Journal of Design History Advance Access published March 4, 2013
doi:10.1093/jdh/ept006
Journal of Design History
The Author [2013]. Published by
Oxford University Press on behalf
of The Design History Society. All
rights reserved.
Archives, Collections and Curatorship
migr Designers in the University
of Brighton Design Archives
SueBreakell and LesleyWhitworth
Incredibly, seventeen years have passed since Jonathan Woodham wrote in these
pages of the rich and open-ended possibilities offered by the newly-opened archive
of the worlds first state-sponsored design body, the Design Council, at the University
of Brighton, United Kingdom.1 This special issue allows us to update the international
readership of the journal, following the arrival of eighteen further collections, and a
Downloaded from http://jdh.oxfordjournals.org/ by guest on September 23, 2013
series of name changes.2 Here we introduce the substantial representation of migr
designers in the Archives collections. This may be helpful in the cases of those papers
that have reached us comparatively recently, and where fully itemised listings are not
yet available.3 This article provides a speculative introduction to the rich research poten-
tial of the archives of five European designers who relocated to England between the
years 1933 and 1939, from where many of them developed international networks of
contacts and influence.4 They are Natasha Kroll (19142004), F.H. K.Henrion (1914
1990), Willy de Majo (19171993), Hans Arnold Rothholz (19192000) and Bernard
Schottlander (19241999). These designers cannot easily be placed within the ambit
of existing research into the influence of migrs on cultural heritage, because design
remains a relatively unexplored area of migr activity.
Bodies of migr research in the arts in Britain have tended to emerge from cluster
points such as broader migr studies; migrs in America; or, more recently, fine art
in particular; all of these have touched on design.5 But whilst these activities have
generated a significant body of literature on the impact of migrs on broader artis-
tic and cultural developments, there remains further work to be done in the specific
field of design.6 The fact that key figures of the influential German Bauhaus, despite
pausing briefly in Britain, ultimately went to the United States has perhaps tended
to divert attention away from a thoroughgoing analysis of other migr impacts on
British design.7 These five collections may offer the raw material for challenges to con-
ventional narratives. The individual archives are introduced below with indications of
possible starting points for inquiry.
Whilst not being able to do justice to these questions here, it seems reasonable to
presume that future work might ask questions such as: were there discernible influ-
ences, associated with the designers origins, on his or her work? Was there an impact
on their encounter with design in their adopted country? Were there ongoing associa-
tions with their country/ies of origin and their own personal past? And more broadly,
what were the networks and hubs through which new arrivals to Britain made their
personal and professional connections? Beyond the scope of this piece, but equally
worthy of consideration, are questions such as: how can the story of their early lives
be read from the archive? And lastly, for an migr disconnected from their place(s)
of origin, what does an archive, whether formally or informally constituted, mean to
their identity?
1
Natasha Kroll
Natasha Krolls8 papers were transferred to the Design Archives by her family in 2006.9
Kroll trained at the Reimann School in Berlin, specializing in display design, before
moving to join the teaching staff of its new London operation when it opened in 1937
[1]. Her birthplace however was Moscow, from where her family moved to Germany in
1922.10 An interview with Kroll carried out by Yasuko Suga informed her 1998 article
on Modernism, Commercialism and Display Design in Britain, published in this jour-
nal.11 In it Suga helpfully drew attention to the intriguing inter-play of staff, specialisms
and approaches between the original Reimann Schule and the Bauhaus, so that this
collection, taken in conjunction with that of Arnold Rothholz (see below), might have
the capacity to extend somewhat our knowledge of this model of commercial design
education and its role as a conduit for continental modernism.

Following early professional commissions for Rowntrees, a department store with

branches in Scarborough and York, Kroll was soon drawn back to the capital to take up
the post of Display Manager for iconic London department store Simpson (Piccadilly)
Ltd, where she worked from 1942 to 1954. In this role she followed in the wake Fig 1. Natasha Kroll (centre
of such design luminaries as Ashley Havinden and Laszlo Maholy-Nagy. Her appoint- front, smiling) with colleagues
ment was entirely consistent with the modernist vision of the stores founders, as also from the Reimann School,
embodied in the building itself.12 Throughout the war years Krolls cheering window London, c. 1938. Natasha Kroll
Archive, University of Brighton
displays were acclaimed, and a steady stream of positive commentary on her work
Design Archives. Reproduced
began to appear in the trade press.13 Krolls achievement in gaining this recognition, with permission from University
of Brighton Design Archives

migr Designers in the University of Brighton Design Archives

2
 and the continuance of interest in her work in the early post-war years, is all the more
notable given that, as Susan Lomax makes clear, this was emphatically the world of
Display Men.14 Krolls book Window Display was published in a series of professional
studies by Studio Publications, London, in 1954. Sir Hugh Casson, architect and arts
luminary, wrote the foreword and the book was well received by the industry, as a file
of press cuttings attests.

