Explainer
Comment
Economics
5 min read

Cleaning up cleaning: the problem with split shift work

Unhealthy and unnecessary working practices impact unseen cleaners. It doesn’t have to be like that argues Ryan Gilfeather.

Ryan Gilfeather explores social issues through the lens of philosophy, theology, and history. He is a Research Associate at the Joseph Centre for Dignified Work.

A cleaner sweeps between large white interior walls of a concourse.
Photo by Verne Ho on Unsplash.

In offices across the country cleaners are often kept out of sight whilst the other workers do their jobs. Cleaners are instead brought in for two short shifts, the first starting as early as 1, 2 or 3 am, and a second beginning around 8pm. Most of us overlook this pattern of work, taking for granted that it is necessary.  

However, dig a little deeper, and its insidious nature emerges. We begin to see how it is mostly unnecessary and harms the flourishing of cleaners in their health, family, and dignity. It treats small financial gains as worth more than human lives.  

For many industries, cleaning does not need to happen in the early mornings and late nights. Consider the downsides of daytime cleaning. The cleaner would need to manoeuvre around colleagues at their desks and in meeting rooms, but they would still clean to a high standard in a similar timeframe. Their job does not need to be done during unsociable hours. There is a minor cost to the company in the office. The office worker might need to briefly step away from their desk for a moment as it is cleaned, they may be momentarily distracted by the sound of a hoover, and a meeting room may be out of action for a very short time. The only costs would be a tiny loss in efficiency and profits to the companies who hire these cleaners. Since the negative consequences of daytime cleaning, instead of split shifts at unsociable hours, are so marginal, the current working patterns are clearly unnecessary. 

No choice, compelled to say yes 

Importantly, these cleaners often do not have any other choice. I meet many of these cleaners in my work at the Joseph Centre for Dignified Work. None of them choose to work split shifts at unsociable hours. For many, employment with better conditions is simply not available. About 27 per cent are migrants and often they lack English-speaking skills, preventing them from getting other kinds of jobs. 59 per cent have attained an education below the equivalent of C or 4 at GCSE, so it is hard for them to find other work. 17 per cent are ethnic minorities, who face greater barriers accessing other kinds of work. They have to work, they often have no better choices than cleaning, and in this industry they cannot say no to these working patterns. In this way, they are compelled to say yes to these kinds of split shifts.  

Split shifts deadly consequences 

This working pattern damages health. A recent medical study demonstrates that working night shifts, a similar pattern to split shifts, more than doubles the odds of developing breast cancer Another study shows that shift-work disturbs worker’s circadian rhythms. This in turn leads to problems with cancer, heart health, mental health, and more. Split shifts have deadly consequences for cleaner’s health. 

Eroding family time 

Split shifts also steal cleaner’s time from their families. When cleaners earn below the real living wage, their family relationships suffer; 48 per cent say that their wage level has negatively affected their relationship with their children. For many, poverty wages force cleaners to take on two or more jobs. As Angus Ritchie, an Anglican priest, academic, and campaigner for marginalised communities puts it, poverty wages force workers to: 

 ‘to choose between spending enough time with their children and having enough money to provide for them.’ 

These cleaners, who are often on poverty wages too, may only be able to briefly see their children between the end of school and the beginning of the nightshift, but will miss out on caring for them in the morning and enjoying extended periods of quality time. Therefore, when employers unnecessarily force these working hours upon cleaners, it also harms their relationships with their families. 

Denying dignity 

These patterns of work also render cleaners invisible. In an Equality and Human Rights Commission report from 2014, cleaners spoke about how they were made to feel ‘invisible’ and like the ‘lowest of the low.’ It is hardly surprising that they have this experience when the patterns of work we force upon them are designed to literally stop office workers from seeing them. Cleaners do crucial work which enables the broader enterprise of offices all around the country to function, yet they remain hidden away, their existence and contribution unseen and unacknowledged. Needless to say, these unnecessary split shifts take away their dignity. 

Why value humanity 

Campaigning to oppose this practice are Christians. Here’s why. The Bible and its tradition teaches that all human beings share the same inextinguishable value. As part of the story of creation says,  

“God created humankind in his image, in the image of God he created them.” 

Over the centuries Christians have interpreted this passage as affirming the same fundamental value of every person as one made in the image of God. Every person in some way dimly mirrors God’s inestimable goodness and love, and is, therefore, of greater value than all the riches of the world. To treat someone as less valuable than us or material goods is to deny the reality of how God created the world. 

