Apr 17, 2025 | 1920s, 2020s, reaction paper, Week 3
Summary
Women’s break out into the modern working world, began with the occupation of the interior decorator. Penny Parke, in In Women’s Places: Architecture and Design 1860-1960, highlights the working life of Elsie de Wolfe as an argument that an interior decorator is linked from the domestic and professional world for women. As cultural ideals shifted around what it meant to be a woman and a homeowner, the expression of the domestic interior began to represent roles of gender and class of women. Historically, the male view of the interior was based on the rules of architecture, until women’s break into the professional interior world. Since then, it has become an extension of women’s tastes in fashion and of a woman’s identity as a whole. Parke claims the interior of the home had become a theatrical stage in which the women would act, combining the comfort of the home and the independence of women in the modern working world.
Critical Response
I agree with Penny Parke, that the home is used as an extension of the self, and in the modern world is seen as an object to display the owner’s tastes in the world of design. Now, more than ever, the home is seen as a blank canvas that develops the personality of the individual who inhabits it. Historically, the modern occupation of the interior decorator has been predominantly associated with feminine attributes, which holds a relationship with fashion, through the use of textiles and prints. Though this association has dissipated significantly since its introduction, there is still a common preconception that the domestic world is linked with the woman, and within the domain controlled by the woman, the man lives. Even to this day, there is a common association of fashion and femininity, even for men. This causes me to question, though the link between the domestic world and women has historical relevance, will the expression of the self though the home ever rise above the roles of gender and/or economic status, as (American) society has become more accepting of the blurring of the line between the masculine and feminine roles in both the home and the working world?
Application – HouseBeautiful Example
This HouseBeautiful advertisement for Johnson’s Polishing Wax (Figure 1) expresses the importance of a properly displayed and well-kept home, as an extension of ones self and economic standing, “What charm wax-polished floors add to your home—what a comfort and convenience and economy they are.”
Figure 1. HouseBeautiful 1928-03: Vol 63 Iss 3, pg. 325
Application – Contemporary Example
This InteriorDesign article, (Figure 2) represents the modern interpretation of an ideal functional home and domestic lifestyle looks like, as well as how it represents the those who reside within it. “…woven together diverse design influences, grounding textures, materials and hues to create a captivating journey—a ‘patchwork’ of experiences—across the home.”
Unwind In This Artful Sydney Residence With Soul
Figure 2. InteriorDesign Magazine, March, 21, 2025, Unwind In This Artful Sydney Residence With Soul
Apr 16, 2025 | 1900s, 1960s, 2020s, reaction paper, Week 3
In this text, Sparke details the history of Elsie de Wolfe and women’s historic roles in interior design and architecture. Wolfe was a key figure in paving the way for women in the field of design. In contrast to her male colleagues, Wolfe provided a new perspective for interior design as she weaved aspects of the homemaker’s personality into the space itself. Rather than letting the occupants be defined by their space, Wolfe allowed spaces to be defined by their primary users. This approach to interior design and architecture is commonplace now, yet is only so in large part due to Wolfe’s contribution to the field. However, a major factor in her designs is that she emphasized the women of the household, as well other facets of design that were generally considered feminine, such as fashion. By creating this interplay of fashion design and interior decoration, Wolfe crafted spaces that were unlike any of her male colleagues designs. Her female clients, along with fellow female designers, aided Wolfe in her approach by providing the foundations for her innovation. By creating a community with her clients, she designed spaces that were reflections of their inhabitants, while also allowing for flexibility. As people frequently change over time, her designs allow the designs to evolve with her clients. Meeting her clients’ needs was a primary aspect of her design approach, something many of the modernists failed to understand.
