38 Ibid., p. 67.
39 K. Wilson, ‘Style and Lifestyle in the Machine Age – the Modernist Period Rooms of “The
Architect and the Industrial Arts”’ in Visual Resources, vol. xxi, pt 3 (September 2005 ),
pp. 245 – 8.
40 Massey, Hollywood Beyond the Screen, p. 70.Chapter Four: The Fashionable Interior1 Elsie de Wolfe, The House in Good Taste(New York, 1913 ), p. 55.
2 Charles Baudelaire is quoted from ‘The Painter of Modern Life’, in The Painter of Modern Life
and Other Essays, trans. J. Mayne (London, 1964 ), p. 12. For further information about ideas
relating fashion and modernity see U. Lehmann, Tigersprung: Fashion in Modernity
(Cambridge, ma, 2000 ); E. Wilson, Adorned in Dreams: Fashion and Modernity(London,
1985 ); C. Breward and C. Evans, eds, Fashion and Modernity (London and New York, 2005 )
and D. L. Purdy ed., The Rise of Fashion: A Reader (Minnesota, 2004 ).
3 Lisa Tiersten, Marianne in the Market: Envisioning Consumer Society in Fin-de-Siècle France
(Los Angeles, ca, and London, 2001 ), p. 125. As Tiersten explained, ‘late nineteenth-century
taste media proclaimed fashion and home decorating to be not simply art forms, but art
forms inscribed in modernity’.
4 B. Gordon, ‘Woman’s Domestic Body: The Conceptual Conflation of Women and Inter iors
in the Industrial Age’, in Wintherthur Portfolio: A Journal of American Material Culture,
xxxi/ 4 (Winter 1996 ), p. 281. Gordon explained that: ‘Women are still primarily identified
in our culture with the arrangement and outfitting of both the interior and the body.’
5 Ibid., p. 286.
6 Ibid., p. 289.
7 See D. Fuss, The Sense of an Interior: Four Writers and the Rooms that Shaped Them (New
York and London, 2004 ) and V. Rosner, Modernism and the Architecture of Private Life
(New York, 2005 ).
8 Walter Benjamin, The Arcades Project, trans. H. Eiland and K. McLaughlin (Cambridge, ma
and London, 1999 ), p. 6.
9 See C. Breward, The Culture of Fashion: A New History of Fashionable Dress(Manchester, 1995 ).
10 See E. Saunders, The Age of Worth: Couturier to the Empress Eugenie (Bloomington, in, 1955 ).
11 Ibid., p. 110
12 Ibid.
13 For more details see N. J. Troy, Couture Culture: A Study in Modern Art and Fashion
(Cambridge, maand London, 2003 ).
14 Ibid., p. 46.
15 Rooms by Paul Poiret for the Herrmann Gerson exhibition in Berlin, in Deutsche Kunst und
Dekoration,vol. xxxi(October 1913 –March 1914 ), pp. 147 and 148.
16 See Penny Sparke, Elsie de Wolfe: The Birth of Modern Interior Decoration (New York, 2005 ).
17 In Couture Culture: A Study in Modern Art and Fashion, Nancy Troy highlighted the paradox
involved in the couturiers’ practice of producing unique, custom-made gowns for wealthy
clients while simultaneously creating ‘models’, intended to be copied by department stores
and other clothing outlets and sold in significant numbers.
18 Tiersten, Marianne in the Market: Envisioning Consumer Society in Fin-de-Siècle France,
p. 166. Tiersten has described how in France, in this period, the fashion for eclecticism that
had begun in dress moved, at a later date, into the interior. While, as she explained, the
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