Women in Design: Asma Derouiche

The history of women in design is a vibrant narrative of resilience, creativity, and persistent breakthroughs, woven into the fabric of an industry that initially bore the imprint of patriarchal ideologies. As design, particularly in the nineteenth and early twentieth centuries, became increasingly directed toward women due to the rise of consumer culture fueled by advertising and luxury department stores, women encountered three barriers in the design industriy —ideological, structural, and educational—that served as barriers to their entry into the profession.

The ideological barrier, deeply rooted in societal expectations, confined women to the traditional roles of homemaking, marriage, and child-rearing. A great example of this deeply ingrained notion is the gendered concept of Shugei, reinforcing the belief that a woman's primary purpose was within the confines of the domestic sphere. The structural barrier added a legal dimension, with many jurisdictions denying married women control over their property until the late nineteenth century. This lack of autonomy hindered their ability to engage in professional pursuits, including design. The educational barrier further reinforced the challenges, as women struggled to gain access to the same training and educational opportunities as their male counterparts. The establishment of the first UK School of Design in 1837 marked a turning point, albeit gradual, towards a more inclusive education system. The following article will discuss the different timeline of women's empowerment into the design industried.

There are many names in design that tend to be lost or perhaps never celbrated, women who are the firsts and pinoeers in western designs. Figures like Agnes and Rhoad Garrett, authors of "House Decoration," challenged societal norms. Louise Blanchard Bethune, the first female member of the American Institute of Architects (AIA), left an indelible mark with her successful commercial design, the Hotel Lafayette. Sophia Gregoria Hayden made history by becoming the first woman to complete an architecture graduate program at MIT. Other notable designers include :Sylvia Pankhurst, a renowned suffragette and activist, leveraged her artistic talents to contribute to the suffragette movement, creating impactful visual materials that challenged societal norms. Caroline Marsh, a pioneering figure in the late nineteenth and early twentieth centuries, innovated in decorative arts, blending traditional elements with avant-garde approaches. May Morris, an influential designer in the Arts and Crafts Movement, defied conventions through her intricate textile designs and commitment to elevating craftsmanship in the field of design.

The early twentieth century witnessed a shift in the conventional sphere of influence for women, as they ventured into the destructive and ephemeral world of decoration, an aspect rejected by prominent designers like Le Corbusier. Elsie de Wolfe, often regarded as the first professional interior decorator, was a trailblazer who reshaped the field by challenging societal norms. In the early 20th century, she transformed interiors by introducing light, color, and a sense of comfort, deviating from the prevailing heavy and ornate styles. Her influential book, "The House in Good Taste," became a guide for modern interior design principles.

Additionally, interior decorators like Ruby Ross Wood, Eleanor McMillen, and Rose Cumming made lasting contributions. Ruby Ross Wood's designs were characterized by a blend of sophistication and simplicity, contributing to the evolution of modern American design. Eleanor McMillen, through her iconic firm, McMillen Inc., became a significant force in shaping luxurious and comfortable interiors. Rose Cumming, known for her bold and eclectic style, played a pivotal role in introducing vibrancy and eclecticism into American interior design, leaving an enduring legacy in the diverse tapestry of the field.

As women navigated societal expectations and ventured into male-dominated territories, they not only brought their unique perspectives but also revolutionized design principles. The late nineteenth and early twentieth centuries were marked by a significant departure from traditional norms, and women played a pivotal role in reshaping the design landscape.

The nineteenth century confined women to the domestic sphere, where patriarchal power privileged men in both home and workspace. Exploring the lives of women designers in the years surrounding World War I, highlights those who established their own companies but often received little recognition from the male-dominated design establishment. Additionally, it examines the skilled artisans, including seamstresses, pattern cutters, and hand finishers, who played crucial roles in producing exquisite made-to-order clothing. Notable figures like Winifred Mold and Clara Driscoll, though often overshadowed in design history, made essential designs that are very recognisable. Winifred Mold, recognized for her Wild Life collection, showcased meticulous craftsmanship and artistic innovation. Her 190 pieces, marked by intricate details and unique designs, underscored the depth of her talent and the significance of women in shaping the world of design. Clara Driscoll, a key figure in the Tiffany Studios, notably designed the iconic Dragonfly table lamp. Her creative brilliance and leadership were instrumental in the success of the Tiffany glass studio, challenging gender norms and contributing substantially to the studio's renowned works. These women not only produced exceptional designs but also broke through gender barriers, emphasizing the vital role of women in shaping the design landscape during an era when their contributions were often overlooked. Their works provide a lens into the diversity, skill, and innovation brought forth by women in design, asserting their essential place in the historical narrative of the field.

During the late nineteenth and early twentieth centuries, as women sought to establish themselves as designers, they faced not only societal resistance but also challenges within the design establishment. Despite these hurdles, women designers successfully established their own companies, bringing their unique visions to life. The intricacies of their work often went unnoticed, overshadowed by the male-dominated narrative of the time.