The Sunday Times of 16 October 1955 announced that Kroll would be the lone woman
joining a newly revitalized BBC Design Department under the leadership of Richard
Levin. She was also singular in being one of the few not drawn from the stable of the
Design Research Unit (DRU), the UKs leading design consultancy.15 In this sphere too
her work rapidly drew favourable responses. The break was not complete, however, for
she continued to write and deliver commissioned research on aspects of retail display
in the following years. Her new forte was the creation of more appropriate settings
for talks and factual programmes, amongst them Huw Wheldons ground-breaking
arts programme Monitor.16 In this realm, as with her windows, ideas originating from
European modernism and contemporary design were given popular exposure.

Kroll was elected to the prestigious Faculty of Royal Designers for Industry in 1966,
an award from the Royal Society of Arts that explicitly recognized both spheres of her
work.17 In the same year she left the BBC to work freelance, specialising in period dra-
mas, and went on to gain several notable television and feature film credits as production
designer including Macbeth (BBC Play of the Month, 1970), Ken Russells The Music
Lovers (1971), The Hireling (1973), and Age of Innocence (1977), and as producer and
production designer Absolution (1978, released in the USA 1988), which starred Richard
Burton. She won a BAFTA18 Award for Art Direction in 1974, for work done in 1973.

This archive is made up of notebooks, trade publications, photographs, set plans and
scripts, sketches and artwork, some personal and professional papers, and press cut-
tings. The seven linear metres of material provide rich insights into both phases of
Krolls career, and would further permit considerations of the continuities between
display and stage design. Another interesting issue might be the limitations of her
application of European modernism in these practical fields.

Willy deMajo
William Maks de Majo was born in Austria and, like Kroll, received a commercial train-
ing, in this case at the Vienna Handelsakademie.19 With precocious but well-founded
confidence he began to attract important freelance poster commissions and by 1935
had established his own studio in Belgrade. Arriving in Britain in 1939, Willy de Majo
would have found the graphic design field still in its infancy, but in any case war was
about to shape national priorities. Proficient in several languages, he initially broad-
cast for the BBC Overseas Service, 19401941; then served with the Royal Yugoslav
Air Force attached to the Royal Air Force, 19411943. He was with the War Ministry
in London in 1944, and with the RAF at Supreme Headquarters, Allied Expeditionary
Force, 19451946. For this work he was awarded a militaryMBE.

W. M.de Majo Associates now sprang back into action, offering services in graphic,
industrial and exhibition design, corporate identity, packaging and product develop-
ment. Following a study tour of Canada and the United States, he established a New
York office as early as 1948. In 1951, de Majo acted as co-ordinating designer of the
Ulster Farm and Factory exhibition held in Northern Ireland as part of the nations

Sue Breakell and Lesley Whitworth

3
1951 celebration, the Festival of Britain [2].20 But when not designing on this scale, his
work embraced the perfectly considered business card and the whimsical confection-
ary point-of-sale item. In 1953 he travelled to America to make a guest presentation
to the Aspen International Design Conference, the recently conceived international
meeting ground established by Walter Paepcke to bring together designers, artists,
engineers, and business and industry leaders.21 Inspired by this and the 1957 founding

Fig 2. Willy de Majo, Ulster

Farm and Factory, Festival of
Britain, 1951. Willy de Majo
Archive, University of Brighton
Design Archives, RHZ/1/2/7.
Reproduced with permission
from University of Brighton
Design Archives

