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styles available at that time. 35 Gradually the distinctions between those<br />
overtly decorative modern styles and the minimal, machine aesthetic of<br />
the <strong>Modern</strong>ist interior were eroded and numerous hybrid modern interiors<br />
were engendered. In addition, the national distinctions that had<br />
characterized the new styles that had emerged in the 1920s were also<br />
replaced by a new internationalism, driven by the increasing globalization<br />
of the mass media. However stylistically hybrid it became, however,<br />
the modern decorative interior never lost its promise of modernity and<br />
of the opportunity for occupants to express themselves through their<br />
engagement with a modern lifestyle. As Todd and Mortimer perceptively<br />
observed in their 1929 study, echoing the earlier words of Elsie de Wolfe,<br />
‘<strong>The</strong> extraordinary recent increase of interest in interior decoration has<br />
largely resulted from a more acute need for self-expression.’ 36<br />
Although the concept of ‘interior decoration’ was well understood<br />
by the early twentieth century, the debate about whose professional role it<br />
was to decorate interiors remained unresolved for many years to come. In<br />
the previous century the tension had been mainly between architects and<br />
upholsterers, but with the emergence of professional interior decorators,<br />
the situation had become more complicated by the end of the century. One<br />
of the last group’s selling points was its awareness of the need to be sensitive<br />
to their clients’ requirements for individual self-expression. Not surprisingly,<br />
given women’s enhanced role in the household in the last decades<br />
of the nineteenth century, many members of the new profession were<br />
female, as indeed were their clients. At the turn of the century increasing<br />
numbers of middle-class women moved into the workplace, taking up jobs<br />
that reflected their domestic and nurturing skills. <strong>The</strong> role of decorating<br />
other people’s homes was an obvious one for them to take on board. In<br />
England the Garrett sisters, Agnes and Rhoda, were among the first women<br />
to make a living by providing complete decorative schemes for interiors.<br />
Up until that point, at least for members of the social elite, such schemes<br />
had frequently been created by architects. Men such as R. Norman Shaw<br />
had worked on both the exteriors and interiors of houses. In his Old Swan<br />
House in Chelsea of 1877, for example, Shaw had created an ‘aesthetic’ sitting<br />
room complete with a decorated cornice, a fancy over-mantel and<br />
eighteenth-century chairs. Less wealthy householders had relied on the<br />
combined efforts of upholsterers, cabinet-makers, and painters and decor -<br />
ators. In Liverpool, a wealthy English city at that time, the decorator S. J.<br />
Waring employed 500 staff in his St Anne Street workshop. 37 In the us the<br />
1880s and ’90s saw architects, including Richard Morris Hunt and Stanford