her work including metal pins and bags, but she's recently been experimenting with repeat patterns...
Dreamer | Courtesy of Martina Flor's Instagram
Caps | Courtesy of Martina Flor's Instagram
While both pattern experiments are gorgeous, I feel like I'd much rather have the "Caps" design as a print on a piece of fabric or item of clothing, whereas the "Dreamer" would be too busy (I've got this design on a small pin badge and it's gorgeous on its own), but much better suited to something like wallpaper or a screen print. I feel that the recent work I've been doing with Spencerian scripts could fit quite well with a pattern style similar to that of the "Caps" piece, with intertwining letterforms and flourishes creating sub patterns similar to the details of Lucienne Day's works.
There's plenty of scope here for experimentation on my part, which means the next couple of weeks are going to be filled with sketching and test printing. Like I need an excuse to spend time at PrintHaus anyway!