You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
50<br />
embraced the equally fashionable Moorish style as an alternative. Fearful<br />
that they would alienate their more cautious visitors who came for luxury<br />
and comfort rather than for high fashion, most hotels preferred to<br />
stick to more conservative idioms however, neo-classicism and revived<br />
eighteenth-century French styles among them. Fairly typical was the<br />
interior created by the firm of Mewes and Davis for the Carlton hotel in<br />
London. <strong>The</strong> ‘Palm Court’ look they created in the early 1890s rapidly<br />
became a familiar sight in a range of early twentieth-century luxury<br />
leisure interiors, including luxury ocean liners. Thomas Edward Collcutt,<br />
the designer who carried out much interior work for the P&O line, was<br />
also commissioned by Richard D’Oyly Carte to create interiors for<br />
London’s Savoy Hotel in 1893, demonstrating the close links between<br />
these two interior spaces. 13 Hotels, liners and other luxury leisure spaces<br />
of the era depended on communicating an image of an aspirational<br />
lifestyle to attract a nouveau riche clientèle. While both hotels and liners<br />
embraced the same modern, luxury, domestic aesthetic, the former took<br />
their lead from the latter rather than directly from the home. 14<br />
Ironically, although it was born in, and given its meaning within,<br />
domesticity, the New <strong>Interior</strong> ultimately failed to transform the popular<br />
home, except through the inclusion of small decorative artefacts. It<br />
thrived, however, in the public urban setting as a fashionable style, or set<br />
of styles, which successfully evoked modernity for middle-class women<br />
and enhanced feminine consumer desire. Between the mid-1890s and the<br />
outbreak of the First World War the public, commercial interior was<br />
transformed. This was especially the case in department stores, many of<br />
whose interiors were decorated in the modern style, florid Art Nouveau,<br />
evident in the displays of the French stores at the 1900 Paris Exhibition. In<br />
Brussels Victor Horta created a striking new Art Nouveau interior for the<br />
Waucquez store in 1906. Consumers were shown modern interiors within<br />
modern interiors, the suggestion being that as well as bringing domesticity<br />
outside with them they could also take a piece of the public arena<br />
back home. <strong>The</strong> latest fashions, equally expressed by interior settings<br />
as by dress, could be embraced outside the home as well as within it.<br />
Adolf Loos’s strikingly modern interior of 1908 for the menswear shop,<br />
Goldman & Salatsch, showed the way forward where fashion salons were<br />
concerned. <strong>The</strong> interior of that shop, with its dramatic geometric forms,<br />
shiny surfaces, glass display cabinets and ‘functional’ hanging lights, was<br />
hugely influential on many store interiors that came after it. <strong>The</strong> New<br />
<strong>Interior</strong> also permeated cultural spaces, among them art galleries, theatres