153:. Through Black's display, "The Birth of an Egg Cup" the role of the designer was presented as the crucial interchange between all the various aspects of design and production. Rather than merely show-casing goods on offer, the exhibition, and this display in particular, were a propagandist attempt to highlight the need to update British approaches to product design if manufacturing was to be successful in post-war competition. The audience was two-fold: the general public who were as yet unused to the notion of design as a distinct process, and also the existing manufacturers who clung to pre-war, if not Victorian, notions of how to run manufacturing industry.
212:'s, reactions were highly positive, congratulating the exhibition organisers both on the intellectual quality of their exhibition and also for the achievement of producing it during such a time of austerity. The public's reaction was less sophisticated, but still positive. Their view was generally that of simply wanting products in the shops that they could actually buy. The only real criticisms came from established manufacturers who largely failed to appreciate the exhibition's attempt to emphasise design and who still judged it as a simple shop-window display, of their same pre-war products.
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Black's design for the display was deliberately eye-catching, from a 13 feet high plaster egg at its entrance, to the continually-operating plastics moulding press making three thousand egg cups per day during the exhibition. This use of a working model in particular was commented on in surveys of
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Design and everyday life at the
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measures and the goods on display were intended for export. Reactions of those attending the exhibition were varied between the general public, the design
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third class sleeper. This represented two innovations for
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