In the decades following the Second World War, the “socialist transformation” of the town’s society continued. The authorities set the industrialisation of the town as a primary goal. This process required tens of thousands of workers.
As a result of collectivisation, rural workers who had lost their land found employment in the new factories and industrial plants.
Rural Ties
Those who moved to the town initially found it difficult to adapt to urban life, the strict working hours, and the monotonous nature of factory work. As a result, they long preserved their rural connections. On weekends, they returned to their villages to tend their household plots and vineyards (“the hill”) – during these times, the town would almost empty out.
Only the second or third generation began to identify as true residents of Zalaegerszeg. From the 1960s, the construction of housing estates and the availability of low-interest loans made it possible to buy flats or build so-called “cube houses” in the rapidly expanding outskirts of the city. From the 1970s onward, more and more people acquired plots on the hills around Zalaegerszeg. The cellars built there allowed many former villagers to continue a lifestyle based on farming and gardening.
Work and second jobs required for financial advancement left little free time. Part of their time was also claimed by the authorities: participation in labour competitions and socialist holidays and parades was expected as a demonstration of the system’s strength.
The Industrial Town in Socialist Times
Zalaegerszeg excelled in several industries in socialist Hungary, including the textile and furniture industries as well as stove tile production. You can view the most iconic products of this productive era in this section of the exhibition.
Zodiac Stove Tiles
In the display case presenting the products of Zalaegerszeg factories, several beautiful stove tiles are exhibited.
Designed by János Németh
The series depicting the 12 zodiac signs was designed by our Kossuth Prize-winning ceramic artist János Németh for the local stove tile factory. From the series, not only stoves but also wall panels were produced.
Factory workers often used them to decorate their homes. (object description: Katalin Béres)
András Brád’s Fashion Designs
From 1964, applied artist András Brád worked as a fashion designer at the Zalaegerszeg Garment Factory, shaping the style of the factory’s products and influencing Hungarian men’s fashion. He drew his designs in a light, sketch-like style and also attached the necessary fabric samples for production.
In addition to men’s suits, he designed formal wear and children’s clothing. From 1976, he was the editor of the “Ádám” section of the fashion magazine *Ez a divat* (“This is Fashion”). He also designed posters and printed materials; our museum preserves several of these works. (object description: Katalin Béres)
Macramé from a 1970s Interior
In the 1970s, handicrafts were a popular leisure activity. Not only older people but also young people eagerly learned new fashionable techniques, including macramé, a form of knotting.
The resulting plant holders, curtains, and wall decorations became part of home interiors until a new wave of fashion replaced them. A fine example is displayed in our period interior. (object description: Katalin Béres)
Floor Vase from Tófej
Almost every home in Zalaegerszeg featured ceramics from Tófej, including vases, ashtrays, coffee sets, or pencil holders shaped like hedgehogs and turtles. Floor vases were also very popular.
The piece displayed in our exhibition shows all the characteristic features of Tófej ceramics: a yellow interior, orange-red glaze on the outside, and a rough surface created by a yellow top glaze applied with a sea sponge. (object description: Katalin Béres)
Our Curator’s Favourite: Freddy Furniture Suite from the 1970s
When I look at the furniture set presented in our exhibition, I am reminded of my childhood and youth. A similar set was placed in the girls’ room of the “cube house” built by my parents in a village – although ours was not called Freddy, but Emília. It was also manufactured at the Zala Furniture Factory, and its elements were similar: a wardrobe section with an extended storage system, a two-door cabinet, a bar cabinet, a display cabinet, a bookshelf, and drawers. The main difference was the surface: ours had a high-gloss lacquer finish, while Freddy was decorated with matte oak veneer and thin decorative trims.
(Katalin Béres)
Freddy Furniture Suite
It gained popularity because it combined seating and sleeping furniture into a single coordinated set, placing previously separate furniture types – bedroom, living room, and sometimes even dining room furniture – into one space.
