May 25, 2025 | 1930s, 2020s, Week 8
Reading Summary/Takeaway: This reading uses the Case Study house #22 to describe the ways that architecture, photography, and racial issues are connected. The house displays many examples of how racial bias existed and was perpetuated by the media. Through the photography of the case study house, it’s apparent that there is a social correlation between whiteness and luxury or wealth. The white women in the photograph demonstrate the standard of perfection at that time, and speak to the aesthetics of modernism. Their racial identities aren’t questioned the way that black women would be if they were pictured. White people and property ownership are a norm, and the image reinforces that. Situating the house and women over the city also displays the way that white people dominate social ranks, which racializes economics. Racial, aesthetic, and class norms are all present within a single photograph, which captures the difficult social climate at the time.
Fig 1- advertisement for monel metal sinks. “House Beautiful” April 1932 Issue (page 305) “Beauty that grows with the years”
Historical Case: This advertisement from “House Beautiful” in 1932 speaks to the aesthetics of whiteness and social acceptability in a similar way to the case study #22 house photograph. It’s an advertisement for a sink, but there is a white woman with short hair and a dress on. This display of womanhood in a magazine is meant to capture what is socially acceptable as beauty. The fact that “beauty” is the largest word leads the audience to make assumptions about the subject of the advertisement and create an idea in their head of what beauty means. Previous associations of whiteness with beauty make the only choice for a model in this advertisement a white woman. Wording about aging beautifully also draws on society’s favoritism of young women, being the age where you can be beautiful. Aging is looked down upon, so it is necessary for a woman to age beautifully, just like her sink.
Fig 2- The Clean Girl Aesthetics’ Not So Clean Undertones article cover. Author Antonia Brooks (USC MASH Magazine) 2020
Current Case: An article by the Mash magazine at USC describes the clean girl aesthetic and its racially exploitative elements. The clean girl aesthetic is a recent social media trend that signals a girl who presents in a way that is extremely put together. It is aesthetically minimal and exudes wealth and purity. The social media celebrities who are most notable for this aesthetic are all white, or they have conventionally European features and are white passing. Although lots of the elements came from groups of color, it has only become a trend when white people are doing it. Slicked-back hairstyles and big hoop earrings are popular styles with Black and Latino women that have been appropriated through the clean girl aesthetic. Most of the ideals of the aesthetic are unobtainable by poor or middle-class people because they involve expensive beauty products, treatments, and clothing choices. By its expensive nature, it is exclusionary. This aesthetic ideal puts people into boxes that are sometimes unobtainable due to natural traits.
Comparison: Both examples portray the high value that the aesthetic of whiteness holds in relation to social class. They explain why and how whiteness is associated with the ideals of society. Norms and standards are set by white people, therefore, they are the only ones able to meet those norms. The historical case mainly displays aesthetic ideas since it has to do with beauty and youth. Beauty is within your aesthetic, so there is much value placed on appearance. The current case is all-encompassing of aesthetic and life goals. It’s clear that your aesthetic and life goals should support each other, which is often unattainable. Although both touch on the financial aspect, because usually societal beauty or aesthetic standards can usually be obtained through paying. Both examples show white aesthetics and values to be the ideals of a successful society. Each case is not incredibly loud with these claims, but upon simple examination, it’s clear that there is still work to be done.
Apr 30, 2025 | 1960s, Week 5
Reading Summary/Takeaway: The idea of modernity has obviously changed over time, but some themes have remained the same. An element of simplicity is included in most modernist movements because simplicity is equated with things like pureness and beauty. This is taken to different extents, with an extreme being a complete lack of ornament, decoration, and any unnecessary items. The term “lived in” is seen as positive or negative depending on which end of the spectrum you fall. So-called lived-in homes tend to be cozier or more comfortable, and the opposite would be stark or cold. The gendered element is also interesting here. A decorated interior that had character was most often the work of a woman. This woman’s work was seen as the opposite of modern, and it limited an inhabitant’s ability to be free. This goes to show that no matter what a woman does, it will always be wrong in some way, whereas the masculine equivalent is viewed as an advancement.
Fig 1- an article that discusses how influencers rent houses, cars, and many other things to appear wealthier than they actually are
Current Case: The modern example of an ideal home is similar. There is an emphasis on clean, minimal interiors as a display of wealth. If the home is cluttered or not aesthetically pleasing, there is less value associated with it. In a time when online influencers are insanely prevalent, extra importance is placed on perceived wealth. Some influencers go as far as renting out separate filming spaces like apartments or studios set up to look like apartments. This new phenomenon is more common than it might seem. I’ve seen a lot of discourse online about this, and I found a Daily Mail article where a former model talks about how influencers rent everything from cars to fake private jets, all to portray wealth. Having a perfect, aesthetically pleasing home is still an ideal that some people will go to great lengths for. There isn’t a mention of gender and who is more likely to rent a space simply for looks, but it seems viable for any kind of internet personality to partake in this behavior.
