Introduction
In 1951, The Attlee government presided over the Festival of Britain, a showcase for technological innovation and new ideas in textile and furniture design. The celebratory nature of the festival was an extension of post-war optimism; an expression of hope for the future, already being engendered by new social and healthcare reforms.
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| Dome of Discovery and Skylon on the South bank , 1951 Festival of Britain www.bbb.co.uk |
During the war years (1939-1945) and beyond, textile and fashion design were put on hold as rationing and "make do and mend" became the order of the day. Traditional patterns were plain fabrics, flora and fauna particularly floral chintz; with more botanical images rather than abstraction. In everyday life the majority of the general public saw a more modern pattern design as a consequence of the 1930's Art Deco period. This was a movement towards more geometric shapes and symbols, widely seen, in the architecture of cinemas and public buildings and in the textiles of upholstery, floor coverings and ceramic goods.
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| http://teapotsteapotsteapots.blogspot.co.uk |
As the war years drew to a close, people began to reflect on changing society for the betterment of all, with, for example, a National Health Service and improved education opportunities. There was also an enormous requirement for new housing and urban infrastructure due to bombing and general decay. Rationing continued into the early 1950's as the economy was slow to recover and people picked themselves up and attempted to put their lives back together onto a peacetime footing.
There was a hunger, I believe, and a need for something new. An explosion of creativity bubbling away, if you will , waiting to take our nation, and the world, from darkness and austerity to a bright , bold modernity.
