Set of Vintage Leather Leo Armchair and Ottoman attributed to Robin Day for Hille, 1960s

Husband-and-wife designers Robin (1915-2010) and Lucienne Day (1917-2010) were Britain's leading pioneers of modernist design in the 20th century. They played an instrumental role in persuading postwar British society to welcome minimalist, progressive, mass-produced designs into domestic settings.

Lucienne Conradi met Robin Day in 1940 while they were studying design at London's Royal College of Art; the pair married two years later. For over 50 years, they worked side-by-side from their home-studio in Chelsea. They both held teaching positions in the early years of their careers.

Robin Day first came to prominence as a furniture designer in 1948, when his multipurpose storage unit (co-designed by Clive Latimer) won first prize in New York's Museum of Modern Art International Low-Cost Furniture Competition. In 1949, Robin's passion for combining functionalist aesthetics with the latest technology drew the attention of Hille, a small British cabinetmaking firm that aimed to expand into the modern furniture market. Though Robin was never officially employed by Hille—preferring instead to remain a consultant—he effectively worked as the company's head of design for over two decades.

Lucienne Day specialized in textile and wallpaper design that was inspired by the biomorphic forms of modern artists like Wassily Kandinsky and Joan Miró, as well as the evolving landscape of postwar society. She was regularly worked for major retailers, like Stevenson & Son, Mark & Spencer, Cavenidish Textiles, Edinburgh Weavers, and Heals Fabrics.

The Days became London's most famous designers in 1951, following their participation in the landmark Festival of Britain. Robin created a range of plywood and steel-rod chairs for public spaces throughout the festival, and both Days contributed to the festival's Home & Gardens Pavilion. Robin's designs were hailed as "revolutionary," and Lucienne's Calyx Textile, among others, went on to win a number of award and to become a bestseller for Heals. The Day's successful designs for the Festival of Britain were exhibited to great acclaim later the same year at the IX Triennale in Milan.

Many of Robin's designs have attained iconic status, including the Hillestak Chair (1951), 675 Chair (1952), Stak Chair (1954), Gatwick Seating (1958), Polypropylene Stacking Chair (1963), and Forum Armchair (1964)—all for Hille. Robin also designed a number of televisions and radios for Pye.

Since its introduction, Robin's design for super-low cost Polyprop has never been altered, nor gone out of production. Winning the Council of Industrial Design award upon its debut, it's been widely used in offices, waiting rooms, airports, hospitals, schools, and homes around the world. In 2009, it was printed on a Royal Mail postage stamp as part of a series celebrating “British Design Classics."

Lucienne was awarded the International Design Award of the American Institute of Decorators in 1952 and the Gran Premio prize at the Milan Triennale two years later. Lucienne's standout designs include Provence Wallpaper for John Line & Son (1951), Trio Furniture Fabric for Heal (1954), Dandelion Clocks Furnishing Fabric for Heal (1953), HC 6239 Dress Fabric for Cavendish Textiles (ca. 1954), and Apex Furnishing Fabric for Heal (1967). She also designed modern porcelain tableware patterns for Rosenthal, such as Ilias (1962).

Unwaveringly committed to design that enhances people’s lives, Robin and Lucienne Day enjoyed long,distinct yet harmonious careers.Their work can be found in permanent collections of the most famous museums of modern art and design, including the Centre Pompidou in Paris and the Victoria & Albert Museum in London.

The Days both died 2010; Robin at 95 years old and Lucienne Day at 93.

Russian emigrant Salamon Hille founded his eponymous furniture company in 1906 in London's East End. In the first few decades, the company focused on reproducing and renovating 18^th-century antiques. With an emphasis on quality over quantity, Hille employed highly skilled craftsmen and acquired many well known furniture stores, such as Hamptons, as customers. By the 1930s, Hille had established itself internationally, selling products worldwide. In 1932, after Salamon retired, his daughter Ray took over the company.

During the Second World War, the company fell on hard times due to the timber shortage, followed by a string of tragedies, including the death of Salamon and the destruction of the Hille factory and stores. In the early 1940s, Hille began repairing furniture that had been destroyed in the war for the Victoria & Albert Museum in London. In 1945, Hille moved production to Lea Bridge Road in Leytonstone. While restrictions on furniture remained in place in postwar England, Hille was forced to focus on export market.

In 1949, Ray's son-in-law, Leslie Julius, convinced British designer Robin Day (1915-2010) to come design for Hille. Day and designer Clive Latimer had that year won first prize in the storage section of the Museum of Modern Art’sInternational Competition For Low-Cost Furniture. Though Day was never officially employed by Hille—preferring instead to remain a consultant—he effectively worked as the company's head of design for over two decades, during which he originated nearly all of Hille’s products, as well as letterheads, graphics, brochures, exhibition stands, and the Hille logo. Notable Hille designs by Day include the Hillestak Chair (1951), 675 Chair (1952), Stak Chair (1954), Gatwick Seating (1958), Polypropylene Stacking Chair (1963), and Forum Armchair (1964). Possibly his most well-known design, the low cost mass-produced Polypropylene Chair was made completely of polypropylene and won the Council of Industrial Design Award upon its debut. Since then, it's been widely used in offices, waiting rooms, airports, hospitals, schools, and homes around the world. Today, it is estimated that nearly 14 million copies have been sold.  

In the early 1950s, the factory moved twice, first to Hainault and again to an old brewery in Watford after the financial crisis of 1951. The company eventually recovered from the crisis, and in 1961, opened new offices. In 1972, Day’s Series E range was launched specifically for the education market and featured chairs of varying heights that would suit all ages. During the 1970s, Hille also found success with Fred Scott’s folding chair (1974) and the Supporto Office Chair (1974), which is still in production today.

In 1983, the company was sold, but the new ownership continued to work with Day, producing classics such as the Toro Bench (1990) and Woodro Bench (1991), both of which can still be seen in London’s Underground and Overground stations today. Hille continues to manufacture original designs by Day, as well as new designs, such as the SE Ergonomic Chair, which is a collaboration with designers Richard Snell and David Rowe, Birmingham City University, Hille, and BKF Plastics.