In July 1994, Seddon and Worden were invited to present a joint paper, reflecting on the findings of their research for the exhibition, at the 2nd European Feminist Research Conference, held at Graz University of Technology, Austria, with the theme ‘Feminist Perspectives on Technology, Work and Ecology’. To complement their paper they mounted a small exhibition of image/text panels on the theme of women designers between the wars in the foyer of the conference venue.
Jill Seddon resumed her research on women designers, focusing on the work of architect Sadie Speight, around 2005 as a member of the Gender and Built Space research group at the University of Brighton, contributing a chapter to Women and the Making of Built Space in England 1870-1950 (edited by Elizabeth Darling and Lesley Whitworth) and an article on Speight and Nikolaus Pevsner’s work for The Architectural Review, both published in 2007. In May 2012, she spoke on her experience of researching Women Designing at the ‘Designing Women’ study day organised by the University of Brighton Design Archives at the Fashion and Textiles Museum in London.
Download the PDF to 'Women Designers in Britain in the 1920s and 1930s: Defining the Professional and Redefining Design' by Suzette Worden and Jill Seddon.
During WWII, Speight was one of the founder members of the Design Research Unit and became involved in the design of household appliances.
The exhibition was jointly organised by the Royal Academy and the Royal Society of Arts, following exhibitions of similar intentions.
Muriel Rose and her female staff promoted the work of women involved in textile design, ceramics, metalwork, wood-engraving and toy-making.
Founded in 1924, by 1940 the association had 85 branches and 9000 predominantly middle-class members.
Denby's and Braddell's expertise was drawn upon by the Council for Art and Industry (CAI).
Settle was editor of British 'Vogue' from 1929 to 1936, joining the 'Observer' newspaper as fashion editor in 1937.
From 1927 to 1960 Warde gave talks at printing schools in England, consciously emphasising her femininity in a male dominated profession.
Hart's personal history reflects the difficulties faced by countless other women struggling to support themselves and their families on their own.
By her final year at art school, Straub had decided she wanted to be an industrial weaver, so that her work would be available to 'ordinary people'.
On her husband's death in 1928, Marks took over the running of the Hael Werkstatten fur Kunstlerische Keramik factory, employing over 100 workers.
Lunn set up Ravenscourt Pottery in Hammersmith, London in 1916 and employed, wherever possible, girls straight from school.
She began work at 'Footprints' whilst a student at the Central School of Arts and Crafts in London, taking over the running of the workshop in 1929.