The Modern Interior

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84 boudoirs for her female clients where personal identity, rather than social status, was at stake. The suite of rooms she created for her close friend, Anne Morgan, for example, comprising a bedroom, a sitting room and a dressing room, were intended for private use only. The dressing room was filled with mirrors, fixed to the doors of fitted wardrobes, enabling Miss Morgan to see herself from all angles. 16 The model of the fashionable ‘signature-decorator’ established by de Wolfe was emulated and built upon by several other female decorators through the first half of the twentieth century, among them Ruby Ross Wood, Frances Elkins, Rose Cummings, Dorothy Draper and Syrie Maugham. Maugham was the only Englishwoman among them and her most influential design was a striking all-white living room which she created for her own house in Chelsea. In reality it brought together a number of shades of off-white, cream and beige: the settee and chairs were upholstered in beige satin, and the rug, designed by Marion Dorn, was composed of two tones of cream. A folding screen, comprising mirrored glass panels, stood behind the settee. Like their dress-oriented counterparts, those twentieth-century interior decorators presented themselves as fashionable beings first and foremost. By extension, their work was perceived as fashionable and their clients as fashion-conscious, modern and discerning. Just as couturiers created exclusive items for replication by department stores, although most of the interiors created by decorators were for individual clients, their fashionable spaces also became widely accessible through their presence in mass media publications. Furthermore, the decorators stocked their showrooms with items resembling those they had used in individual settings, thereby enabling a wide range of customers to purchase them. 17 By the end of the nineteenth century the idea of the seasonal model, promoted by Worth and others, had become the norm in the world of fashionable dress. Similarly in the world of interior decoration certain furnishing and upholstery colours and styles came regularly in and out of vogue. While surface changes to the interior – paint colours and textile patterns among them – could be made quite frequently, other transformations were necessarily more infrequent as some interior items represented a considerable investment. Often fashions began in the world of dress and moved, albeit usually with a time lag, into interior decoration. 18 In France, bourgeois families moved home more frequently than the aristocracy because they were not limited by inherited homes and bulky items of furniture. 19 In New York, also, from the 1860s onwards, the
An ‘all-white’ living room designed by Syrie Maugham for her house in Chelsea, 1934, illustrated in Derek Patmore’s Colour Schemes and Modern Furnishing, 1945. custom of the middle classes was to move house on an annual basis, thereby accelerating the need to continually redecorate and refurbish their homes. By the end of the nineteenth century the social messages of fashionable dress were becoming less clear, however, and the interior was increasingly taking over the role previously performed by dress. 20 Even more than fashionable dress, which had taken on a somewhat frivolous connotation by that time, interior decorating came to be defined as an art of everyday life, a genuinely modern art form. 21 85
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The Modern Interior Penny Sparke
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The Modern Interior Penny Sparke re
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Contents Introduction 7 Part 1: Ins
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8 A shopping mall in Calgary, Alber
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10 Mrs Sarah Du Prau and Mrs T. Seb
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12 image, as an assemblage of mater
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ideo logical assumption within west
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16 broadcast from 1996 to 2004, was
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18 1850 and 1939 were further playe
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A Victorian parlour in Manchester,
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22 the second half of the nineteent
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24 Al ‘Bucky’ Lamb’s home in
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26 The dining room of Sedgley New H
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28 notwithstanding, those ‘cottag
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30 The drawing room car on a late-1
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32 Trellis Restaurant, Colony Club,
Page 36 and 37: ‘A Drawing Room Corner’, fronti
Page 38 and 39: 36 attraction, fascination, aura an
Page 40 and 41: 38 new synthesis that would not onl
Page 42 and 43: 40 Henry Van de Velde’s Studio in
Page 44 and 45: 42 The daughter’s bedroom in Pete
Page 46 and 47: 44 When the Scottish architect Char
Page 48 and 49: 46 An umbrella- and coat-stand in t
Page 50 and 51: 48 A sitting area in the Palais Sto
Page 52 and 53: 50 embraced the equally fashionable
Page 54 and 55: 52 The Café Museum in Vienna, desi
Page 56 and 57: 54 furniture as an enhancement to t
Page 58 and 59: 56 A breakfast table set with a ser
Page 60 and 61: A couture dress by Paul Poiret in a
Page 62 and 63: 60 upper middle-class woman, might
Page 64 and 65: 62 spectacle to entice customers in
Page 66 and 67: 64 for a lot of legwork. It doesn
Page 68 and 69: 66 Georges Djo-Bourgeois, study for
Page 70 and 71: 68 possible anywhere in the exhibit
Page 72 and 73: 70 Raymond Loewy and Lee Simonson,
Page 74 and 75: 72 commercial and ideological messa
Page 76 and 77: 74 psychological link between them.
