Hilde Heynen’s article “Leaving Traces” is simultaneously a history lesson revolving around the concept of a home, and a critique of the gendered, capitalist nature of the heavily decorated home designs of the 19th century. As the modernists began to take footing in the world of residential design, they sought to eliminate the connection between wealth, ornament, and the concept of the home. The new modern home design would be removed from the nuclear family. The home would no longer serve as a vessel for one’s own wealth or material possessions, but rather as an abstraction of one’s own identity. The “abstract interior” was heavily criticized for its apparent coldness and lack of the elements that are frequently associated with what makes a dwelling a home. The modernists appeared to be of the mind that in removing the nuclear family, they could step forward into the future. However, removal of the nuclear family from the equation did not remove their own sexist biases. They associated many of the elements they sought to remove with femininity, and the elements they wanted to emphasize with the masculine. In contrast to this, Rietveld’s designs were meant to adapt to the inhabitants, women and children included, something many of the modernists felt was unnecessary in the face of “good” design. Although not all modernists agreed with these ideas, they were certainly at the forefront of the modernist movement.

I agree with a majority of Heynen’s points. However, as this article was written in 2009, there is no way they could have predicted the level of consumerism that would come to be in the 2010s and 2020s. Contemporary interiors have frequently shifted in their expressions of wealth and identity throughout the 20th and 21st centuries. I would be curious to see Heynen’s perspective on the matter in the post-Amazon Prime world. The middle class Americans of the last 15 years consume more frequently now than ever before thanks to the ease and cost of shipping and manufacturing. Although, a general theme I have noticed through lived experience is the lasting association of interior design and femininity. Although men have equal access to the same means of decorating their dwellings, masculinity in American culture prioritizes electronics or “utilitarian” possessions over decorative elements. The key difference between this masculine expression in the home and the modernist approach is the intent and execution. The modernist sought to eliminate decor as a means of emphasizing the architectural elements of the dwelling. The young man of today does so, generally speaking, because he sees no value in the home. There is no need for expression of identity in the home, unless that expression is a means of displaying masculinity.

Circling back to this concept of wealth and expression of identity in the home, it is interesting to see how this idea evolved over time. The modern, contemporary home has little decor, much like the modernists of the 20th century. However, wealth must still be displayed in these homes.

Photo by Phillipe Bollard. Taken from Divisare.

House Beautiful, May 1922.

Take for example, the photo above is a French apartment renovation completed in February 2025 by Brunet-Lecomte Eisenlohr architects. The ornamental elements were not removed entirely, but they were painted over to make each wall a monolith of white. Although there is very little decor, what is there speaks volumes to the wealth of its inhabitants. The Togo chairs, currently priced around $6,000 each, in addition to the custom casework shows the value of this home with three simple elements. Compared to this article from House Beautiful, May 1922 issue, the concept is very similar. Both seek to say a lot with “simple” designs. However, the key difference between the House Beautiful example and this French apartment is in what they seek to emphasize. The French apartment seeks to emphasize the simplicity of its bare-bones design. The House Beautiful example seeks to emphasize the simplicity of the architectural elements by complementing it with a few strong decorative elements.