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Summary
created. This style is conceived as a decorative – national aesthetics, shaped by the reference to the old Polish traditions and folk, but also involving contemporary aesthetic trends. The folk element in it seems to be inalienable. As the knowledge about the mechanisms forming this folklore were disseminating,, the same was happening with the awareness, that the Cepelia style is the result of certain construction, or maybe even manipulation. The adaptation of folk manufacturing for the daily life and making it fashionable, was considered style - creating factor of the company. Today, the term “Cepelia style” apart from clear reference to the company’s product design, has a negative connotation. It is associated with such categories as: artifice, inauthenticity, mish - mash, which in the aesthetic context can even be identified with kitsch. It sometimes becomes a simple synonym of past, PRL times.
Instytut Wzornictwa Przemysłowego (Institute of Industrial Design) Institute of Industrial Design was founded in 1950, and that event was definitely related to the actions conducted since 1945 by Wanda Telakowska and to new design ideas promoted by her. One of her most well - known and widely used concepts was drawing from folk inspirations and using ideas of rustic talents while developing projects for industrial production. Although the work carried out in this respect was only one of the elements of the Institute’s business, and it hardly progressed beyond the phase of the experiment, it was, continued over the past 30 years (from the late 1940’s to late 1970’s) and caught interest and appreciation of both, artists and ethnographers. At the same time, having a solid theoretical base, they seized a permanent, individual place in creating the post - war folklore phenomena for sale. Among various methods of using the rural artistic achievements in contemporary design the most promoted by Wanda Telakowska were those that were based on the joint work of experienced artist and “inborn talents” . Such teams were described in the language characteristic for the propaganda of the 1950’s with the term “collective design houses” which adhered to these