Split shifts at unsociable hours, however, represents the opposite belief. As argued above, these patterns of working are largely unnecessary, and only lead to small financial gains for the companies who hire the cleaners through tiny increases in efficiency. However, these small riches are treated as worth more than the flourishing of lives which are of inestimable value because they are made in the image of God. Fractional gains in money are placed above their ongoing health, their family relationships, and their dignity through recognition. These meagre financial rewards are more treasured than the flourishing of lives made in the image of God.  

The working patterns are bad for cleaners. Not just because they damage health, but more fundamentally, because they deny the reality of God’s desire for creation. Enforcing split-shifts in pursuit of financial gain values small amounts of money above the flourishing of human beings, the infinitely valuable image of God, in their health, family, and dignity. 

Christians are beginning to oppose this practice. For example, in 2017, three Christian organisations (Centre for Theology and Community, Church Mission Society, and the church, St Andrew by the Wardrobe) launched Clean for Good. This ethical cleaning company treats cleaners fairly; they pay the Real Living Wage and give holiday leave, sick pay, training and guaranteed working hours. Crucially, they also don’t force cleaners into working anti-social hours. They offer cleaners working conditions and hours which enable them to flourish in their health, family, and dignity, because they truly believe that these workers are infinitely valuable, being made in the image of God.  

Essay
Art
Culture
Trauma
7 min read

From egalitarian to elite: 100 years of Art Deco

Birthed by a lost generation, its legacy is not what its creators sought

Sarah Basemera is a circular economy enthusiast and a founder of Canopi, a boutique for recrafted furniture.

An art deco poster shows the heads of three woman against a beach background.
McGill Library on Unsplash.

Agatha Christie, The Savoy Hotel, Cartier, The Great Gatsby, and All That Jazz sit under the gilt-edge umbrella that is Art Deco. This design movement blossomed for two decades. In 2025, Art Deco turns 100 years old. Today, it's a celebrated era for its gift to design, but what can we learn from this period, and how have the ideologies of this period stood the test of time? 

Art Deco saw  geometric patterns with rectilinear lines, rich jewel contrasting colours with luxury exotic materials, virtuosic craftsmanship, and streamlined expression in architecture, furniture, fashion, art, and jewelry.  

On the surface, this style had many muses, from traditional African art to Cubism. It linked the discovery of Tutankhamen in 1926 with the ceramics of Japan. The bold theatrical colours of the costumes and stage designs of the Ballet Russes, also made a huge impression on Deco creatives. It infused their work with the first vibrant, intense strokes of modern design.  

Over the past 100 years, we have applied Art Deco ideas in different ways, taking what we want from it when we needed to. 

It was the first truly international style, yet it had distinct local expressions. American Art Deco – such as the ornate topped skyscrapers like the Empire State building, had a different expression from opulent Parisian objects such as Cartier alabaster cigar boxes. 

The original Art Deco creatives sought to capture the essence of beauty refined to its simplest form. There was a focus on geometric shapes, symmetry and measured ornamentation.  They wanted to remove the excess frills of previous generations and refine the design.   

Under the gilt-edged Art Deco umbrella were two somewhat opposing arms – the decadent strand vs the essentialist. Today, in popular culture, we remember this period for the Roaring Twenties, excess and hedonism. The decadent strand favoured luxurious, opulent craftsmanship. Its products were attainable only by a small pool of wealthy patrons. 

The essentialist strand – "Art Deco de Moderne" began with noble intentions. They prized efficiency and simplicity, characterised by geometric rectilinear designs. These creatives wanted design to respond to the changing needs of the age. They wanted great design to be accessible to more people. Both strands recognised the power of design to elevate the human experience. They invested in the endeavour to craft beauty across the entire sphere of life, from elevated factories to generous streamlined apartments. 

Vogue Cup and Saucer, 1930, V&A Museum.

An art deco cup and saucer on display.
Vogue cup and saucer, 1930.

100 years later, the problem of accessibility of good design hasn't been fixed. Craftspeople still need to find ways to sustain a living. Handmade design from natural materials is still mainly attainable by the wealthiest. Local craftsmanship is in crisis, and many of us do not know and cannot afford artisans to make things for us from natural materials. Many skilled artisans cannot maintain workshops in our cities. 

Art Deco designers may not have described themselves as hedonists, but they certainly produced goods with this dazzling class in mind. These designers had to be at ease with this world and knew how to play its game to remain commercially viable. So why did the Art Deco Age gush with an ideology of hedonism?  

