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and above all equal to, architects. A few years later an English writer<br />
defined the interior design profession’s preoccupations as being with<br />
planning, scale, heating, lighting, surfaces, furniture, pattern and colour,<br />
thereby complementing those of the architect. 5 Importantly, also, the<br />
interior designer was seen to play a more significant role in public interiors<br />
as well as in domestic spaces. <strong>The</strong> same English writer explained that,<br />
‘This distinction between public and private is not always understood . . .<br />
<strong>The</strong>re is no point in dressing up the hall of an Insurance building to look<br />
like the entrance to a stately home. No-one will be deceived. <strong>The</strong> great<br />
bowl of florist’s flowers will smell of money rather than of earth. Such<br />
nostalgic gestures, indeed any attempt to introduce a bogus personal touch<br />
into a public place, are mistaken.’ 6<br />
<strong>Interior</strong> designers largely displaced interior decorators and took<br />
on the mantle of architectural <strong>Modern</strong>ism. <strong>The</strong>ir remit was to integrate<br />
interiors with their architectural frames and to create interior spaces<br />
that were conceived as integrated wholes. 7 As the post-war years progressed,<br />
and the concept of the interior decorator became increasingly<br />
linked with antiquated upper-class interiors and feminine amateurism<br />
in the domestic sphere and the designer with masculine professionalism<br />
in the public arena, the difference between decorators and designers<br />
came to be seen as a gendered one. In spite of the fact that they con -<br />
tinued to work with wealthy, upper-class clients for the most part, and<br />
mostly, but not exclusively, in the domestic arena, professional interior<br />
decorators were significantly marginalized. Latter-day <strong>Modern</strong>ists saw<br />
the work of the decorators as feminized, trivial and superficial and<br />
believed that it overemphasized the role of textiles and ignored that of<br />
architectural structure. Furthermore they associated interior decoration<br />
with social aspiration and an excessive proximity to the media. <strong>Interior</strong><br />
designers increasingly distanced themselves from what was, by the<br />
turn of the twentieth and twenty-first centuries, being relabelled, in<br />
both higher educational and professional circles, as ‘interior architecture’<br />
or ‘spatial design’. <strong>The</strong> gendered and sexual implications of that<br />
hierarchy have remained largely unchanged since then and, although the<br />
interior’s capacity for self-expression and identity formation have become<br />
widely acknowledged, the concept of ‘interior decoration’ has still to be<br />
recuperated.<br />
Much attention was directed at the domestic sphere in the years after<br />
1945 but the post-war us also devoted most of its energies to the reworking<br />
of <strong>Modern</strong>ism in the context of corporate interiors. That the same