Page 78 and 79: 76 creations and a marker of his ow
Page 80 and 81: 78 Eileen Gray, Pirogue chaise long
Page 82 and 83: 80 A bedroom for a French house in
Page 84 and 85: 82 Elsie de Wolfe in a couture dres
Page 88 and 89: 86 While the haute couture professi
Page 90 and 91: 88 fashion show became a widespread
Page 92 and 93: 90 and modernity. It also highlight
Page 94 and 95: 92 the nineteenth century, therefor
Page 96 and 97: 94 An advocate’s consulting room
Page 98 and 99: 96 both grew from it and was integr
Page 100 and 101: A dining-room in a Small Town House
Page 102 and 103: 100 Josef Frank, a large living roo
Page 104 and 105: 102 Emile-Jacques Ruhlmann, the liv
Page 106 and 107: 104 An American young woman’s bed
Page 108 and 109: 106 styles available at that time.
Page 110 and 111: 108 equivalent. In that context wom
Page 112 and 113: 110 the public arena to a significa
Page 114 and 115: The Passage de l’Opéra, Paris, c
Page 116 and 117: 114 employed by nineteenth-century
Page 118 and 119: A print of an interior view of the
Page 120 and 121: 118 nineteenth century/early twenti
Page 122 and 123: The interior of the National Museum
Page 124 and 125: 122 A San Francisco can-making fact
Page 126 and 127: 124 processing of administrative ta
Page 128 and 129: The Central Court of the Larkin Bui
Page 130 and 131: 128 Lyons Tea Shop and waitresses,
Page 132 and 133: 130 of the Gesamtkunstwerk. Archite
Page 134 and 135: 132 An ‘Efficient Grouping of Kit
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134 were linked to a general desire
Page 138 and 139:
The kitchen in the Haus am Horn, de
Page 140 and 141:
138 Erna Meyer’s kitchen in the h
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140 fronts were a deep blue (althou
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142 A chaise longue, designed by Le
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144 ceilings to add a level of rest
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146 that time, governed consumption
Page 150 and 151:
148 Workers assembling Model ‘t
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150 about the interior through the
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152 settlements alone’, one write
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154 saw the furniture items he incl
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The dining room in an apartment, de
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158 created for the apartment build
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160 remained the enhancement of the
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162 Metropolitan Museum of Art, the
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164 including the main hall and the
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166 of Vassar graduates living in i
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168 within it as items of equipment
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170 desire to sever art’s links w
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172 Theo van Doesburg, tiled corrid
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A facade of the house designed by G
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176 The first floor of the house de
Page 180 and 181:
178 A view of the interior looking
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180 apartments he designed for the
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182 The interior in Rudolf M. Schin
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184 the abstract interior had lost
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186 became a popular ideal as well.
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188 and above all equal to, archite
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190 Charles Eames’s Tandem Sling
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192 A 1960s interior, designed by V
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194 An interior containing a range
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196 Davis Gillies, also included an
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198 A combined living and dining ar
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200 which were characterized by the
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202 A bathroom in the Park Hyatt Se
Page 206 and 207:
204 Conclusion Wouldn’t you rathe
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206 intrusion of the media into our
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208 modern interior. They are portr
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210 nonetheless - fulfil the same m
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212 gondolas of Italy’s Venice ha
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214 questioned (see A. Vickery, ‘
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216 33 Ibid., p. 187. 34 Ibid. 35 I
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218 38 Ibid., p. 67. 39 K. Wilson,
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220 8 Ibid. 9 Rice, The Emergence o
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222 20 Rappaport, Shopping for Plea
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224 15 See Thirties: British Art an
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226 Conclusion 1 ‘50 Expert Ideas
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228 Blumin, S., The Emergence of th
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230 Guillén, M. F., The Taylorized
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232 pp. 187-208 Rice, C., The Emerg
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234 Acknowledgements This book is t
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236 Photo Acknowledgements The auth
Page 240 and 241:
238 Djo-Bourgeois, Georges 66, 68 d
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240 Saarinen, Eliel 186 Saint-Gaude
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