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boudoirs for her female clients where personal identity, rather than social<br />
status, was at stake. <strong>The</strong> suite of rooms she created for her close friend,<br />
Anne Morgan, for example, comprising a bedroom, a sitting room and a<br />
dressing room, were intended for private use only. <strong>The</strong> dressing room<br />
was filled with mirrors, fixed to the doors of fitted wardrobes, enabling<br />
Miss Morgan to see herself from all angles. 16<br />
<strong>The</strong> model of the fashionable ‘signature-decorator’ established by<br />
de Wolfe was emulated and built upon by several other female decorators<br />
through the first half of the twentieth century, among them Ruby Ross<br />
Wood, Frances Elkins, Rose Cummings, Dorothy Draper and Syrie<br />
Maugham. Maugham was the only Englishwoman among them and her<br />
most influential design was a striking all-white living room which she<br />
created for her own house in Chelsea. In reality it brought together a<br />
number of shades of off-white, cream and beige: the settee and chairs<br />
were upholstered in beige satin, and the rug, designed by Marion Dorn,<br />
was composed of two tones of cream. A folding screen, comprising<br />
mirrored glass panels, stood behind the settee. Like their dress-oriented<br />
counterparts, those twentieth-century interior decorators presented<br />
themselves as fashionable beings first and foremost. By extension, their<br />
work was perceived as fashionable and their clients as fashion-conscious,<br />
modern and discerning. Just as couturiers created exclusive items for<br />
replication by department stores, although most of the interiors created<br />
by decorators were for individual clients, their fashionable spaces also<br />
became widely accessible through their presence in mass media publications.<br />
Furthermore, the decorators stocked their showrooms with items<br />
resembling those they had used in individual settings, thereby enabling a<br />
wide range of customers to purchase them. 17<br />
By the end of the nineteenth century the idea of the seasonal<br />
model, promoted by Worth and others, had become the norm in the<br />
world of fashionable dress. Similarly in the world of interior decoration<br />
certain furnishing and upholstery colours and styles came regularly in<br />
and out of vogue. While surface changes to the interior – paint colours<br />
and textile patterns among them – could be made quite frequently, other<br />
transformations were necessarily more infrequent as some interior items<br />
represented a considerable investment. Often fashions began in the world<br />
of dress and moved, albeit usually with a time lag, into interior decoration.<br />
18 In France, bourgeois families moved home more frequently than<br />
the aristocracy because they were not limited by inherited homes and<br />
bulky items of furniture. 19 In New York, also, from the 1860s onwards, the