Prof Cheryl Buckley
Scholarly biography and interests
Cheryl Buckley joined the University of Brighton as Professor of Fashion and Design History in 2013. As a design historian who has worked across a number of aspects of design, her appointment strengthened research in fashion and design history. At the same time, it brought additional research leadership to the Faculty of Arts and Department of Humanities.
Before taking up this appointment, Cheryl Buckley was Professor of Design History and Associate Dean for Research at the University of Northumbria in Newcastle-upon-Tyne. In addition to leading research in Visual and Material Culture and bidding successfully for RCUK funding (AHRC BGP 1 in 2008, ESRC Case Studentships in 2008, AHRC CDA in 2012, AHRC Fellowship in 2012), she led and managed research across a large School that included Arts, Humanities and Social Sciences. She was a founder of the journal Visual Culture in Britain in 2000, and remains on its Advisory Board. Course Leader of BA(Hons) History of Modern Art, Design and Film, MA Cultural History and MA Visual Arts, Cheryl has been involved in subject and course development throughout her career. She led the development of the MA Cultural History in 1998, the MA Humanities Framework in 2002 and the MRes Arts in 2009. She was Director of Postgraduate Studies (Development & Standards) for Arts, Humanities and Social Sciences between 2005-7, and led the ‘Culture, Heritage and Identity’ Research group between 2006-7 and ‘Design, Creativity and Digital Media’ University research strand from 2009-2012. In 2006 she became Chair of the Design History Society and in 2011 she became Editor-in-Chief of the Journal of Design History.
Cheryl Buckley has been committed to research in the field of Design History for over 30 years. Beginning her research career at Newcastle University in 1980 as archivist of the papers of modernist entrepreneur Jack Pritchard, she combined this with an M.Litt on his furniture, graphics and architecture company, Isokon, This early work, concerned with formations of modernism and the role of émigré designers in Britain in the 1930s, has remained a strong research interest that surfaces in much of her subsequent writing including her last monograph Designing Modern Britain (2007).
Her PhD on Women Designers in the North Staffordshire Pottery Industry 1914-1945 completed in 1992 set her on another path that explored the relationships between gender and design within the context of feminist theories and design history. From this, she published her first monograph Potters and Paintresses: Women Designers in the Pottery Industry, 1870-1955 (1990). This book contributed to emerging scholarship on the part that women had played in the history of design. Doctoral research also prompted her to write and publish ‘Made in Patriarchy: Towards a feminist analysis of women and design’ in 1986 that contributed to the questioning of the theoretical and methodological premises of Design History. Her interest in feminism and gender led to work on women’s role in ceramics in the USA, but it also stimulated research on fashion and its role in shaping feminine identities in 20thC Britain. With a colleague at Northumbria, she publishedFashioning the Feminine: Representation and Women’s Fashion from the Fin de Siècle to the Present, (2002) that was prompted in part by teaching Fashion Design students over many years, but also by an interest in the ways in which modernities and modernisms were played out on the geographical peripheries of Britain rather than in the metropolitan centre. Indeed this was also a theme of Designing Modern Britain in 2007.
Another underlying research interest has been in the ordinary and everyday in relation to design. This came to the fore in her work on pottery design as she explored designs that were outside of the canon of ‘good design’. It also resulted in an article that proved important for later work ‘On the Margins: Theorising the history and significance of making and designing clothes at home’ (1998). Cheryl’s research is not confined to one type of design, rather she is interested in the ideas underpinning the production, dissemination and consumption of design broadly conceived. Recently she has written on working-class housing and interiors in Britain in the 1910s and 1920s, the studio potters Marguerite Wildenhain and Ruth Duckworth between 1930 and 1960, and émigrés, exiles and migrants in Britain, 1933-1956.