I agree with Sparke’s statement that many of the male modernists failed to understand the needs of their clients. The Farnsworth House by Mies Van Der Rohe is a prime example of this. Mies Van Der Rohe was far too insistent on the supremacy of his design. As such, the Farnsworth House was nearly uninhabitable. The lack of privacy due to the amount of glazing robbed Edith Farnsworth of feeling safe in her own home. I would largely agree with Wolfe’s design approach. If the primary user group does not feel represented by the design of their space, it is not an effective design. That does not mean that all spaces must be heavily adorned with as much personality as the user, but the client’s needs must be considered as early as possible in the design stage.
fig. 1. House Beautiful, October 1960, Crown Vinyl Advertisement.
fig. 2. House Beautiful, November 1960, Tom Brigance Designer Drapery.
In these two images from House Beautiful, the connection between interior design and women’s fashion is very much a major factor. Throughout these issues, many of the advertisements target women as the homemakers, and the men as those with knowledge of construction or structures. This is very much in line with the reading, as even Wolfe herself states that the women are the ones that make a house a home, that give a space its personality. Most interestingly, both of these advertisements use fashion as their selling point to draw the attention of female consumers.
fig. 3. Marisfrolg Fashion Group, Zaha Hadid Architects.
Marisfrolg Fashion Group. (2025, January 31). Zaha Hadid Architects, Marisfrolg Fashion Group. worldarchitecture.org. https://worldarchitecture.org/cdnimgfiles/extuploadc/06_zha_marisfrolgshowroom_photocourt.jpg
In this image of the Marisfrolg Fashion Group’s showroom in Shenzhen, China by Zaha Hadid Architects, we see once again the connection between women interior designers and fashion. Yet in stark contrast to the the advertisements of the past, Zaha Hadid Architects allow the form of the clothing to influence the form of the interior, rather than the colors or patterns of the clothing.
Apr 16, 2025 | reaction paper, Week 3
Summary: One of the main arguments of this reading was that Elsie de Wolfe found a pattern for the way she approached her projects and repeated that throughout her career, making small adjustments for each case. Although she claimed every project was individual and completely unique, looking at all her work, there are some discernible key features. For example, the “formula” she used for her interiors “included the use of historical style, usually French eighteenth century, a mixture of old and new furnishings, simple patterned fabrics, usually chintz, and painted, pastel colored furniture items” (54). She did take into account each clients’ taste and opinions, but ultimately, this formula helped guide many of her design projects. This client relationship was another big part of her process as she and her clients usually had a “mutual admiration” for one another, making the project a joint endeavor between her and her clients (48). Overall, the process and design work of Elsie de Wolfe made her a highly sought-after interior designer, especially for high profile people with connections.
Application: A modern day comparison is Kelly Wearstler and her design studio. Similar to how Elsie de Wolfe was a highly sought-after designer that created all-encompassing designs, Kelly “Wearstler’s expressive style and formidable point of view has expanded her influence beyond the realms of design into the broader sphere of culture where she collaborates with the leading brands of today.” Her designs have reached a wide array of people and disciplines and she’s done collabs with many brands. This is also similar to how Elsie de Wolfe incorporated fashion into her work; she went beyond just the interior.
An example from House Beautiful that compares is the advertisement for the “Colorama Selector.” This ad depicts a Red Head, saying that “she doesn’t just sit in [her room]. She ‘wears’ it as she would a particularly becoming dress, her favorite hat.” This compares to Elsie de Wolfe’s use of fashion in her design process as well.
Both cases show how interior design can go beyond just the physical surroundings and play into a wider scheme. This is essentially the idea of total design. A designer’s impact affects more than just the finishes or aesthetic; it can impact all the little details, even fashion. Kelly Wearstler goes beyond the interior finishes and influences categories like lighting, furniture, and even dishware. The ad from House Beautiful displays that an interior style is majorly influenced by the person in it. They are different applications and results of the same idea when it comes to all-encompassing design.
Image of Kelly Wearstler collab with Serax for dishware. From Kelly Wearstler website.
House Beautiful 1941, vol. 83, pg. 63
Original Caption: “This is a red-head’s room. She doesn’t just sit in it. She ‘wears’ it as she would a particularly becoming dress, her favorite hat. And she knows it does things for her- because she ‘tried it on’ before she bought it.”