The mid-twentieth century marked the emergence of modern design, a movement predominantly centered on male dominance. Pioneers like Nikolaud Pevsner, in "Pioneers of Modern Design" (1936), overlooked and underplayed the role of women, overshadowed by their male counterparts. Women in this period have overcome some sterotypes i the industry and have conturibeted to many modern movement we know today.Gunta Stolzl, Alma Siedhoff, Anni Albers, and Marianne Brandt were pivotal figures in shaping modern design during the mid-20th century. Gunta Stolzl, the first female master at the Bauhaus, revolutionized textile design with her innovative use of materials and patterns. Alma Siedhoff, another Bauhaus artist, focused on children's design, creating whimsical yet functional objects that reflected a commitment to both aesthetics and functionality. Anni Albers, a groundbreaking textile artist, pushed the boundaries of traditional weaving, incorporating modernist principles into her works. Marianne Brandt, the first woman to work in the Bauhaus metal workshop, made significant contributions to industrial design, leaving an enduring legacy in functional yet elegant metal pieces. Despite the challenges of a male-dominated era, these women broke new ground, leaving an indelible mark on the evolution of modern design.

Despite being foundational to the evolution of modern design, women found themselves marginalized in the historical narrative. The contributions of female designers were often overshadowed by the dominant male figures of the time. However, women like Gunta Stolzl, Alma Siedhoff, Anni Albers, and Marianne Brandt made significant strides in pushing the boundaries of design.

Many female designers in the post-war era were married to fellow designers, contributing significantly to shared design work. This marked an important time in design history as we see both women and men put on the same padstool in design. Ray and Charles Eames, celebrated for their iconic furniture designs, epitomize collaborative creativity that transformed mid-century modern design. Eva Zeisel, a prolific ceramic designer, blended artistry and functionality, contributing to the broader field of industrial design. Althea McNish, a textile designer, brought vibrant Caribbean influences into her works, introducing a rich cultural tapestry into the world of design. Edith Head, an acclaimed costume designer, shaped the aesthetics of Hollywood, winning numerous Oscars for her contributions to the film industry.

The "Damsels of Design" at General Motors, a group of trailblazing female designers, challenged gender norms in the automotive industry, influencing car design and aesthetics. Noteworthy among them is Zelda Wynn, who founded the first black-owned business in New York. Her innovative designs, such as the iconic bunny girl outfit for Playboy, exemplify the intersection of design and cultural influence, breaking barriers and shaping the visual landscape of popular culture. Together, these individuals showcase the power of collaboration and the diverse impact of design across different industries and cultural spheres.

The post-war era saw a significant shift in the dynamics of design collaboration, with women taking on more prominent roles alongside their male counterparts. Partnerships between men and women brought forth a fusion of diverse perspectives, leading to innovative and groundbreaking designs. Ray and Charles Eames, Eva Zeisel, and the "Damsels of Design" at General Motors exemplify the power of collaborative efforts in design.

The evolution of branding in design witnessed women not merely as passive embodiments but active contributors shaping the narrative. Their innovative approaches and contributions showcase the transformative power of women in design, challenging traditional norms and redefining the industry.Knoll Associates, a pioneering design company, revolutionized modern furniture with its innovative and timeless pieces. Margaret Calvert, a graphic designer, co-created the iconic British road signs and typefaces, influencing the visual language of public spaces. Rei Kawakubo, founder of Comme des Garçons, is a visionary fashion designer known for challenging conventions and reshaping the fashion landscape. Carolyn Davidson, the designer of the Nike swoosh, created one of the most recognizable logos in the world, symbolizing the brand's ethos of speed and movement.

Elsa Peretti, a renowned jewelry designer for Tiffany & Co., introduced a fresh and contemporary aesthetic to the world of fine jewelry. Nipa Doshi, in collaboration with Jonathan Levien, is known for their innovative furniture designs, blending traditional craftsmanship with modern aesthetics. Each of these designers and brands has left an indelible mark on their respective fields, pushing boundaries, and contributing to the ever-evolving narrative of design.

In the latter half of the twentieth century, women in design transcended traditional roles, actively shaping not only the design itself but also the way it was presented to the world. The concept of branding became a powerful tool for women designers, allowing them to carve out their unique identities and challenge the established norms.

The journey of women in design has been one of overcoming barriers, making history, and shaping the future. From the restrictive ideologies of the past to the collaborative efforts of the present, women have continuously pushed boundaries. The early pioneers laid the foundation, challenging societal norms and paving the way for future generations. Behind the scenes, artisans and workers played crucial roles in the production process, often overshadowed by the male-dominated design establishment.

In modern design movements, women contributed significantly, though their roles were frequently underplayed or overlooked. Partnerships between men and women further enriched the design landscape, showcasing the collaborative nature of innovation. As women rebranded design, they not only left a mark on the industry but also reshaped the narrative, giving women agency in a historically male-dominated field.

The future of design is undoubtedly inclusive, diverse, and shaped by the contributions of women who continue to redefine norms and inspire creativity. As the design world evolves, acknowledging and celebrating the hidden contributions of women becomes imperative for a more comprehensive and equitable understanding of the industry's history and trajectory. Women in design are not just a historical footnote; they are architects of change, weaving their narratives into the fabric of design history.