migr Designers in the University of Brighton Design Archives

4

Fig 3. F. H.K. Henrion before
his journey to Paris, 1933. F.H.
K.Henrion Archive, University
of Brighton Design Archives.
Reproduced with permission
from University of Brighton
Design Archives and the Henrion
estate
Sue Breakell and Lesley Whitworth
of the International Council of Societies of Industrial Design (ICSID) in London, de
Majo next embarked on the measure with which he is most closely associated: the
formation of an equivalent body for graphic design. Icograda, the International Council
of Graphic Design Associations, was established in London in 1963 with de Majo as
its first President.22 The major archives of both organisations are also housed in the
University of Brighton Design Archives, offering future scholars the possibility of achiev-
ing a detailed understanding of the scope, nature and ambition of the full range of
activities undertaken by the body instigated by de Majo and colleagues to further the
development of graphic design worldwide. F.H. K.Henrions close association with the
founding group and his Presidency, 19681970, also add to the wealth of resources in
this area (see below).
De Majo continued to play a steering role in Icograda and was, for example, Chairman
of the Icograda congresses in Zurich (1964) and in Bled (1966).23 He was much in
demand as a speaker, and his advocacy for design resulted in the granting of a long
list of awards by overseas design associations. In 1969 he was awarded the Society
of Industrial Artists and Designers (SIAD) Design Medal for International Services to
Design and the Profession, another honour he shared with Henrion, who was awarded
it in 1976. Following de Majos death, a memorial event was held at the London offices
of Pentagram, on behalf of the Society of Typographic Designers, of which he was an
Honorary Fellow, and the Chartered Society of Designers, in association with Icograda.
The collection was transferred to the Design Archives by the de Majo family in 2009,
and comprises an estimated twenty linear metres of material for which there is, as yet,
no detailed hand list. It largely comprises correspondence, photography and examples
of art and design work.
F. H.K. Henrion
Frederic Henri Kay Henrion has received wide recognition
as a pioneer of corporate identity design,24 as well as for
designs for posters and exhibitions in the earlier part of
his career during the 1930s and 1940s. In public at least,
Henrion seems to have discussed his early life in Germany
very little [3]. Born in Nuremberg to a Franco-German
Jewish family, he left Germany for political reasons in 1933
as a young man, and before he had been able to pursue
any formal artistic training, although he attended evening
life drawing classes at art school.25 Because of family con-
nections in France, he went to Paris, where he worked first
for a textile design studio and later trained in the studio
of the poster designer Paul Colin. He described later how
the need to apply his artistic inclinations to practical ends,
taking whatever opportunities presented themselves and
producing designs on demand, was a good discipline for
a designer.26
Henrions poster designs were seen at a trade fair in
Palestine by representatives of the British government, who
gave him the commission that brought him to London in
1936. Through a childhood friend, he became involved
with Misha Black and Milner Grays pioneering consultancy,
5
the Industrial Design Partnership, where he worked on exhibition designs, at the same
time establishing himself in freelance poster design. At this point, the outbreak of
war threatened to interrupt his fledgling design career, and, unlike de Majo, he was
briefly interned, first in Cheshire and then at Onchan camp on the Isle of Man. He later
described his experience thus:

At the beginning of the war [.. .] although Iwas born in Germany Ino longer had
a German passport, just French identity papers. Iwas classed as an enemy alien,
and there were tribunals. When France fell, there was a great internment hysteria,
and Iwas interned for six months on the Isle of Man. So when Icame out, at the
end of 1940, Imoved from the IOM to the MOI [Ministry of Information], which
was rather extraordinary. And Iwas completely bewildered because, from being
behind barbed wire one week, Iwas in an RAF airfield the next. It was such a sud-
den change, it practically undid me. From being distrusted to being trusted with
secret information, all within a week.27

This transition to the Exhibitions Department of the MOI reunited Henrion with Black
and Gray, and his career went from strength to strength.28 Through clubs, associations
and the client communities of the Industrial Design Partnership and later the DRU,
Black and Gray positioned themselves at the heart of a deeply networked industry, to
which Henrion gained exposure. Remarkably, Henrion also worked for the US Office of
War Information (OWI) on graphic and exhibition design. In his work for both govern-
ments, and in the period after the war, he was significant in extending the influence of
continental modernism, for example through the use of photography and montage in
his poster designs. Like so many of this group, Henrion was involved with the Festival
of Britain, being responsible for the Agriculture and Country pavilions. Anticipating
Danny Boyles much-vaunted 2012 Olympics opening ceremony, Henrion developed
extensive schemes incorporating living plants and animals, testing his ingenuity and
earning him anMBE.

The Festival introduced Henrion to Olivetti, the start of a long and formative working
relationship of the kind that was to characterize his later work. As his practice devel-
oped from consultant designer to corporate design pioneer, he evolved brand identities
for the likes of KLM Royal Dutch Airlines, Blue Circle Cement, the Post Office and Tate
& Lyle, later describing this as a business rationalisation to do more work for fewer
clients.29 This strategic assessment downplays his achievements in the development of
corporate identity design, achievements which modern-day graphic designers are all
too ready to accord him.30

Running parallel was a wider commitment to the social role and responsibility of design and
art. This dated back to his wartime involvement with the Artists International Association
(AIA), such as their exhibition For Liberty in the bombed John Lewis store on Oxford
Street in 1943 [4], through to his designs for the Campaign for Nuclear Disarmament
(CND), including the well-known skull and mushroom cloud (1963). In a range of honor-
ary positions, including President of the Society of Industrial Artists and Designers (1960
1962) and of Icograda (19681970), and Member of the governing body of the Council
of Industrial Design (19641967), he served as an international ambassador for design as
well as design education, and influenced the wider ambit of his profession.

