Daisy Makeig-Jones was one of the great women designers of the early 20th century, and she recognized in her lustrewares a well-deserved status of fine art. Given the variation and unpredictability of the glazes and decorative techniques, as well as Daisy’s penchant for experimentation, each Lustre piece is truly unique. Una des Fontaines describes her attitude towards her work: “when the lustre patterns began to establish themselves as a commercial success, [Daisy] dumbfounded the management by wanting individual engravings made for each and every item produced!” (des Fontaines 75). Although her wish was not granted, Daisy’s view of the Lustres’ status as individual works of art is clear, as well as her expressed desire to have each unique design properly recorded as such.
The end of the 1920s saw a stylistic change towards the monotone and plain as well as the beginnings of economic depression. The taste for Lustre, both Ordinary and Fairyland, had faded. For better and for worse, Daisy was inextricably linked to her Lustre wares. Her career at Wedgwood came to an end in 1931, and the Lustre Ranges’ production diminished until it was ultimately cancelled in 1941. However, her legacy and designs have outlasted her stay at the factory. Existing pieces today are singular and uncommon works of a rare and uncommon individual whose oeuvre is a testament to her innovation, brilliance, and persistence. Any collection of Daisy Makeig-Jones’s work ought to include her Ordinary Lustres, as they represent a significant moment in the history of ceramics, if not only as the genesis of her later works.