My research focuses on the international consumption and representation of Czech design and craft during the Communist era of 1945–89. Covering glass, textiles and furniture as key areas of Czech production, I will question how Czech design from this period is made ‘visible’ and by whom. Key to this is an examination of the role of institutional policy (government, educational and exhibition), and the relationship between artist/artisan and modes of production.

Since 1989 publications surveying Czech design on an international stage have increased, particularly focusing on key shows like Brussels Expo, 1958. Resulting discussion covers the role of Communist funding; design as an international tool to communicate the greatness of Czechoslovakia; and the influence of export companies such as Glassexport. My research seeks to penetrate the vocabularies surrounding this area, looking at less studied exhibitions such as the Milan Triennials, the selection of objects displayed and the role of those objects in wider Czech discussion and methods of dissemination.

I will evaluate the meanings brought to the materials used and their position on a wider historical plane, examining the institution as selector of what is deemed culturally ‘significant’. Key to understanding materials used and modes of production is a study of definitions surrounding craft, using Glenn Adamson’s terms ‘skill’, ‘supplement’ and ‘amateur’ (V&A Publications/Berg, 2007) as properties through which craft can be examined. The resulting vocabulary allows insight into the meaning denoted by and allotted to Czech design, leading to a new understanding of objects displayed in Czechoslovak exhibitions as well as their role in domestic and shop settings. Etymological analysis will be applied to Czech terms used in documentation surrounding the field in order to understand the meanings brought to definitions of craft and design in Communist Czechoslovakia and interpretation on an international stage. In this area and throughout my research, attention will be paid to ethnic diversity and the consequent multiple languages within the geographic area surveyed: whilst the subject is labelled Czech design, Slovak and German identity will be addressed and consideration taken of the significant number of immigrants working in Czechoslovakia. 

I will question the effects caused by nationalisation and privatisation of factories in Czechoslovakia, and the role of factory versus hand production. The West often views Czech design as produced by artists repressed by a totalitarian state; however Czech artists were boldly assertive on the international scene via exhibitions and through designers teaching abroad. Yet press responses outside Czechoslovakia were few as economic interests had priority in the West. I will map how this politically driven reception of Czech design has influenced Western interpretation.

As such my approach is two-fold: the analysis of international reception and representation via exhibitions as case studies, accompanying catalogues and press responses, will be placed alongside Czech perspectives sourced from contemporary material such as specialised publications, journals (e.g. Czechoslovak Glass Review), magazines, exhibition catalogues and institutional policy documents ranging from educational to government.