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equivalent. In that context women took control of the construction of<br />
their own modern identities even though they were still defined domestically<br />
for the most part. De Wolfe’s stage set approach, which involved<br />
unproblematically combining antiques with modern reproduction<br />
pieces, was emulated by most of her fellow decorators.<br />
Before the First World War the eighteenth-century French styles<br />
were most frequently embraced in that context, although, for certain<br />
projects, those of the English Renaissance, or the furniture of Thomas<br />
Chippendale, seemed more appropriate. In nearly all cases, however, the<br />
emphasis was upon the modernizing process of creating a frame for social<br />
mobility and, at the same time, enabling women to develop their private<br />
selves in their homes, especially in its most private areas, the bedroom and<br />
the boudoir in particular. <strong>The</strong> emphasis was on lightness, elegance, comfort<br />
and taste. Chintz was used widely, both as a means of recalling English<br />
country houses, which inspired so many projects in those years, but also<br />
because of its unpretentiousness and its patterned surfaces complementing<br />
the use of plain, light colours on the wood panelling which was<br />
frequently used to cover the walls. De Wolfe evolved a soft colour palette<br />
which combined light grey with pale blues, pinks, yellows and creams.<br />
Flowers were used liberally, in de Wolfe’s case with an emphasis on roses<br />
and lilies.<br />
Between the two world wars the influence of the new European<br />
decorating idioms – especially those of Art Deco and that developed a<br />
little later in France by a group of artists and decorators associated with<br />
the Surrealist movement – was felt across the Atlantic. 42 As a result more<br />
overtly modern elements began to make an appearance in interiors. 43<br />
Frances Elkins, for example, introduced objects designed by Alberto<br />
Giacometti, Jean-Michel Frank and Jean Dunand into her otherwise<br />
traditional spaces. She also took the chintz theme to surreal extremes,<br />
using the fabric on multiple surfaces in a single interior to dramatic effect.<br />
Dorothy Draper also modernized the period room by playing around<br />
with the scale of its components. In a scheme for the lobby of 770 Park<br />
Avenue executed in 1929, for example, she placed a huge clock on a yellow<br />
chimney breast over a ‘moderne’ fireplace. In her book Decorating is<br />
Fun Draper explained that, ‘the big electric clock is fine in scale and is<br />
made of white plaster with a carved black wooden eagle over it. By putting<br />
all the emphasis on the clock it was unnecessary to have any more<br />
decoration.’ 44 In the lobby of the Hampshire House apartment hotel on<br />
Central Park South – the largest commercial commission ever awarded to