The development of female interior decorators as professionals was a pivotal point in history. It not only created a middle ground that paved the way for women to enter what had previously been considered a masculine profession, but also was viewed as a shift to the idea of modernism in the 20th century. In this chapter, Sparke recognizes Elsie de wolf as one of the women who took advantage of this new profession and deemed herself to be quite successful.
De Wolfe had a unique approach to interior design that challenged the social norms of gender and class in a modern world. Rather than using the architecture and construction of a space to define the interior, she focused on a strong sense of feminine values and designed in such a way to reflect the personality of the female occupant. After her work at the Colony Club, she became largely recognized and desirable as a professional decorator. This allowed her to establish a network of wealthy female clients who sought to have ‘good taste’.
Between 1905 and 1915 Elsie de Wolfe worked on numerous projects for her newfound female clientele. Her designs generally focused on the ideas of comfort and simplicity with a strong feminine culture reflecting her client’s unique identity. Over time, she began to develop her own personal language by including the same distinct features with slight variability, so each design still holds a strong sense of individuality. Some of these features include paneled walls, French inspired furnishings, patterned fabrics, and the use of pastel colors. She was then able to adapt this formula for any project no matter the scale or the budget.
Throughout this chapter, the author stresses the importance of introducing women to the public sphere of work by giving them an active role in the creation of modernity through interior decorating but lacks to mention the importance that men continue to play in the design realm. For example, architecture, construction, and furniture making were still very much male dominated fields at this time, yet also very relevant when it comes to the design of an interior space. Elsie de Wolfe even admitted to wanting nothing to do with kitchen fittings, appliances, plumbing, and other items of that nature when working on the design of Brooks Hall. All these aspects can be categorized into the previously mentioned male dominated fields. Additionally, there were also some very influential male designers of the time, such as Frank Lloyd Wright.
View of the checkout counter including the pastel pink ceiling and wallpaper panels.
The interior of Passionflower Design in Eugene I believe to be a good representation of Elsie de Wolfe’s idea of femininity expressed in a space as well as her unique approach of designing for an identity. The store offers all kinds of items for sale including books, home décor, glassware, garden supplies, jewelry, and even women’s clothing. The space is very much catered to a feminine energy while still providing a sense of comfort with traditional modern elements. Several of de Wolfe’s design principles are evident throughout the space. For example, the use of pastel colors is seen with the pink ceiling in contrast with the white walls and floral wallpaper used in strategic places. Also, the use of furniture as not only elements that may be for sale, but also used for displaying other items available to purchase. Overall, the design of the space is true to the personality of the items being offered and to the aesthetics of the people I observed inhabiting the store.