As with de Majo, Henrion was a deeply committed educator, for whom teaching was
an important way of contributing to the development of younger cohorts of design-
ers and engaging with fresh ideas.31 In a statement prescient of the digital age, he
described his ethos as follows:

migr Designers in the University of Brighton Design Archives

6

Fig 4. F. H.K. Henrion,
headed notepaper for the
Artists International Association
exhibition For Liberty, 1943.
F.H. K.Henrion Archive,
University of Brighton Design
Archives. Reproduced with
permission from University of
Brighton Design Archives and
the Henrion estate
Sue Breakell and Lesley Whitworth
To be a designer is to look ahead: to help, however little, to bring the future into
the present, to open new doors and explore new fields. My present aim is to
involve myself more in computer generated design and the electronic medianot
so much for advertising or entertainment but for information and education
to contribute something towards creating a more aware and therefore a more
enlightened society.32
Henrions archive came to the University of Brighton Design Archives in 2000,
extending to some twenty-five linear metres of archive material and thirty-five
metres of books from his library. It documents all aspects of Henrions career,
including his visual record of finished projects; photographs and slides; writings and
lecture notes; and some runs of correspondence and other client papers. It offers
rich scope for the consideration of particular projects or phases, and for longer
perspectives on the trajectory of his career and its wider context of the evolution
of the design profession.
Arnold Rothholz
Arnold Rothholz enjoyed a successful career as a graphic and information designer,
with poster clients including the Post Office and the Royal Society for the Prevention
of Accidents (RoSPA) and a long consultancy for makers of art materials Winsor &
Newton. In the wake of Londons 2012 Olympics, it is worth noting that he produced
several designs for the 1948 London Olympics. The trajectory of his career, rather like
Henrions, reflected the evolution of their design specialism in the mid- to late twen-
tieth century, moving from exhibition and poster design in the 1940s, through con-
sultancy in the 1950s, to larger schemes of corporate identity design in the 1960s.
While Rothholzs career did not reach the heady heights of Henrions, nevertheless a
consideration of the range of his work confirms him as an accomplished and highly
regarded practitioner.33
Born in Dresden in 1919, Rothholz moved to London in 1933, at what might be
considered a formative stage in his life: his artistic training was all in Britain, first at
Willesden School of Art, then studying Commercial Art at the Reimann School from
19381939, winning a School Diploma.34 We might speculate on the significance
of Rothholz still being able to enjoy a German commercial art education and being
exposed to advanced ideas about modernism and design which had originated in the
country of his birth.35
7
Like Henrion, Rothholz was interned in the early part of the war, in Liverpool and
on the Isle of Man. Little is presently known of this part of his story, but migr lit-
erature attests that many internees forged friendships and professional associations
which lasted through their careers. Certainly, Rothholz maintained engagement with
his country of origin through his involvement with migr organisations such as the
Free German League of Culture (FGLC) in London.36 In 1942 the League organized the
exhibition Allies inside Germany, which aimed to show the underground struggle
of the German anti-Nazis against Hitler. Rothholz designed a series of stamps in con-
nection with the exhibition, depicting scenes of underground activity and the slogan
Underground Germany Helps to Destroy Hitler.37 His RoSPA posters include examples
of explicitly anti-Nazi imagery and slogans to convey an apparently unrelated health
and safety message [5].

Rothholzs posters feature in many public collections38 and indicators of the

esteem in which he was held include being made a Fellow of the SIAD and a
regular judge, as well as a recipient, of the Institute of Packagings Starpacks
awards [6]. Post-war clients include the Festival of Britain, J. Lyons & Co and
Wellcome. Despite this range of high-profile clients, surprisingly little has been
written about him todate.

Rothholzs archive was transferred to the Design Archives in 2008 and extends to
some five linear metres of material. It captures the range of Rothholzs professional
work as well as more personal glimpses, press cuttings and early drawings. There is
also a full set of his posters. Adetailed listing of his archive has recently been made
available on the Archives Hub and it is hoped that this will stimulate fresh engage-
ments with his work.

Bernard Schottlander
Bernard Schottlander was born in Mainz, Germany, and fled to England as a boy
in 1939. His immediate course of action was indicative of a tension that was to
permeate his career in the following years. During the day he trained as a metal-
worker, whilst in the evening he attended sculpture classes at Leeds School of Art
(19401941). Intriguingly, a years further study in London appears to have been
facilitated by the Anglo-French Art Centre, an institution notable for its visiting art-
ists from France and other parts of Europe. Later on, he studied industrial design at
the Central School of Arts and Crafts (19491951), before establishing a workshop
in north London. There he devised and produced a range of lighting designs that
quickly found favour with leading architects and designers. By 1953 his work was not
only part of a major exhibition in Zurich organised by the British Council, the UK gov-
ernments cultural outreach programme, but was also one of the emblematic designs
used in the promotional material [7]. In the middle 1950s Schottlander joined the
Society of Industrial Artists, but by the early 1960s his work had made a permanent
shift into sculpture.

