Inspired by Enid Marx’s designs for Royal Mail stamps, Albino’s work celebrates the prominent female designers featured in our ‘Poster Girls’ exhibition. The designer’s own blurred portrait is an acknowledgment of how difficult it was to find photographs of these women. (text for London Transport Museum, June-September 2018, curated by Sarah Campbell)


[Digital print on textil. Size 21cm x 15cm, 8 elements exhibited in ︎I Don’t Know Her Name But I Know Her Work and ︎Poster Parade and is now part of the permanent collection of ︎The CSM Museum and Study collection]



︎work: Postage Girls
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Since any inequality starts from a lacking or wrong representation of certain issues (in this case, the acknowledgment of women in the role of  graphic designers throughout the official design history), my project aims to focus on the difficulty of having visual documents of the women that were celebrated in this window exhibition of ‘I don’t know her name, but I know her work’. The level of each woman’s image distortion is based on the difficulty I had on finding pictures of them online and offline.



Created in response to Enid Marx’s pattern papers, and all the women whose work from the museum is included in this show.
I was first drawn to Enid Marx due to her industrial textile designs for London Underground. What I discovered was a multifaceted designer, who dealt not only with textile and paper, but wrote, designed and illustrated children’s books, and curated a vast collection of popular art in partnership with Margaret Lambert.

She is, for me, the representation of what we call today design, able to tackle a diverse range of projects with a variety of mediums and deal with the complexity that derives from this.
I chose to work on this aspect of Enid Marx, by re-designing stamps inspired by her own Royal Mail stamp designs, but printing them on textile. I have made a stamp for each one of the women whose work from the museum is included in this exhibition.