Current research supported by an AHRC Fellowship has returned to the theme of the ordinary to explore the ways in which fashion is embedded in everyday lives. This project undertaken with Hazel Clark at Parsons School of Design in New York will result in a jointly authored book, Fashion and Everyday Life: Britain and America, 1890-2010 due in 2014. An interest in gender and feminism has been intrinsic to Cheryl’s practice as a design historian, and she remains committed to indisciplinarity and the questioning of dominant narratives about history. As editor-in-chief of the Journal of Design History, she is involved in the development of a Virtual Special Issue - co-written with a colleague - that aims to reflect upon design and gender from the perspective of the 21st Century.
Buckley, Cheryl and Clark, Hazel (2012) Conceptualizing fashion in everyday lives Design Issues, 28 (4). pp. 18-28. ISSN 0747-9360
Fashion and Everyday Life: Britain and America, 1890-2010, (with Hazel Clark), Bloomsbury, 2014, (forthcoming).
Designing Modern Britain, Reaktion Press, 2007.
Fashioning the Feminine: Representation and Women’s Fashion from the Fin de Siècle to the Present, (with Hilary Fawcett) I.B.Tauris, 2002.
Potters and Paintresses: Women Designers in the Pottery Industry, 1870-1955, Women's Press, 1990.
Between the Wars: Architecture and Design on Tyneside, 1919-1939, (with Lynne Walker),1982.
Isokon: Furniture, Architecture and Graphic Design, Newcastle-upon-Tyne, 1980.
‘The Primavera Story’, (with Janine Barker) in British Design: Tradition and Modernity after 1948 British Design: Tradition and Modernity after 1948, (eds.) Fisher, F & Sparke, P, Bloomsbury, 2014, (forthcoming)
‘Authenticity, tradition and modernity: Marguerite Wildenhain and Ruth Duckworth, women émigré studio potters, 1936-1964’, in Entfernt: Frauen des Bauhauses während der NS-Zeit – Verfolgung und Exil, Women in Exile (volume 5), Adriane Feustel, Inge Hansen-Schaberg, Wolfgang Thöner (eds.) et+k, edition text+kritik, Richard Boorberg +Verlag GmbH & Co KG, Munich, 2012.
‘Designing for Industry: Suzanne Lalique, Clarice Cliff and Eva Zeisel’, Decorative Arts and Design, The Montreal Museum of Fine Arts Collection, Vol.II, Rosalind Pepall & Diane Charbonneau (eds.) Musée Beaux Arts de Montreal, Montreal, 2012.
‘Made in Patriarchy: Theories of Women and Design- A Reworking’, in David Brody & Hazel Clark (eds.) Design Studies. A Reader, Berg, 2009.
’Taking Design to Newcastle’ in Looking at Newcastle, Hilary Fawcett, (ed.) Northumbria University Press, 2007.
‘British Wartime Fashion and its representation in Home Chat, 1914-1918', inMaterial Strategies. Dress and Gender in Historical Perspective, Barbara Burman and Carole Turbin, (eds.) Blackwell, 2003.
‘Decorating the Object: Ceramics, Gender and the work of women designers’ inWomen artists and the decorative arts 1880-1935: the gender of ornament, Bridget Elliott and Janice Helland, (eds.) Ashgate, 2002.
‘Women Designers in Context’ in Susie Cooper, Ann Eatwell and Andrew Casey, (eds.) Antique Collectors’ Club, 2002.
‘Quietly Fine, Quietly Subversive: Women Ceramics Designers in Twentieth-century America’, in Women Designers in the USA 1900-2000 Diversity and Difference, Pat Kirkham, (ed.) Yale University Press, 2000.
‘Ceramics’, in Feminist Visual Culture: An Introduction, Claire Pajaczkowska and Fiona Carson, (eds.) Edinburgh University Press, 2000.
’History, Theory and Gender: Researching Women’s Relationship to the History of Design’, in Proceedings of the international conference Design Plus Research,Politecnico di Milan, Italy, 2000.
‘On the Margins: Theorising the history and significance of making and designing clothes at home’, in The Culture of Sewing: Gender, Consumption and Home Dressmaking, Barbara Burman, (ed.) Berg, 1999.
