Expression of Identity in Interior Design: Elsie de Wolfe and Her Legacy
Summary
In the article Elsie de Wolfe and her female clients, 1905-15, Penny Sparke asserts that Elsie de Wolfe helped to create the female-dominated profession of interior decoration as we know it today by providing wealthy, upper-class women with distinctly feminine and refined spaces. She utilized her professional connections with elite women to grow her network and develop her reputation as a tasteful decorator, eventually expanding her career and influence and enabling women to be paid for their traditional jobs as decorators of the home. While she may not have fought against feminine design stereotypes, she still inspired a professional environment where femininity was appreciated. A key example of this was her work for the Colony Club from 1905 to 1907, where she designed and curated a new interior for the all-women social club. She was then able to use this momentum to undertake more professional projects for women and gain notoriety in high society for her elegant taste, turning her former hobby into a successful career.
Historical Case
“Rooms Exhibited by the Women Decorators’ Club.” House Beautiful, Aug. 1929, pp. 146–147.
The interiors shown in House Beautiful by the Women’s Decorators’ Club utilize a geographically and historically varied blend of styles with a lighter palette, a key signature of Elsie de Wolfe’s projects. The spread was composed for the August 1929 issue —just shortly after the height of de Wolfe’s career— making it likely influenced by de Wolfe’s style. The role of women as the chief decorators of this project was also likely impacted by de Wolfe’s professional and public presence.
Figure 1 – An interior designed by the Women Decorators’ Club with a variety of textiles and styles. House Beautiful Aug. 1929, pg. 147.
Current Case
Sheila Bridges is a modern example of a female interior designer creating unique, sophisticated, and expressive spaces. Her interiors feature a variety of styles and references, usually with vibrant pops of color and bold patterns. Bridges often incorporates pieces from numerous eras of design and references to her African American identity —seen in her own personal home, The Hay House. During her career she has worked with numerous influential public figures, including former president Bill Clinton and former vice president Kamala Harris.
Figure 2 – Sheila Bridge’s “Hay House” in Hudson, NY; Eclectic furnishings with vibrant pops of color. Image courtesy of: The New York Times.
Comparison
Both examples come from prominent designers that intelligently incorporate several historical references and their own identities. In the case of the Women Decorators’ Club, the female designers followed the example of de Wolfe, incorporating their femininity into their work through their use of a brighter palette and floral patterns. In the case of Sheila Bridges, she frequently refers to historicist styles as well as her Black identity, shown by her use of Black art. In some aspects, this expression of personal identity in interior design also goes back to de Wolfe, albeit in a different, more complex and nuanced way distinct to her.