When Gropius opened the Bauhaus in 1919, he devised it as open to any person with good reputation regardless of age or sex. A place where there will be no difference between Fair sex and Stronger sex(men) (During the eighteenth century the phrase ‘fair sex’ was a pervasive feature of contemporary writing intended for female consumption and texts that discussed issues concerning women. Even today, scholars still employ this expression to characterize experiences of femininity during this period. Original meaning of fine was pretty or pleasure to look at. 결론은 여성 = fair sex라는 생각은 구시대적이고 남성중심적이고 차별적인 여성의 호칭임) His idea occurred in a period when women still had to ask permission to enter field that were considered off-limits for them. And if women received the artistic education, it was mostly in parted with the intimacy of homes. But at the Bauhaus, they were welcomed and their registrations were accepted. Gropius’ ideas were so well received that more women applied than man. However, his declaration of gender equality was never realized in a way that he initially professed. Architecture/Painting/Sculpture were reserved for stronger sex while the fair sex was offered other disciplines that in founder’s opinions, were not so physical. (Such as Ceramics/ Textiles/Weaving). According to Gropius, women were not physically and genetically qualified for certain arts because they thought in 2 dimensions compared to their male partners who could think in 3 dimensions.

Therefore, it was the men of the Bauhaus who have gone down the history while their colleagues were forgotten or in the best cases, were recognized as the “wives of.”. The masculinization of the Bauhaus became more evident in early 1930s, during Rohe’s period as director. His teachings were oriented mainly towards architecture and metal works, fields that women have been previously barred from.

Lilly Reich

Industrial designer / Fashion designer/ Architect / Mies professional and romantic partner for 12 years

Became director of the interior and fabric workshop in Deassau and Berlin. She was one of the few teachers who taught at both schools.

Her relationship with Mies ended in 1937 when he emigrated to the USA.

She and Mies worked together in various projects including apartment design for Werkbund exhibition, the Velvet and Silk café, Barcelona Pavilion, Tugendhat House.

According to the research, the success of Mies is closely correlated to the period of their relationship. It is considered to be more than the coincidence that the success of Mies in exhibition designs, furnitures began at the same time as the personal relationship with Reich. It is interesting to see that Mies has not developed any modern furniture successfully before he met her or after the collaboration. Two of the most famous chairs in the world were designed by Lilly Reich and Mies, the Brno chair and the Barcelona chair.

Gunta Stölzl

Former student at Bauhaus, became a teacher, and eventually the director of the textile workshop. The only person who experienced every position in the Bauhaus. She was the one who showed that “fair sex” could also make a career in the Bauhaus.

(As Architecture, Sculptures, Industrial designs were reserved for men, Ceramics and Art of Weaving were exclusively reserved for women. This was Gropius’ strategy to stop the avalanche of female matriculants)

Anni Albers

Wanted to study painting but was accepted to the textile workshop.

Turned her textiles into canvas and became internationally known for her tapestry designs.

After the invitation from Philip Johnson, she and her husband were invited to teach at Black Mountain College.

First female textile artist who had solo exhibition at MoMA.