Her father, K. Geoffrey Makeig-Jones, was of Welsh descent and was a medical doctor, and her mother was the daughter of Thomas Reeder, a solicitor.

She moved on to her signature Fairyland Lustre design in 1915, a year after the war in Europe started.

[6][7] These lines were just what were needed at Wedgwood, which was in a slack period when the Fairyland Lustre series was released, according to Nicholas Dawes, an independent New York antiques dealer.

"Many Europeans were looking for something to escape from the horrors of war,"[6] continues Dawes, who describes the goblins and floating fairies in the pottery's neon landscapes as "escapist stuff, real fantastical.

"[6] Wedgwood hired a new art director and moved on to a more austere modern style, abandoning the multi-colored lustrous glazes, which were expensive to produce, a luxury that couldn't be afforded during the economic downturn of the 1930s.