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196<br />
Davis Gillies, also included an interior containing Aalto furniture. <strong>The</strong><br />
caption explained that ‘its comfortable but svelte lines point a finger to<br />
the future’. 20 <strong>The</strong> interior contained bent plywood armchairs, a drinks<br />
trolley, a number of three-legged stackable stools, and a round coffee<br />
table, all designed by Aalto and arranged to create an overtly modern, yet<br />
comfortable, setting (p. 194). Gillies emphasized the importance to her<br />
readers of acquiring a modern interior as a means of raising their social<br />
profile through the creation of a fictional consumer. ‘Mrs. Smart Set’, she<br />
explained, ‘didn’t need a separate dining-room’. 21 She also referred to a<br />
number of contemporary American architects and interior designers<br />
who were fast becoming household names, among them Gilbert Rhode,<br />
Ed Wormley, William Pahlmann, George Kosmak and Russel Wright.<br />
Frequent references in popular interior-related publications were also<br />
made to other Scandinavian achievements, especially those of Sweden.<br />
<strong>The</strong> author of Inside Your Home (1946), exhorting his readers to appreciate<br />
the changes that could be made to the small home, remarked that<br />
‘Sweden, a country wise in the humanities, understands these simple<br />
things better than we do’. 22 Many iconic Swedish designs were introduced<br />
into American interiors at that time, among them Bruno Mathsson’s<br />
iconic bentwood armchair with a webbed seat, which was introduced<br />
into the living space in Philip Goodwin’s New York apartment, illustrated<br />
in Inside Your Home. <strong>The</strong> austerity of that small space with its plain<br />
walls and carpets was humanized by the inclusion of striped curtain<br />
fabric, pictures on the wall, and vase of flowers, as well as by the organic<br />
forms of Mathsson’s chairs.<br />
Through the 1940s and ’50s developments in Sweden focused on<br />
the continuation of the democratic, rational programme of inter-war<br />
<strong>Modern</strong>ism that had played such an important role in that country, and<br />
on the importance of treating the environments of the home, leisure,<br />
work and commerce in similar ways. An article published in the Swedish<br />
magazine Kontur in 1958 titled ‘Meet a Swedish Family’, demonstrated<br />
that although family members might be involved in a variety of different<br />
activities – resting at home, filling the car with petrol, working in the<br />
office, being educated at school, having a manicure and swimming at the<br />
local pool – they could all be undertaken in equally modern-looking<br />
spaces. <strong>The</strong> message was clear. <strong>The</strong>re was no longer, as there had been in<br />
the Victorian era, one interior aesthetic for the home and another for<br />
public interiors. Through the transfer, in the hands of the inter-war<br />
<strong>Modern</strong>ists, of the language of the public sphere into the home, and the