Currently indexing
Furnishing fabric
Classification(s):
Textile
Date: 1961
Designer: Lucienne Day
Medium: Cotton
Object number: CC026
See Also
Title:Cockaigne
DescriptionFurnishing fabric designed by Lucienne Day in 1961. The ‘Cockaigne’ design has dark abstract brush strokes on a green and brown background. The fabric is woven and printed cotton; it was manufactured and retailed by Heals, London. Made in England.
The Heals label is stapled to the fabric, the product code is WE1868.
The Heals label is stapled to the fabric, the product code is WE1868.
ProvenanceThis object was originally acquired for the Inner London Education Authority’s (ILEA) ‘Circulating Design Scheme’ collection.
The collection was instigated by the London Country Council (later the Greater London Council) and the Council of Industrial Design (COID). The collection’s original purpose was concerned with the teaching and dissemination of modern, ‘good design’.
The collection was established in 1951/52 as the ‘Experiment in Design Appreciation’, later renamed the ‘Circulating Design Scheme’.
The Circulating Design Scheme lent boxed showcases to London schools. The showcases contained handling objects, material samples and interpretation on a specific subject.
COID withdrew its involvement in the Scheme in 1957. After which time, it was managed exclusively by the London County Council from 1957-1963.
After the administrative restructuring of London authorities, the Scheme was jointly managed by the Greater London Council and the Inner London Education Authority (ILEA) from 1963 – 1976.
The Scheme was operational until 1976 when the collections were withdrawn from circulation. ILEA was abolished in the late 1980s and the collection was donated to Camberwell College of Arts in 1989/90.
ILEA was responsible for secondary and tertiary education in the inner London boroughs, this included Camberwell.
The collection was instigated by the London Country Council (later the Greater London Council) and the Council of Industrial Design (COID). The collection’s original purpose was concerned with the teaching and dissemination of modern, ‘good design’.
The collection was established in 1951/52 as the ‘Experiment in Design Appreciation’, later renamed the ‘Circulating Design Scheme’.
The Circulating Design Scheme lent boxed showcases to London schools. The showcases contained handling objects, material samples and interpretation on a specific subject.
COID withdrew its involvement in the Scheme in 1957. After which time, it was managed exclusively by the London County Council from 1957-1963.
After the administrative restructuring of London authorities, the Scheme was jointly managed by the Greater London Council and the Inner London Education Authority (ILEA) from 1963 – 1976.
The Scheme was operational until 1976 when the collections were withdrawn from circulation. ILEA was abolished in the late 1980s and the collection was donated to Camberwell College of Arts in 1989/90.
ILEA was responsible for secondary and tertiary education in the inner London boroughs, this included Camberwell.
Notes
Trained at the Royal College of Art, Lucienne Day reinvigorated British textile design in the post-war period, producing vibrant patterns for retailers such as Heal’s, London. At this time most printed textiles revived nineteenth-century floral patterns, but Day’s designs were bold and non-representational. Day’s output is characterised by the use of abstraction; often inspired by plant forms and by using geometric designs. Lucienne Day was married to Robin Day, a key British furniture designer. Although working independently in separate fields, the Days rose to prominence during the 1951 Festival of Britain. Robin was commissioned to design furniture for the Royal Festival Hall, including restaurant and foyer furniture, auditorium seating and orchestra chairs, as well as designing room settings for the House and Gardens Pavilion at the Festival. It was for this display that Lucienne created her ‘Calyx’ furnishing fabric; the design was praised nationally and internationally, forging her relationship with Heals for whom she produced over 70 patterns. The designs have a painterly aspect and reflect an influence, acknowledge by Lucienne Day, of painters such as Paul Klee and Joan Miró.
Trained at the Royal College of Art, Lucienne Day reinvigorated British textile design in the post-war period, producing vibrant patterns for retailers such as Heal’s, London. At this time most printed textiles revived nineteenth-century floral patterns, but Day’s designs were bold and non-representational. Day’s output is characterised by the use of abstraction; often inspired by plant forms and by using geometric designs. Lucienne Day was married to Robin Day, a key British furniture designer. Although working independently in separate fields, the Days rose to prominence during the 1951 Festival of Britain. Robin was commissioned to design furniture for the Royal Festival Hall, including restaurant and foyer furniture, auditorium seating and orchestra chairs, as well as designing room settings for the House and Gardens Pavilion at the Festival. It was for this display that Lucienne created her ‘Calyx’ furnishing fabric; the design was praised nationally and internationally, forging her relationship with Heals for whom she produced over 70 patterns. The designs have a painterly aspect and reflect an influence, acknowledge by Lucienne Day, of painters such as Paul Klee and Joan Miró.