The philosophy of hedonism from the interwar period reflected the worldview of the so-called 'Lost Generation'. American author Gertrude Stein famously said to a young Ernest Hemingway years after World War I: 

"All of you young people who served in the war... You are all a lost generation . . . You have no respect for anything. You drink yourself to death ...". 

This mood was the backdrop to the literary and creative landscape of the 1920s. 

 When the Great War ended, people wanted to celebrate - play, party and travel, but euphoria for some turned to excess. The simple joys of living here and now became an absolute value. They had witnessed the horrors of war, the fragility of life and were jubilant, wishing to live life to the full. Knowing life could be cut short, the doyennes of the age swung into excess, supposedly breaking free of Christian values, only to find they became trapped in cycles of gratification that didn't deliver. "Let us eat and drink, for tomorrow we die!" 

This unbridled hedonism was their feast after the plague - it was a coping mechanism. They couldn't think about the future – living here and now was a maxim underpinning this period.  

The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Fast forward a hundred years, and hedonism is still elusive and utterly unhelpful. It still has a numbing rather than a healing effect. Perhaps its modern relative is bingeing. You know what your binge is, and so does Netflix and our NHS.  

What can the hedonists hijack of Art Deco teach us? Looking sympathetically on this era – hedonism appears to be a coping mechanism. Something humans have needed for aeons. "Do not worry about tomorrow for tomorrow will worry about itself. Each day has enough trouble of its own",said Jesus. The Lost Generation grasped the concept of being present in the moment, but they also discovered numbing pain was a deeply unsatisfying solution. 

Ideally, the weight of grief and loss must be wrestled with, carried, shared and not buried. In great pain, it is still wiser to face it, wrestle, get help and cry out to God. In our age, we have the benefit of hindsight to know that burying trauma produces unhealthy outcomes in the long term. We have the privilege of being able to access counsellors, therapists and psychologists.  

The fragility of being in the shadow of death doesn't hang over us today in the West, because we haven't had a recent World War. The closest reminder came through the COVID-19 pandemic. For a moment, we were all forced to focus on simpler things and live less frenetically.  

Another ideology underpinning the age of Art Deco was the belief in the transformative power of the machine age. In this era, confidence rose in the ability of machines.  Steamships, aeroplanes, automobiles, electrification and telecommunications were transformative innovations.  

The rise of machines represented a break from the failed past and the move into modernity into the future. Some of the more modern leaning Art Deco designers took inspiration from the shapes of the new machines and hoped that mass production would lead to more democratic outcomes, with good design being available to all. From Art Deco de Moderne, we began to learn the beauty of simplicity. Efficiency and essentialism were prized. It was the forerunner to Modernism proper. Sadly, this aspect has been butchered over the decades and reproduced unfaithfully in architecture and consumer products. The principle of celebrating the inventiveness of man slowly evolved into something less noble. The desire to return to the essence of good design was galvanised by the need to rebuild fast after World War Two, both as a sign of triumphalism but also to give the nation decent homes. Council house homes were built quickly to rehouse the nation using cheap materials. 

Today, mass production has indeed made design more accessible. More of us have access to contemporary-designed objects and clothes because they are manufactured quickly out of cheap, synthetic, non-biodegradable, toxic materials, at the sweat and tears of workers who are trapped in inhumane conditions, rarely seeing sunlight or fair wages. 

Nevertheless, 100 Years of Art Deco design has shown us that quality still endures over quantity. The Art Deco legacy of brilliant buildings made of robust materials, with subtle virtuoso ornamentation, has survived the test of time. Though more of us can enjoy contemporary design at affordable prices, I doubt we will cherish most of what we own today even 20 years from now. It is mass-produced, less durable and made from low-grade materials and built to pass. 

Art Deco teaches us, our legacy is not in our hands but in those who remember us. Today, we look back at Art Deco not as egalitarian or hopeful but as opulent and lavish. The intellectuals of that age openly lived torn by their excesses, some even dying by suicide. Yet it was meant to be designed for the ordinary person and to elevate all. By simplifying design to its essence, it was supposed to democratise design. 

From Wall Street Deco to the frivolous woos and woes of Wodehousian characters and music in the keys of Jazz, this era has made its distinguished, enduring mark on the arts. Beneath the sparkle, what has developed an enduring patina with age, is the high quality of craftsmanship across all fields. 

Looking beyond the arts, the Lost Generation has taught us that escapism is elusive and to be cautious but not charmed by machines. We can delight in excellent craftsmanship and cherish the beauty of essence. 

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