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space. 8 Building, also, on Sigmund Freud’s emphasis on interiority as a<br />
starting point for psychoanalysis, and on his notion of the compartmentalized<br />
house as a model, or metaphor, for interiorities which have been<br />
constructed over a number of years, literary scholars have discussed<br />
the idea of the fusion of ‘literal and the figural space’. <strong>The</strong> specifically<br />
‘modern’ context of interiority has also been acknowledged and its rise<br />
seen as paralleling the separation of work from home, the increased privacy<br />
of the domestic setting and the emergence of the ‘modern subject’.<br />
At the level of the social elite, dress and the interior have had a relatively<br />
long history of interconnectivity. Female members of the eight -<br />
eenth-century French court – Madame de Pompadour among them –<br />
had themselves painted in their interiors adorned in stylish clothing.<br />
Fashionable dress first acquired its link with the notion of democratized<br />
feminine modernity in late eighteenth-century Europe with the demise<br />
of the sumptuary laws which had outlawed the wearing of dress beyond<br />
one’s station. <strong>The</strong> gates opened at that time for people to acquire dress<br />
suggesting membership of a social class which was not that of their<br />
birth. 9 In mid nineteenth-century France, an era of increasing wealth in<br />
that country, the idea of fashionable dress was reinforced and encouraged<br />
by a new interest in sartorial elegance inspired by the wife of Napoleon<br />
iii, the Empress Eugénie. 10 With the birth of haute couture at that time,<br />
the relationship of fashionable dress with the interior took on a new<br />
incarnation which was inextricably linked to the notion of modernity.<br />
Indeed fashionable dress and interior decoration became the visual,<br />
material and spatial expressions of women’s engagement with modernity,<br />
both of them offering ways in which, through consumption, women could<br />
acquire a stake in the world of ‘taste’. Both dress and interior decoration<br />
became, at that time, forms of modern luxury empowered to act as signs<br />
of social status, whether inherited, acquired through consumption, or<br />
aspired towards.<br />
It was within the changing climate of the middle years of the nineteenth<br />
century that the Englishman, Charles Frederick Worth, became<br />
one of France’s first and most successful modern couturiers. His numerous<br />
commercial innovations included the construction of showrooms<br />
furnished to resemble the drawing rooms of well-appointed houses<br />
(hitherto dressmakers had usually visited the homes of their clients). <strong>The</strong><br />
interiors in his dress establishment were extremely elegant and could be<br />
accessed via staircases lined with exotic flowers.’ 11 For Worth the decorated<br />
interior performed a double role, however. It was both a backcloth for his 75