Hidden Histories: Gender in Design interview: Kerry Meakin

13 April 2022 -

The hidden histories of labour and professions is the theme of this week’s Hidden Histories: Gender and Design seminar. DHS Ambassador Alexandra Banister meets Kerry Meakin, Programme Chair of the BA in Visual Merchandising & Display at the Dublin School of Creative Arts, Technological University Dublin, to further discuss her research.

To hear more on Kerry’s paper on the unknown women in the hidden history of window display on Thursday 14th
April, register for free via Eventbrite.

What is your background and how did you develop an interest in design history?

On finishing secondary school, I began my design career as a window dressing apprentice for a chain of fashion boutiques, moving on to continue my training in department stores. I have worked in window display in Ireland and Britain. My career path led to me teaching and training in display throughout Ireland, eventually becoming Programme Chair of the BA Visual Merchandising & Display at the Technological University Dublin. I teach Theory and Practical classes and was curious as to where and how the techniques I was trained in, and that I teach, developed. There is little information on the history of window display. There began a five and a half year journey of investigation and the completion of a PhD on ‘The Professionalisation of Window Display in Britain, 1919–1939: modern styles, professional associations, and education,’ at the Modern Interiors Research Centre at Kingston School of Art, Kingston University.



What does your research focus on?

My research focuses on the neglected subject of window display to uncover the ways in which display became a professional practice between 1919 and 1939. The overarching aim of my research was to consider, the following questions: What conditions enabled window display to set out to become a professional practice in Britain? How did the practice change and develop during the inter-war period? My research considers that professionalisation in this period was the result of the interplay between three key developments: the shift in display styles, the emergence of a professional association, and the provision of education and training. Other research interests include the transnational sharing of display techniques.

Your talk is part of a wider seminar series on Hidden Histories: Gender in Design, how does this apply to your work?

Another research interest is the hidden histories of the protagonists who worked to transform the practice and raise its profile. An interesting find for me was the disparity of gender balance in America and Britain to that of Germany in the early twentieth century. While women were actively discouraged by the display Associations in America and Britain in Germany, it was quite the opposite. Even the title of the British Association, launched in 1919, ‘The British Association of Display Men,’ was exclusive to women. However, British women strived against the odds, a chapter in my PhD is devoted to their struggle. Meanwhile, in Germany, the female protagonist who features in my presentation could be considered the person who changed the international practice of window display.


Please tell us about an interesting piece of design you have discovered as part of your research.

The image I have included here is an exemplary example of a 1910 window display by Elisabeth von Stephani-Hahn at the A. Wertheim department store on Leipziger Platz in Berlin. Stephani-Hahn was an artist, throughout her twenty years as the head of display decoration at Wertheim, and her teaching at the Schule Reimann, she described herself as a ‘malerin.’ She created window displays based on the principles she learnt while undertaking fine art studies. In this image, we can see there is a considered, mostly symmetrical display. There is balance, composition, and rhythm. A focal point is created, slightly off, and below centre with the large feathered hat. This item also seems to be highlighted with a hidden spotlight. The pheasants tails also lead the eye to this point. The bird and branch props add interest and entertainment, while not removing focus from the products.