Whilst the sculptural properties of his industrial designs had always contributed markedly
to the successful reception of his work, this new move marked a final step away from
the world of functional design.39 For two years from 1965 to 1967 he was metalwork
instructor in the sculpture workshop at St Martins School of Art, during an extraordinarily
vibrant period under the leadership of Frank Martin, a course which fostered the talents
of Barry Flanagan and Richard Long, among others.40 During this time his first solo exhi-
bition was held at the Hamilton Galleries. There were also exhibitions with the London

migr Designers in the University of Brighton Design Archives

8
Fig 5. Arnold Rothholz,
Germs Invade/Get First Aid
and dont help the Enemy.
Poster for the Royal Society
for Prevention of Accidents,
1943. H.A. Rothholz Archive,
University of Brighton Design
Archives, RHZ/4/2/2. Reproduced
with permission from University
of Brighton Design Archives

Group of artists, at the Institute of Contemporary Arts (ICA) and at the Architectural
Association in 1964, plus a series of prestigious and increasingly large-scale commissions.
The papers associated with this later, sculptural part of his career are held at the Henry
Moore Institute Archive in Leeds, whilst the earlier design-oriented part of his career is
recorded in the University of Brighton Design Archives. This is a fitting and appropriate
addition to our holdings, given the high regard in which his design work was held by
the Council of Industrial Design for whom he produced fittings for the new Haymarket

Sue Breakell and Lesley Whitworth

9
 Fig 6. H. A.Rothholz judging
the Institute of Packagings
Starpacks awards, 1964.
Institute of Packaging Journal,
vol. 10, no.77, July 1964,
p.11. H.A. Rothholz Archive,
University of Brighton Design
Archives. Reproduced with
permission from University of
Brighton Design Archives and
Maney Publishing (www.maney.
co.uk)

Design Centre, opened in 1956, as well as being represented in their Design Index of
well-designed goods and in exhibitions organized by them in Britain and abroad.

Taken as a whole, Schottlanders career is inseparable from the growth of a confi-

dent post-war civic culture in the land of his adoption. To take just one example from
beyond the capital, in Coventry he designed bold lighting features for the new civic
Belgrade Theatre (1958) and the Locarno Ballroom (1960); participated in 1968 in the
Exhibition of British Sculpture at Coventry Cathedral, which dealt with the issue of
sculptures relation to the urban environment; and in the same year produced a large,
exterior commissioned piece for the University of Warwick.

This small collection was transferred to the University of Brighton by the Schottlander
estate in 2000.41 Unusually it is rich in artefacts, including nine prototype objects from
the 1950s,42 plus a box containing photography, a small quantity of correspondence
and a number of publications. These shed light on a pivotal moment in small-scale
UK industrial design and manufacturing practice. In conjunction with the Henry Moore
material they make possible a more nuanced understanding of the artist-designer in
three dimensions. A retrospective of his work was co-curated by Catherine Moriarty
of the University of Brighton Design Archives and Victoria Worsley of the Henry Moore
Institute in 2008.43

migr Designers in the University of Brighton Design Archives

10
Fig 7. Cover, British
Council exhibition catalogue
Formschaffen in England
(British Industrial Design),
Kunstgewerbemuseum
Zurich, 21 June16 August
1953. Bernard Schottlander
Archive, University of
Brighton Design Archives.
Reproduced with permission
from University of Brighton
Design Archives

Some concluding comments

Not all of these individuals arrived in the country as fully-fledged designers, or even
as fully-fledged adults. All made the journey at a comparatively early stage in their
lives, between middle teenage years and early twenties. The youngest, Schottlander
and Rothholz, gained their skills here, each putting together a patchwork of training
from the variety of educational opportunities available to them. Among sociologists,
the notion of a 1.5 generation immigrant has been found to be a useful category of
analysis: in this case, a young migrant carries with them characteristics of both the
country or culture of origin and destination.44 Even among our broadly contemporane-
ous subjects, the variety of experience indicates the complexity of applying this analysis.

