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Various forms of the mass media were quick to represent the ideal -<br />
ized domestic interior and to use it as a mechanism for stimulating desire<br />
and mass consumption. Viewed inside the home the printed pages of<br />
magazines, mail order catalogues, advice books, exhibition catalogues<br />
and newspapers played important roles, while outside the domestic arena<br />
world exhibitions, department stores, restaurants and museums began<br />
to contain constructed interiors which were also intended to stimulate<br />
consumption, or at least the desire for it. 6 <strong>The</strong> late nineteenth and early<br />
twentieth centuries witnessed a number of ways in which the mass media,<br />
in its various manifestations, helped to construct relationships between<br />
consumers and interiors. Developments in lithography and photography<br />
made it increasingly easy to represent whole interiors in two dimensions<br />
and to reproduce those images in large numbers. <strong>The</strong> problems of early<br />
flash photography and the long exposures that were needed to capture the<br />
interior meant that it took longer than other areas of the environment to<br />
photograph. By the last decades of the century, however, those technical<br />
obstacles had mostly been overcome. Women’s magazines extended<br />
their promotion of fashionable clothing items to include components of<br />
the interior and complete interiors. An image of a woman wearing a<br />
Poiret dress from the 1920s, for example, was published in the French<br />
women’s magazine La Revue de La Femme in May 1927. She was framed<br />
by, and depicted gently caressing, a pair of curtains designed by the same<br />
couturier, suggesting a unity between her body, her dress and the interior<br />
in which she was located. 7 By the early twentieth century interiors had<br />
become an important component of a wide range of women’s magazines,<br />
including the ‘upmarket’ Vogue, then as now a fashion-oriented<br />
magazine in which sumptuous interiors created by interior decorators<br />
complemented the fashionable images of modern luxury evoked by the<br />
couture clothing which graced most of its pages. It was sharply contrasted<br />
with the ‘pseudo-rationality’ of other, more ‘downmarket’ magazines such<br />
as Good Housekeeping, which targeted home-makers and the work that<br />
went on in the home. It claimed to undertake laboratory tests of many of<br />
the items it featured as a means of ensuring their scientific validity, their<br />
reliability and their value for money.<br />
Magazines, read and looked at in the home for the most part,<br />
attempted on a number of different levels to focus women’s attention on<br />
idealized versions of the very interiors in which they were frequently sitting<br />
while they read. Magazine culture was very important in nineteenthcentury<br />
England. ‘<strong>The</strong> magazine’, one writer has explained, ‘bought by an 59