May 15, 2025 | reaction paper, Week 7
Overall this article looks at the rise and eventual stabilization of plastic as a material in the age of Industrial Design. What did plastic signify in the west? How was it marketed and sold to consumers? What were the sensory aspects that plastic evokes? and finally, how did the material reach Stabilization in the Market, making it a go to material for many things that were once glass and or ceramic? In today’s world it is concerning to think of all of the items around us that are made of plastic, how prolific the material is- especially as it is associated with food. The article touches on the concerns around health, even back in the 1960’s-70’s but it is clear that the makers of plastic and the big oil money behind it did a great job and hiding research and burying concerns- as well as lead an amazing advertising campaign.
I appreciate that Tom Fisher looked so much into the advertising of plastic items so thoroughly. One statement that was brought up again and again was “clean surfaces” which I found to be nothing short of ironic. Of course what was being advertised is that plastics are “easy to clean” however, the surface itself we now know leaches forever chemicals otherwise PFAS. From an advertising point of view plastic had the ability to “be fluid” in its appearance, with its shine and smoothness and therefore was associated with sleekness, cleanliness and overall modernity. What I find to be one of the many devastating byproducts of plastic use and consumption is the fact that we have lost earlier systems of re-use and recycling all together. Entire economic circular endeavors. Thinking of the concept of the Milk Man for example- no longer do we as a society “have” to think about returning glass containers we simply just throw away more plastic- as even the idea that plastic can truly be recycled is a misconception. As most developments during this time the ad’s were targeted towards women who were running the home as their domain.
Out of curiosity I went to Ikeas website to look and see how many products would pop up if I put in the keyword “Plastic” there are currently 306 different Ikea items that fit that category of plastic. Including the “best selling” stool in this post. Plastic makes things cheap and easy to manufacture. The Marius black stool can be yours for just $4.99 and that really is cheap in today’s economy, I spent more on a Matcha latte just yesterday. As a piece of furniture however it is functional but not really designed. It is very simple but all concerns were made for value engineering. At the start of the Industrial Design there was still a sense that what was being made was in fact “designed” but a part of that Stabilization process that was referred to in the article was the material really finding its place in the market. This, to me is where the plastic proliferation has gotten us to, Cheap Value engineered stuff- an abundance of crap- essentially. Quantity over quality with a lot to be desired. Looking back at the post war age however we see an advertisement for Tupperware that is being celebrated just like the 4th of July- in front of sparklers and cannons- it is the epitome of freedom and the most American thing you can participate in… Historically this is unfortunately true.
Ikea Chair
Stack of tupperwear
Apr 15, 2025 | 1920s, 2020s, Week 3
Summary
In the late nineteenth and early twentieth centuries, the acceptable occupations for upper-class women were expanding, but were still limited, and the ideas of “men’s work” and “women’s work” were fairly strictly delineated. As such, while architecture was (and still is) a field dominated by men, interior design and decoration was considered the realm of women.
It was in this cultural mindset that Elsie de Wolfe’s career as a tastemaker and professional interior decorator took off. De Wolfe’s clients were often women, specifically married women of means, many of whom were introduced to her by her long-time partner Elisabeth Marbury.
In terms of style, de Wolfe’s interiors were lighter, more colorful, and more modern than the Victorian interiors of the previous decades, though still leaning heavily on historical pieces and motifs, rather than toward more modern, avant-garde designs. Her interiors were intentionally and unashamedly feminine, featuring different combinations of similar motifs and stylistic choices. Chintz, Chinoiserie, garden motifs, and other similarly ornate themes were commonly featured in her work.
Critical Response
It’s hardly unique to Elsie de Wolfe’s work, but a recurring theme in her interiors is Orientalism. While Orientalism in European art and architecture became prevalent over a century earlier, and the term itself wouldn’t be coined until 1978, with Edward Said’s publication, as an idea, it was well-established by de Wolfe’s time. Chinoiserie is a western interpretation/imitation of Chinese artistic traditions, and Chintz is derived from Indian printed textiles.
The association between the overt, stereotypical femininity of de Wolfe’s interiors and her use of Chinoiserie may have a more significant link, particularly with regards to how they shaped cultural perceptions of design styles and trends through the rest of the 20th century. The negative descriptors that designs like de Wolfe’s may sometimes engender now–frilly, fussy, overly ornate, et cetera–are certainly shaped by structural misogyny. However, in comparison to design styles and elements that read (from a perspective shaped by contemporary associations with and understanding of gender) as more masculine are often the simpler, darker, Bauhaus-inspired modern furniture pieces and design motifs. These, while undoubtedly also shaped by Orientalism and cultural exchange, have a much stronger association of “European-ness” than something like Chinoiserie.
With this in mind, is it possible that the negative interpretations of interior styles popularized by de Wolfe and her contemporaries are shaped not only by misogyny, but also by Eurocentric ideas of what ‘good design’ is, in comparison to the artistic traditions and aesthetics associated with non-European cultures?
Application
Figure 1. The top of the IKEA blog post: “IKEA style report: Classic blue & white decor”
Figure 1. From “IKEA style report: Classic Blue & White Decor”
URL: https://www.ikea.com/global/en/stories/ideas-inspiration/style-report-blue-and-white-home-decor-240214/ Provided caption: “There’s a dreamy hint of summer as florals inspire a romantic feeling all around the home. Blue and white porcelain against a backdrop of cream and white feels light and refreshing. Meanwhile, cushions adorned with ruffles and piping add a refined touch – but paired with hand embroidery and soft cotton, the look couldn’t be more inviting!”