Sue Breakell and Lesley Whitworth

11
Rothholz, aged fourteen on arrival, came with his parents, who may or may not have
been supportive of his artistic ambitions, whereas Schottlander, just one year older,
became separated en route from parents who appear to have had at least an interest
in the arts.45

While the term migr is clearly indicative of a life-altering geographical dislocation

in country of residence, it may not immediately suggest the multi-staged journeys
engaged in by some of these subjects. Natasha Kroll relocated first to Germany,
and F. H. K. Henrion to France, before either moved to Britain. Schottlander set-
tled initially in Leeds46 before moving on to London, Although the politico-cul-
tural situation that necessitated flight can readily be identified in the case of our
subjects, the specific family circumstances determining their points of destination,
as well as their lone or accompanied traveller status, may currently elude us. We
might also question the value of nationality as a category of analysis. Willy de Majo
was a Viennese-born Yugoslav; Kroll was said to have been of mixed Latvian and
Polish descent; Henrion was Franco-German. The national designation of the city
of Schottlanders birth, Mainz, was contested over many centuries; Krolls tempo-
rary place of residence, Wiesbaden, has a similarly complicated history. These cases
remind us of the fluidity of identity and the permeability of boundaries and borders
overtime.

We cannot yet say whether, or to what extent, our subjects professional lives over-
lapped: for example, Rothholz trained at Reimanns but not in the department where
Kroll was teaching. However, the Council of Industrial Design suggests itself as a locus
of interest for designers then and researchers now. Kroll, Rothholz, Henrion and de
Majo all made contributions to the Festival of Britain at the behest of the Council. It is
a matter of interest that so many migrs, these included, contributed to this national
celebration.47 And as we have seen, Schottlander also designed items for Council
spaces and produced objects that were included on its Design Index.48 Aspects of Krolls
display work found a place in the Councils photographic library, as did the work of
her protg at Simpsons, Terence Conran. She served on their Design Centre Award
panel in 1963. Likewise Henrion served on the Council and in a variety of judging roles.
It makes sense therefore to posit the Council, an important state-sponsored design
organisation, as a thread that linked them.49

The richness of these connections with our founding collection, the Design Council
(Council of Industrial Design before 1972), is also an outcome of the Archives formal
acquisition policy, although the full extent of these relationships could not have been
predicted. In accepting each of these collections into the University of Brighton Design
Archives, the curatorial team considered both their individual interest and their capacity
to deepen our understanding of themes and issues inherent in adjacent and kindred
collections.50

The Archives are consistently used by undergraduate and postgraduate students, and by
scholars from around the world, to uncover aspects of local, national and international
material culture; to examine the development of design as a professional and special-
ised activity; and to find out how the production of designed objects both responds
to, and can be a determinant of, socio-economic change. The authors have welcomed
the opportunity to review the warp and weft of some of our latest accessions, and to
consider afresh the research questions that might be framed by new audiences. We
welcome all enquiries about our holdings, and the availability of appointments, to des-
ignarchives@brighton.ac.uk.

migr Designers in the University of Brighton Design Archives

12
 SueBreakell
University of Brighton Design Archives, Faculty of Arts, University of Brighton, UK
E-mail: s.m.breakell@brighton.ac.uk

Sue Breakell is Archivist and Research Fellow at the University of Brighton Design
Archives, a scholarly resource focusing on British design and global design organisa-
tions in the twentieth century. Sues academic background is in English Studies, Art
History and Archives. She has extensive experience as a visual arts archivist, much of
it in national museums and galleries; she was formerly head of Tate Archive, and has
worked at the Imperial War Museum and at Marks and Spencer plc. Sues research
focuses on the nature, meaning and practice of archives, and on the history of twenti-
eth-century British art and design and their contexts.

LesleyWhitworth
University of Brighton Design Archives, Faculty of Arts, University of Brighton, UK
E-mail: l.k.whitworth@brighton.ac.uk

Lesley Whitworth is Deputy Curator and Senior Research Fellow at the University of
Brighton Design Archives. She is a design history graduate of Brighton, and completed
her doctorate at the Centre for the Study of Social History, University of Warwick. Her
research has centred on issues of gendered domesticity; shopping practices and spaces;
and consumer protection and education. She has published recently on aspects of the
history of the Council of Industrial Design and the Co-operative.
Notes
1 J. Woodham, Redesigning a Chapter in the History of 6 Some significant exceptions include the 1992 Crafts
British Design: The Design Council Archive at the University Council exhibition Influential Europeans in British Craft
of Brighton, Journal of Design History, vol. 8, no.3, 1995, and Design, curated by Mary Schoeser, and R Kinross,
pp.2259. migr Graphic Designers in Britain: around the Second
2 Design History Research Centre Archives; Design Archives; World War and Afterwards, Journal of Design History, vol.
University of Brighton Design Archives. Details of all of 3, no.1, 1990, pp.3557.
the collections can be found at Design Archives <www. 7 See, for example, A.Heilbut, Exiled in Paradise: German
brighton.ac.uk/designarchives> accessed 31 January Refugee Artists and Intellectuals in America from the
2013. 1930s to the Present, University of California Press,
3 The Design Archives catalogue lists are currently made Berkeley & Los Angeles, 1997, and S Barron, Exiles +
available through the Archives Hub <www.archiveshub. Emigrs: the Flight of European Artists from Hitler, Los
ac.uk> accessed 31 January 2013. Angeles County Museum of Art, Los Angeles & Harry N
Abrams, New York, 1997.
4 The authors, whilst research-active, make no claim to be
experts in migr studies. Part of our role is to alert the 8 B. Lodge, Natasha Kroll, The Guardian, 7 April 2004.
wider archive user community to new collections and to <http://www.guardian.co.uk/media/2004/apr/07/broad-
promote fresh scholarship. casting.guardianobituaries> accessed 27 February 2012.

