This book examines for the first time the gender policy of the Bauhaus, thereby shedding new light on the avant-garde school. An examination of the relationship between its famous artist-teachers not only with their male and female students but also with the masters of craft, the workshop leaders, who were supposedly their equals, reveals that the credo of equality was rarely adhered to. The artistic avant-garde of the Weimar Republic turns out to have been socially much more conservative than had previously been imagined.