The legacy of the interior design styles and motifs popularized by Elsie de Wolfe and her contemporaries is still evident today, as seen in this recent IKEA style report (no exact date provided, presumably from 2024 or 2025), which uses keywords such as “Romantic” and “Innocent,” both of which have connotations of femininity, as do the imagery of ruffles and embroidery in the description. Furthermore, the colors are reminiscent of the blue-and-white Chinese porcelain which was popular and influential on European design.
The products in this collection were designed by Paulin Machado. She is quoted in the article: “For this collection, I was inspired by plants and flowers, especially a Swedish herb with small pink flowers called ÅKERNEJLIKA.”
Figure 2: IKEA plates in an assortment of blue-and-white patterns
Figure 2: From “IKEA style report: Classic Blue & White Decor”
URL: https://www.ikea.com/global/en/stories/ideas-inspiration/style-report-blue-and-white-home-decor-240214/
Provided caption: “Breezy blues, served with a dollop of cream. There’s something so nostalgic yet classic about this vintage and botanical-inspired look – bringing to mind afternoon tea and long, lazy afternoons. Yes, please!”
The reference to Chinese porcelain is more explicit in this image, though the patterns are not quote-unquote authentic. The floral motifs and delicate form of the teapot are similar to design elements found in Elsie de Wolfe’s interiors.
Figure 3: An IKEA bedroom display, with products featuring blue-and-white floral prints and stripes.
Figure 3: From “IKEA style report: Classic Blue & White Decor”
URL: https://www.ikea.com/global/en/stories/ideas-inspiration/style-report-blue-and-white-home-decor-240214/
Provided caption: “With its rustic feel, the RÅGODLING series of wardrobe storage solutions is too pretty to hide behind closed doors. “
Several of the design motifs and elements in the IKEA products displayed here, including floral print textiles and striped wallpaper, were also found in the interiors designed by Elsie de Wolfe.
Overall, this IKEA style report shows significant stylistic similarity to the feminine interior design styles crafted by de Wolfe, including references to Asian-inspired motifs and aesthetics. In this case, the explicit reference is to the patterns seen on porcelain exported (primarily) from China, and later imitated in Europe. The color palette, patterns, and overall form of the IKEA products featured in this blog post read as very feminine, albeit much less ornate than the original Elsie de Wolfe interiors, which is to be expected given the change in target demographic. De Wolfe was designing for wealthy clients, while IKEA products are targeted primarily at working class consumers.
Case 2: Women’s influence on popular interior decor patterns, as seen in the October 1922 edition of House Beautiful
Figure 4: The first page of “Some Principles of Interior Design as Interpreted by Miss Gheen, Inc.” by Theo Baer
Figure 4: House Beautiful, October 1922 edition, page 301: “Some Principles of Interior Design as Interpreted by Miss Gheen, Inc.” by Theo Baer
In this article from the October 1922 edition of House Beautiful, the author describes their interview with a professional interior decorator named Miss Gheene. Miss Gheene describes her views on principles of interior design, including use of color, pattern, and materiality. This constitutes another example of women being in a position of authority as it regards interior design during the early 20th century, and similarly to Elsie de Wolfe, Miss Gheene’s design principles favor lighter elements, brighter colors, and bolder patterns than those typically seen in Victorian interior design. Like de Wolfe, Miss Gheene mentions using chintz several times during the article. The image on the first page of the article, shown in figure 4, also indicates orientalist influence, with the inclusion of a Japanese screen.
Figure 5. “New Designs for Wallpapers and Curtains”
Figure 5: House Beautiful, October 1922 edition, page 304-305: “New Designs for Wallpapers and Curtains”
The wallpapers featured in the October 1922 edition of House Beautiful vary in style, from trompe l’oeil to floral to Chinese-inspired. While not all look like they belong in an Elsie de Wolfe interior, most of them read as feminine, and would not be out of place in one of her designs. According to the captions on each of the images, at least some of the wallpaper patterns were designed by women, with three of the designs being credited to Flora MacDonald. Based on the time period and the language used in the captions, which speak of nurseries, and the target demographic for these designs also seems to be women.
Figure 6: An Advertisement for Cheney Silks
Figure 6: House Beautiful, October 1922 edition, page 369: “Cheney Silks”
In an advertisement clearly targeted at women, the designs on these printed silks are compared to “dainty cushions, lampshades, draperies, table-runners, and tea gowns.” It connects women’s fashion and interior design, and ends by saying that the products are available both in dress-making and decorating shops or departments. While the name “Cheney Brothers” indicates that the company is owned by men, the products are obviously made for women, who would have likely had the reigns with regard to the selection of textiles for home decoration.
Synthesis
In both the examples seen in the October 1922 edition of House Beautiful and the recent IKEA blog post, there is a throughline of feminine motifs being popular in interior design. For over 100 years, floral prints and bright colors have appealed to consumers, primarily women. In the time of Elsie de Wolfe, the expression of interior spaces, particularly the home, was one of the few ways that women could have power and influence in a deeply sexist and patriarchal society. Even today, the stereotype that interior design is something that women are primarily concerned with remains strong. In media, when the husband takes an interest in interior design, he is often relegated to a “man cave,” due to being portrayed as having poor taste. While these portrayals, often coming from sitcoms, are exaggerated, they come from deeply ingrained and prevalent ideas in our culture.
With this in mind, it makes sense that design companies like IKEA are making and advertising products which appeal to traditional ideas of femininity, just as companies were in 1922.