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psychological link between them. Both played a key role in identity<br />
formation, especially in the creation of (particularly feminine) modern<br />
identities. In their capacity as material and spatial layers around the body<br />
dress and the interior both played a role in the process of ‘interiority’<br />
through which modern subjects developed a notion of ‘themselves’. That<br />
link developed first within the private sphere but, as women went into<br />
the public arena, moved out with them into the marketplace. Secondly,<br />
there were strong professional links between fashionable dress and the<br />
interior as the commercial practices developed by couturiers from the<br />
mid-nineteenth century onwards were adopted by interior decorators<br />
when they began to establish their own professional framework in the<br />
early twentieth century. As the self-identities of both couturiers and<br />
decor ators became important parts of their commercial brands, those<br />
practices crossed the private and public divide. Thirdly, fashionable dress<br />
and the interior came together in the public context of mass consumption,<br />
in the physical spaces of the theatre, department stores and exhibition<br />
halls, as well as in the representational spaces of women’s magazines. Such<br />
were the workings of the fashion system as it engaged with both dress and<br />
the interior that, as the values formed within the context of domesticity<br />
were taken out into the marketplace, the idea of the separate spheres was,<br />
once again, challenged.<br />
<strong>The</strong> link between fashionable dress and the modern interior was<br />
also facilitated by practitioners in one area openly embracing the other.<br />
Fashion designers engaged with the interior as a setting for fashionable<br />
dress, as a site for the formation of their own identities and as an extension<br />
of women’s relationship with modernity. In addition, dress was<br />
frequently linked to specific locations within the domestic interior. 4 Light<br />
airy cottons and linens were worn in the breakfast room, for example. A<br />
strong sense of theatricality pervaded that practice. 5 Middle-class women<br />
of that era also went as far as ‘dressing’ furniture items with ruffles and<br />
fringes, transforming them, in the process, into extensions of themselves. 6<br />
<strong>The</strong> concept of ‘interiority’ assumes a blurring of the inner, mental activities<br />
of occupants and the material and spatial environments they occupy.<br />
That psychological reading of the interior has been explored by a number<br />
of literary scholars interested in the relationship between writers’<br />
work – especially those who emphasized the concept of modern interiority<br />
– and the spaces in which they were written. 7 Some have focused on<br />
Walter Benjamin’s phrase ‘the phantasmagoria of the interior’, used to<br />
refer to the reverie of the subject experienced within private, interior