5 The important publications and yearbooks of the
Research Centre for German and Austrian Studies at the
Institute of Germanic and Romance Studies, University of
London have included coverage of aspects of the arts,
notably S.Behr & M.Malet, Arts in Exile in Britain 1933
1945: Politics and Cultural Identity, Editions Rodopi,
10 The story of the familys gradual relocation is quite a
Amsterdam, 2005. Also notable amongst recent publica-
tions about migr artists is S MacDougall & R Dickson,
Forced Journeys: Artists in Exile in Britain, c. 193345,
Ben Uri Gallery, London, 2009.
9 Krolls younger brother Alex also had a distinguished career
in design, with magazine publishers Cond Nast. See
V.Horwell, Alex Kroll, The Guardian, 2 July 2008<http://
www.guardian.co.uk/media/2008/jul/02/pressandpublish-
ing> accessed 27 February 2012.
complicated one. See W. Packer, Alex Kroll: Designer
and Art Director at Vogue and House & Garden,
Independent, 11 July 2008 <http://www.independent.
co.uk/news/obituaries/alex-kroll-designer-and-art-director-

Sue Breakell and Lesley Whitworth

13
 at-vogue-and-house--garden-865006.html> accessed 22
February 2012.
11 Y. Suga, Modernism, Commercialism and Display Design
in Britain: The Reimann School and Studios of Industrial
and Commercial Art, Journal of Design History, vol. 19,
no.2, 2006, pp.13754.
12 This was the work of architect Joseph Emberton, whose
archive also resides at Brighton.
13 Copies of a range of publications including Display, Stores
& Shops, Fashion Trade Weekly and Store are included in
Krolls archive.
14 S. Lomax, The View from the Shop: Window Display, the
Shopper and the Formulation of Theory, in Cultures of
Selling: Perspectives on Consumption and Society since
1700, J.Benson & L.Ugolini (eds), Ashgate, Aldershot &
Burlington, 2006, pp.26592.
15 On DRU see J. Blake & A. Blake, The Practical Idealists:
Twenty-Five Years of Designing for Industry, Lund
Humphries, London, 1969, and M. Cotton, Design
Research Unit 194272, Koening Books, London, 2011.
16 Monitor was the first arts magazine programme presented
on British television. It was devised by Wheldon, who
went on to become Managing Director of BBC TV. See
H. Wheldon (ed.), Monitor, Macdonald, London, 1962.
Krolls own copy, with a greeting from Wheldon, is in the
Archives.
17 The Royal Society for the encouragement of Arts,
Manufactures and Commerce has been active since 1754;
see RSA <www.thersa.org> accessed 7 August 2012.
18 British Academy of Film and Television Arts.
19 D. Negus, Obituary: Willy de Majo, The Independent, 23
October 1993<http://www.independent.co.uk/news/peo-
ple/obituary-willy-de-majo-1512513.html> accessed 27
February 2012.
20 Scholarship on de Majo is less developed than that on his
contemporary F.H. K.Henrion, but for a recent discussion,
see H. Atkinson, The Festival of Britain: A Land and its
People, IB Tauris, London, 2012, especially ch.5.
21 See R.Banham, The Aspen Papers: Twenty Years Of Design
Theory From The International Design Conference In
Aspen, Pall Mall, London, 1974.
22 See ICSID <http://www.icsid.org/> accessed 24 February
2012, and Icograda <http://www.icograda.org/> accessed
24 February 2012.
23 Icograda activity was organized around a rotating series
of congresses and general assemblies in different host
countries.
24 Recent considerations of this element of Henrions career
include D.Preston, The Corporate Trailblazers, Ultrabold,
14
no.10, Summer 2011, pp.1421; and W.Bakker, Droom
van helderheid: huisstijlen, ontwerpbureaus en modern-
isme in Nederland, 19601975, Uitgeverij 010, Rotterdam,
2011. A survey of Henrions career can be found in
R. Artmonsky & B. Webb, Design: FHK Henrion Antique
Collectors Club, Woodbridge, Suffolk, 2011. Evidence
of the vibrancy of Henrion studies was demonstrated at
a recent event organized by the University of Brighton
Design Archives; see F H K Henrion research seminar,
University of Brighton <http://arts.brighton.ac.uk/collec-
tions/design-archives/projects/f-h-k-henrion-research-sem-
inar> accessed 8 August 2012.
25 Unpublished document by Henrion, FHKH Book13
September 1979, F. H. K. Henrion Archive, University of
