Holly Fallows conducted a 30-hour placement with the Design Archives as part of her BA studies in the History of Art and Design at the University of Brighton.
My time at the University of Brighton Design Archives has been an enriching and enlightening experience, reaffirming my adoration for all things design and cultural history. In just over a month, I completed 30 hours of work placement to explore the role and function of professional practice in museums, galleries, archives, and heritage sectors within contemporary culture. During my placement, I primarily worked on the Design Council archive, gaining invaluable insight into the care and structure involved in maintaining these cultural records and the critical role of digital preservation in archives.
The Design Archives house the Design Council’s extensive archive, including its in-house journal Design (1949–1999). The magazine was published after the height of the “Britain Can Make It” exhibition. It was created to educate the British industry and public on design matters and endorse good design in products and services. I repackaged original photographs from this collection, which included prints and plans for its 1977 issues, and recorded the quantity and media type, e.g., photo prints, contact sheets, or other documents, on each envelope. Whilst handling photographs, I had to wear nitrile gloves because oils from fingerprints can damage the surface of photographs. Some photos and documents had tape or paper clips stuck to them, which can cause damage as the adhesive ages or the metal paper clips rust; therefore, they must be removed before placing the media into clear protective sleeves. I also needed to remove any negatives so they could be stored separately; their cellulose composition makes them vulnerable to deterioration – the film can crack, peel apart, or go mouldy if they aren’t stored properly. Thus, the negatives require cool, dry, and well-ventilated storage environments to ensure longevity. This task underlined the importance of material awareness when handling archives.
All images from Design, 1977, Design Council Archive, University of Brighton Design Archives
I discussed with Sirpa Kutilainen, Preservation and Digital Resources Co-ordinator, the differences between the conservator and the archivist; the archivist is curious about what’s within and what the object represents and tells us. On the other hand, a conservator takes on a more ‘practical’ perspective, analysing the immediate state of the object. I found the hands-on, tactile nature of archival work especially fulfilling; there’s something intimate about observing and interacting with pieces of the past. As a Fashion & Design History student interested in mid-century modernism, kitsch, and 20th-century pop culture, I often found myself drawn to the images – studying the furniture, clothing, and objects captured in each shot. The experience felt like a natural extension of my academic and creative curiosities, connecting my interest in design history with the hands-on work of archival care.
Another task I undertook involved creating an inventory of a box of tapes from the Design Council. The tapes comprised the “Design Chromosomes,” a project created for the Design Council’s 50th anniversary, though it appears relatively obscure. I catalogued 52 tapes, noting the media ID, description, date, format (VHS, Betacam, cassette), and copyright information. Later, I worked with Jen Grasso, Digital Content and Systems Co-ordinator, to convert these tapes into digital formats, learning the importance of digital preservation in maintaining long-term accessibility and authenticity in archives. Following The National Archives’ guidelines, we created master and access copies to record all key metadata, planning for potential technological obsolescence. Whilst watching, we added additional information to the catalogue I’d previously made – taking note of key details in the video to form a brief description, such as one which showcased Prince Philip at a Design Council event in 1959. Alongside this practical work, I explored resources like the Digital Preservation Coalition Handbook, which emphasises that preservation is not just about storage but about ensuring that digital content remains usable and meaningful over time. This experience highlighted the changing nature of archival work; while rooted in the humanities, it increasingly intersects with technology, opening the field to new skill sets and perspectives essential for safeguarding digital and physical heritage.
I am greatly appreciative to Sue Breakell, Jen Grasso, and Sirpa Kutilainen for welcoming me into their lovely team at the Design Archives and letting me learn and partake in their incredible work. My time here has expanded my understanding of professional practice in archival contexts and deepened my appreciation of the Design Archives as a cultural asset to both the university and the wider public of researchers. It’s inspiring to see how the different responsibilities and processes within the archive interconnect, and they are all dedicated to preserving and providing access to design history for future generations. This opportunity will undoubtedly support my academic and creative pursuits moving forward.