Fig 2- an article about how style is best when it is simple. “House Beautiful” September 1961 Issue (page110)
Original Caption: “This house demonstrates that it doesn’t take a freight-car load of things to create beauty and homeyness.”
Historical Case: This example from “House Beautiful” goes perfectly with the reading article. It urges readers that simplicity is the best way to create a comfortable home, because you don’t need a “freight-car load of things” to have a beautiful home. This ties into the idea of “less is more,” which is a great design principle in theory. Though, when it comes to your own home, there really shouldn’t be this many rules. Too much importance is placed on the appearance of the space, rather than the enjoyment of the users or the functionality. There should be no harm in over-decorating a space, especially if it brings you joy. The emphasis on appearance is in line with the value placed by society. The appearance of our homes, ourselves, and everything in our lives is taken at the surface level, which is quite superficial. Rather than providing displays of your personality through the objects in your home, a lack of objects is meant to say more about you.
Comparison: Both the historical and current cases display the insane level of importance that is placed on physical appearance. Not liking your home to look lived-in seems silly, but it’s the case for many, as it shows a subtle display of wealth. The social value of having a clean and aesthetic home is far more important than comfort, especially to those with an online platform. The historical case vouches for creating your own style in a simple way, so it’s nice that there is a sense of self-expression mentioned. However, the current case is completely void of personality since the spaces don’t even belong to the influencer. Both examples place too much emphasis on how the space is portrayed, not the perception of the actual inhabitants.
Apr 16, 2025 | 1950s, 2010s, reaction paper, Week 3
Reading Summary/Takeaway
One important point from Chapter 3 of Penny Sparke’s “Elsie de Wolfe and Her Female Clients, 1905–15” is that Elsie de Wolfe’s work as an interior decorator caused a huge shift within the gendered world of professional design. Because of her, she essentially pioneered the acceptance of women in design as legitimate professionals. Sparke argues that de Wolfe’s success was due to her ability to navigate the boundaries between domesticity and professionalism. De Wolfe tried to emphasize light, comfort, and a sense of femininity that resonated with her clients whenever she worked on a project through pale colors, simple furniture, and floral motifs. Her aesthetic also put her in the spotlight as an innovator who connected both aesthetics with a woman’s role in the home allowing for both taste and functionality to coexist.
Application
The Wing is a now-closed women-focused co-working space but they connected to the idea that interiors can be expressions of modern femininity, empowerment, and professional identity by maintaining soft color palettes, plush seating, and art by and of women. The Wing had rejected the corporate, masculine office aesthetic in order to provide domestic comfort. This idea mirrors Elsie de Wolfe’s approach by using design to redefine spaces traditionally occupied by men, and allowing them to cater to women. The Wing created an environment that was not just physically beautiful but also supported new roles for women in public and professional realms.
Figure 1 shows the interior of The Wing office with a feminine aesthetic that allows for both work and comfortability.
ELLE
This September 1950 issue of House Beautiful, particularly the feature titled “She’s Getting to Be Quite a Young Lady!” connects to Elsie de Wolfe’s work and influence as both are able to explore how domestic interior design plays such a big role in shaping female identity, especially during formative life stages. The article also emphasizes how a young girl’s bedroom should evolve and change to reflect her personality, interests, and future ambitions that are also changing at the same time. This reinforces the idea that interiors are not just decorative but have an important function embedded within them. Both sources highlight the professionalization of interior design as a feminine realm as taste and ornamentation are linked to emotional development and personal empowerment. The bedroom transformation in the magazine relates to Elsie de Wolfe’s idea of merging beauty with utility while still holding onto the belief that a room that is designed well can contribute to success and empowerment.
Figures 2,3 and 4 illustrate how a young girl’s bedroom was transformed into a space that reflects her independence, creativity, and femininity.
House Beautiful 1950, no. 2, p.113,114,116
She’s Getting to be Quite a Young Lady!
Comparison
Both the House Beautiful bedroom redesign and The Wing reflect how interior spaces have historically been used to construct and reinforce gendered identities. In House Beautiful, the transformation of a girl’s bedroom into a multifunctional, adult-like space supports her transition into womanhood and her room becomes a place for self-expression. Similarly, The Wing was created as a space for professional women with interiors that feel comfortable but at the same time push for success and ambition. While separated by many decades, both spaces are able to use design to show identity and reinforce femininity.