Designer Robin Day's daughter reflects on her father's legacy in Shanghai

In the exhibition hall of STUDIO 9, a former textile factory turned creative hub gathering four Danish furniture brands, Paula Day stands thoughtfully before the works of her father, Robin Day (1915-2010). Known as one of the most influential designers of 20th-century Britain, Robin’s pieces are celebrated for their simplicity, durability, and accessibility. To Paula, though, her father’s designs were more than furniture — they were an expression of his understanding and love of life.

As the founder of the Robin and Lucienne Day Foundation, Paula was in Shanghai for a series of design talks, sharing her insights into her father’s remarkable legacy. Guests were also introduced to the newly reissued Daystak and RFH collections by the Danish design brand &Tradition, which breathes fresh life into these celebrated designs.

“My father’s passion for design was woven into his life itself,” Paula recalled, reflecting on his commitment to his craft, even well into his later years. By his eighties, her father was still designing and handcrafting furniture, picture frames, and home items for the family.

“An expert woodworker, he delighted in using his hands, connecting with natural materials, and appreciating the warmth of wood as it burned,” Paula said.

Robin Day was more than a designer. He was an artisan who took pleasure in working with raw materials, finding satisfaction in the physicality of his creations.

One of Robin Day’s most iconic creations is the Polypropylene chair, renowned for its durability, lightness, and affordability, which made it a global design classic. “I often see my father’s chairs in public spaces,” Paula said. “It’s like seeing his footprint everywhere.” Designed in the 1950s, the chair embodies Robin’s principles of “low-cost, high-function” design, an ethos that underpinned much of his work.

His creativity further shone in his designs for Britain’s Royal Festival Hall (RFH), crafted for the Festival of Britain in 1951 — a celebration of hope and regeneration following World War II. His pieces, such as chairs imbued with a sense of lightness and celebration, reflect the optimism and joyous spirit of the event, and they remain prized in the British design world today.

“This is probably the most remarkable reissue we will ever do, in terms of bringing a lost archive design back to life,” Paula explained. After decades without general production, &Tradition and the Foundation embarked on an extensive search to locate original pieces of the RFH series, ultimately discovering one hidden away in the Royal Festival Hall’s archives. The reissue brings new life into these iconic pieces, preserving their design and spirit.

The RFH Terrace Chair, with its petite yet sturdy form, was originally conceived for the venue’s outdoor terrace. Its slender steel legs and teak slats balance functionality with elegance. Paula observes that the chair’s simplicity speaks to the resourceful spirit of post-war design.

“You have to think about what materials would have been readily available during that post-war period,” she reflected. Narrow slats of wood and a minimal palette gave the Terrace Chair both visual lightness and practical durability, while newer details like weather-resistant cushions add modern functionality.

For Paula, the RFH Armchair and Lounge Chair are more than furniture — they are characters with a “lively personality, like birds about to lift off.” Their organic curves and airy forms capture a sense of joy and celebration central to the Festival of Britain.

The Daystak series holds a special place in her memories, as it was part of her everyday life growing up. “That desk was practically my study corner,” she recalled. “Every day after school, I’d sit there to do my homework.”

The Daystak collection, first launched in 1951, was a groundbreaking series by Robin Day that embraced low-cost, stackable designs suited for compact spaces and diverse settings. Originally called Hillestak, the reissued collection includes the Daystak Side Chair, Table, and Desk. Paula Day reflects on the chair’s early success, “It was incredibly successful, used everywhere from schools to church halls, as well as homes.” The series was celebrated for its durability and A-shaped legs, which not only provided stability but also enabled stacking — a feature that highlighted Robin Day’s ethos of adaptability and functionality.

While Robin Day is revered as a design legend, Paula’s memories paint a more personal picture: a father who embraced life and nature. He loved outdoor activities and woodwork, even chopping wood himself for their stove at home. These simple details fill Paula with warmth. “He didn’t need computers or high-tech tools,” she remembers fondly. “He enjoyed working with his hands, shaping his ideas into reality.”