Since it was conceived as a travelling exhibition, the show had to be designed in a way in which it would easily be assembled, dismantled, stored and shipped several times. It is conceived to be suitable for museum spaces of many shapes and sizes, and is accompanied by a detailed manual for every installation element. The exhibition’s language is easily adaptable by a smart and thorough system of documentation.

Nathalie developed four unique aesthetic acts for these chapters, citing the spirit of the respective period through the use of colour, shape and lighting. 

The first chapter, showcasing designs from the 19th century until 1920 is introduced in a dim atmosphere and with a cool industrial look with black and white podiums and a large-scale media installation showcasing impactful images and videos of the suffragette movement.

The second room, flooded with natural light, is metaphorically dominated by the patriarchal spirit of the Bauhaus movement, which is embodied by the use of white walls and a single, light, cool blue wall colour (4320N bleu céruléen 59) from the Le Corbusier colour collection. The long, double-sided central podium showcases outstanding pieces of woman-made design furniture from the Modernist era and is accompanied by a large, round projection, metaphorically rising at the horizon, showcasing more material about architectural projects, photographs and designer portraits of Charlotte Perriand, Aino Aalto and many more early virtuosas of design.

The third space, telling the story of the second wave of feminism reaching from the 1950s to the 1980s, shifts the vibe through the use of large, boldly coloured surfaces in hot pink and neon red, symbolizing the emancipation and extraversion of that period. The exhibition design sheds sharp spotlights on specific pieces: a nod at the medialization of the period that also facilitated the spreading of information and knowledge about feminism and outspokenness in female identity, as opposed to the chromatic neutrality exhibited in the spaces before.

In the fourth and final space, the present and third wave of feminism and its adjacent design protagonists are taking the stage. The organically shaped, overlapping podiums symbolize a diversification of design disciplines and growth of the community developing further away from the classic understanding of design. The interplay of large surfaces painted in cool and warm hues, all situated in the greens and blues, stand for nature, intuition, technology and collectivism and form a fresh and immersive backdrop for the topics debated in the space.