Lucienne Day reinvigorated British textile design in the post-war period with the use of abstraction often inspired by plant forms. Her work is typified often by bold geometric designs but also by more subtle abstract patterns such as those in the design 'Calyx'. Married in 1942 to key British furniture designer, Robin Day, the couple shared the progressive view that modern design had the power to improve social conditions.

Her work was feted at the Festival of Britain in 1951, where her botanical 'Calyx' design was showcased and subsequently produced by interiors company Heal's. It was created specially for a room designed by Lucienne’s husband Robin in the Homes and Gardens Pavilion at the Festival. Here, both abstract designs like Day’s were pitted against more traditional floral forms. Most printed textiles at this time revived nineteenth-century floral patterns, but the Day design was bold and staunchly non-representational. The calyx (or fruiting body of a flower) cannot be deciphered as readily as a convential figurative botanical drawing. Its pioneering and challenging style had already influenced other designers well before its exhibition at the Festival. The painterly aspect of the work reflects the influence, acknowledged by Lucienne Day, of painters Klee and Miró and its almost child-like playfulness also pays homage to these fine artists. The design itself is actually a collage made up of different painted pieces stuck onto paper, which again recalls the sculptural assemblages of the Surrealist painters whom Day admired. It was produced in the UK by Heal’s, who at first were not convinced that this innovative style would be successful. However, it went on to win a Gold Medal at the Milan Triennale later in 1951, as well as the International Design Award at the American Institute of Decorators in 1952. This was the first time a British designer had won this award