Their designs were pleasing and accessible, attractive to young executives, not just artists and intellectuals.
This is a common case of overcorrection, where people think something sounds more correct but it actually isn't.
With a steel frame visible indoors — that was something completely new for 1947, concrete slab roof, birch panelling and acres of glass — it democratised a sort of new Bauhaus-led spare chic, summing up much of what Charles and Ray were exploring in their furnishing work.
Further commissions followed from the army, and Charles Eames became head of research in the Molded Plywood Division at the Evans Product Company, which, among other things, developed molded plywood parts for airplanes.
Throughout his life Charles had many relationships with women with whom he fathered a dozen children.
And that person was not necessarily a man: The Eames hired women and minorities for creative jobs at a time when doing so was still unusual.
By the end of the decade, the first Festival of India—a spectacular showcase of Indian art in Britain heavily promoted by Indira Gandhi and Margaret Thatcher—inaugurated a new era of exhibition culture, both a sign and a symptom of the increased competition among developing nations in the emerging neoliberal global economy.