Brighton Design Archives. Temporary number HEN 22.
26 Ibid.
27 Ibid.
28 On Milner Gray, see A. Blake, Milner Gray, Design
Council, London, 1986; on Misha Black, see A. Blake,
Misha Black, Design Council, London, 1983, and
A. Blake (ed.), The Black Papers on Design: Selected
Writings of the Late Sir Misha Black, published on
behalf of the Faculty of Royal Designers for Industry by
Pergamon Press, Oxford, 1983.
29 Henrion: 45 years of design, Israel Museum, Jerusalem,
1984. This exhibition catalogue in leaflet format gives
Henrions own summary of his career, by decade. Henrions
library, held with his archive at Brighton, includes copies
under the shelf mark 19/118125.
30 Few are the European graphic design compendia that omit
Henrions work. A monograph, by Unit Editions, will be
forthcoming in 2013.
31 This distinguishes them from other subjects (such as Kroll
and Schottlander) who abandoned teaching as conditions
allowed.
32 Henrion: 45years of design, op. cit.
33 The esteem in which he was held is demonstrated,
for example, by his being asked to design the Society
of Industrial Artists showcase exhibition The Art of
Persuasion in 1960.
34 According to Yasuko Suga, a Diploma was awarded only to
a limited number of meritorious students. Suga, op. cit.,
p.144.
35 Suga discusses the significance of the Reimann School in
the spread of continental modernism in Britain. Suga, op.
cit.
36 For a history of the Free German League of Culture, see
C Brinson & R Dove, Politics by Other Means: the Free
German League of Culture in Britain 193946, Vallentine
Mitchell, Edgware, 2010.
migr Designers in the University of Brighton Design Archives
37 These stamps can be found in the H.A. Rothholz Archive,
University of Brighton Design Archives.
38 Including the Imperial War Museum, the Victoria and
Albert Museum, London Transport Museum and the British
Postal Museum and Archive.
39 Moriarty has made the point that in some notable
instances his designs did in fact fall short of requirements
in their functional aspects. See C. Moriarty, Bernard
Schottlanders industrial design as a system of appear-
ances, in Indoors and Out: The Sculpture and Design of
Bernard Schottlander, C. Moriarty & V. Worsley, Henry
Moore Institute Essays on Sculpture, vol. 56, Henry Moore
Institute, Leeds, 2007.
40 Frank Martins archive (TGA 201014) is held at Tate
Archive.
41 At the same time the University acquired two Schottlander
sculptures, Ding Dong and Terminal, both from 1964.
These now form part of the Universitys Aldrich Collection.
42 They are three chairs, four lamps and two ashtrays.
43 Indoors and Out: The Sculpture and Design of Bernard
Schottlander, Leeds City Art Gallery, 23 September
20076 January 2008, and University of Brighton Gallery,
14 January9 February 2008. Copies of the accompanying
essays are available through the Design Archives.
Sue Breakell and Lesley Whitworth
44 The 1.5 generation concept is usefully discussed in
S.Solomon Kebede, The struggle for belonging: Forming
and reforming identities among 1.5-generation asylum
seekers and refugees, Refugee Studies Centre Working
Paper Series, no. 70, University of Oxford <http://www.
rsc.ox.ac.uk/publications/working-papers-folder_contents/
RSCworkingpaper70.pdf>, accessed 14 September 2012
45 This extraordinary story is referenced at The Art of Silence:
Bernard Schottlander, 19241999, The Milton Keynes Mix
<http://www.discovermiltonkeynes.co.uk/exhibitions/13/
fullsize_awareness/04.pdf> accessed 14 September 2012.
46 For reasons not so far discovered.
47 See Atkinson, op. cit.
48 On the Design Index see C.Moriarty, A Backroom Service?
The Photographic Library of the Council of Industrial
Design, 19451965, Journal of Design History, vol. 13,
no.1, 2000, pp.3957.
49 We should also note that the Council was itself a member
of both the international design bodies mentioned, ICSID
and Icograda, so that its records of involvement may also
shed light on de Majo and Henrions multifarious activities.
50 The curatorial team are: Curatorial Director Catherine
Moriarty, Archivist Sue Breakell, and Deputy Curator Lesley
Whitworth.
15