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creations and a marker of his own artistic identity, which, in turn, became<br />
inseparable from his commercial brand. He decorated the interior spaces<br />
of a house he had built for himself in Surêsnes in an eclectic mix of<br />
Gothic, Indian, Old English and Moorish styles and posed as an artist<br />
within them. Late in his life he dressed to look like Rembrandt with a<br />
beret, a cloak and a tied scarf. 12 Other commercial strategies developed by<br />
Worth included his use of a live model (his wife Marie), an early version<br />
of the fashion mannequin; his encouragement of his wife to wear his<br />
clothes at social occasions, such as the races; mixing with the aristocracy;<br />
the introduction of the idea of seasonal models; and the use of a brand<br />
label sewn on to the bands inside the waists of his garments.<br />
Several of the French couturiers who followed Worth built upon<br />
his commercial practices. <strong>The</strong>y also consciously engaged with designed<br />
interiors as both sites in which to show their creations and through<br />
which to define their own artistic identities. 13 <strong>The</strong> couturière Jeanne<br />
Paquin, for example, sought to extend her interest in the interior beyond<br />
its role as a backcloth for her fashionable designs when, in 1914, she asked<br />
the architect Robert Mallet-Stevens to create a house for her in Deauville.<br />
Sadly the project was never realized. A little later Paul Poiret also commissioned<br />
Mallet-Stevens to create a house for him. <strong>The</strong> flat-roofed,<br />
white-walled <strong>Modern</strong>ist home created by the architect for the couturier<br />
was built in Mézy-sur-Seine between 1921 and 1923. <strong>The</strong> work the Irish<br />
interior decorator, Eileen Gray, undertook in the homes of the couturiers<br />
Jacques Doucet and Madame Mathieu-Lévy (the second proprietor of<br />
the fashion house of Suzanne Talbot) in the first decades of the twentieth<br />
century also served to bridge the worlds of fashion and interior decoration.<br />
For the latter client she created a highly decorative interior with<br />
lacquered walls inlaid with silver. <strong>The</strong> Pirogue chaise longue, upholstered<br />
in salmon pink, was created by Gray for that space. In her early career<br />
Gray was committed to the use of decoration in her interiors and to the<br />
link between interior spaces and the identities of their occupants. Like<br />
Worth, both Gray’s clients understood the importance of the relationship<br />
between their roles as creators of fashionable dress, the private spaces<br />
within which they defined and communicated their own modern selfidentities,<br />
and the more public spaces within which they showed and sold<br />
their fashion items. Doucet’s salon was an elegant, domesticated, eight -<br />
eenth-century-styled space, featuring a patterned carpet, panelled walls<br />
and a chandelier, which undoubtedly made his clients feel simultaneously