‘Made in Patriarchy: Theories of Women and Design, A Re-Working’, in Design and Feminism: Re-Visioning Spaces, Places, and Everyday Things, Joan Rothschild, (ed.) Rutgers University Press, 1999.
‘Design, Femininity and Modernism’ inUm-Ordnung. Angewandte Künste und Geschlecht in der Moderne, Cordula Bischoff and Christina Threuter, (eds.) Jonas Verlag, 1999.
‘Women and Design’, in Women’s Studies Encyclopaedia, Helen Tierney, (ed.) Greenwood Publishing, 1998.
Making Clothes at Home between the Wars’, in Obscure Objects of Desire? Reviewing the Crafts in the Twentieth Century, Tanya Harrod, (ed.) Crafts Council, 1997.
‘Design, femininity and modernism: interpreting the work of Susie Cooper', inDesign and Aesthetics, Jerry Palmer and Mo Dodson, (eds.) Routledge, 1996.
‘Children’s Clothes: design and promotion’, in The gendered object, Pat Kirkham, (ed.) Manchester University Press, 1996.
‘Modernity, Femininity and Regional Identity: Women and Fashion 1914-1940’, inStudies in History and Culture in North east England, Thomas E. Faulkner, (ed.) Octavian Press, 1996.
‘Women and Modernism: A Case Study of Grete Marks (1899-1990)’ in Women Designing. Redefining Design in Britain between the Wars, Jill Seddon and Suzette Worden, (eds.) Brighton, 1994.
‘Towards a Feminist Analysis of Women and Design’ in Design Discourse. History, Theory, Criticism, Victor Margolin, (ed.) University of Chicago Press, 1989.
‘Pottery Women’ in A View from the Interior. Feminism, Women and Design, Judy Attfield and Pat Kirkham, (eds.) Women's Press, 1989.
‘Women in the Edwardian Pottery Industry, Feminist Arts News, vol.2, no. 5, 1987.
Peer-reviewed journal articles
’Conceptualizing Fashion in Everyday Lives’, (with Hazel Clark) Design Issues, vol.28, no. 4, Autumn 2012.
Special issue, ‘Channel Crossings: Continental European Émigrés, Exiles And Migrants 1933 To 1956’, (with Tobias Hochscherf) Visual Culture in Britain, vol.13, no.3, 2012.
’Made in Patriarchy: Towards a Feminist Analysis of Women and Design‘, PAD. Pages on Art and Design, http://padjournal.net/made-in-patriarchy/ 08, 2012.
‘Modernity, Tradition and the Design of the ‘Industrial Village’ of Dormanstown 1917-1921’, Journal of Design History, vol.23, no.1, 2010.
‘Moving Home: from York to New Earswick’, Studies in Decorative Arts, vol. XVI, no. 1, Fall-Winter, 2008-9.
'Subject of History? Anna Wetherill Olmsted and the organization of the Ceramic National exhibitions in the USA 1932-1941', Art History, vol.28, no.4, 2005.
‘”De-humanised Females and Amazonians”: Fashioning the Female Body in Home Chat, 1914-1918’, Gender and History, Vol. 14, issue 3, Nov 2002.
‘On the margins: Theorising the history and significance of making and designing clothes at home’, Journal Of Design History, vol. 11, no.2, 1998.
‘Design, Femininity and Modernism: Interpreting the work of Susie Cooper’, Journal of Design History, vol.7, no. 4, 1994.
‘Modernity/Femininity/Feminism’, Feminist Arts News, vol.3, no. 4, 1990.
‘Craft Hierarchies, Gender Divisions and the roles of Women Paintresses and Designers in the British Pottery Industry, 1890-1939’ Journal of Design History,vol.2, no. 4, 1990.
‘Made in Patriarchy: Towards a feminist analysis of women and design, Design Issues, vol. III, no. 2, Fall 1986.
Review article, 'Designed By Women', Art History, vol.9, no. 3, September 1986.
‘Miners’ Welfare: Pithead Bath Design in the 1920s and 1930s', The Architect's Journal, no. 24, vol. 179, 13 June 1984.