This book analyzes the early stages of the interior design profession as
articulated within the circles involved in the decoration of the private home in
the second half of nineteenth-century France. It argues that the increased
presence of the modern, domestic interior in the visual culture of the
nineteenth century enabled the profession to take shape. Upholsterers,
cabinet-makers, architects, stage designers, department stores, taste advisors,
collectors, and illustrators, came together to “sell” the idea of the unified
interior as an image and a total work of art. The ideal domestic interior took
several media as its outlet, including taste manuals, pattern books, illustrated
magazines, art and architectural exhibitions, and department store
catalogs. The chapters outline the terms of reception within which the work
of each professional group involved in the appearance and design of the
nineteenth-century French domestic interior emerged and focus on specific works
by members of each group. If Chapter 1 concentrates on collectors and taste
advisors, outlining the new definitions of the modern interior they developed,
Chapter 2 focuses on the response of upholsterers, architects, and
cabinet-makers to the same new conceptions of the ideal private interior.
Chapter 3 considers the contribution of the world of entertainment to the field
of interior design while Chapter 4 moves into the world of commerce to study how
department stores popularized the modern interior with the middle classes.
Chapter 5 returns to architects to understand how their engagement with popular
journals shaped new interior decorating styles.
This book carefully considers the myriad and complex relationships between queer male masculinity and interior design, material culture and aesthetics in Britain between 1885 and 1957 - that is bachelors of a different sort - through rich, well-chosen case studies. It pays close attention to particular homes and domestic interiors of Lord Ronald Gower, Alfred Taylor, Oscar Wilde, Charles Shannon and Charles Ricketts, Edward Perry Warren and John Marshall, Sir Cedric Morris and Arthur Lett-Haines, Noel Coward and Cecil Beaton. The book underscores the discursive history and conceptual parameters of the bachelor as these collided with queer sexualities through social and cultural perceptions. It focuses on the seven deadly sins of the modern bachelor: queerness, idolatry, decadence, askesis, decoration, glamour, and finally, artifice. The seven deadly sins of the modern bachelor comprise a contested site freighted with contradiction, vacillating between and revealing the fraught and distinctly queer twining of shame and resistance. Together the furniture and collections that filled Gower's Windsor home compel us to search out the narratives that bric-a-brac at once enliven and expose well beyond the shadows of the endless and meaningless accumulation that late Victorians were said to been have afflicted by.
Décor and sobriety
Throughout the nineteenth century the image of the dandy increasingly
became one of decadence with growing fears swirling around the degeneration and decline of national health and wellbeing. It was not simply
the body of men that was of concern, but also the home and its interiordesign, for it was within the confines of the domestic interior that gender
and sexual health were initially learnt and safeguarded. The figure of the
dandy, himself a resolute bachelor, required and created exacting spaces,
decorated in a manner befitting his
The southern African settler diaspora after decolonisation
decolonisation on British migrants through specific cultural
practices and performances of identity and nationalism, such as
accent, self-presentation, interiordesign, dress, outdoor leisure
in the ‘bush’, support of a national sports team and
attendance at a Rhodesian reunion in Las Vegas. This attention to
the micro-levels of decolonisation shows it to be a process
uncontained by the
An archaeology of lunacy examines the historic lunatic asylum from an interdisciplinary perspective, employing methods drawn from archaeology, social geography, and history to create a holistic view of the built heritage of the asylum as a distinctive building type. In the popular imagination, historic lunatic asylums were dark, monolithic, and homogenous, instruments for social confinement and punishment. This book aims to redress this historical reputation, showing how the built environment and material worlds of lunatic asylums were distinctive and idiosyncratic – and highly regional. They were also progressive spaces and proving grounds of architectural experimentation, where the reformed treatment practices known as moral management were trialled and refined. The standing remains of the nineteenth-century lunatic asylum system represent a unique opportunity to study a building-type in active transition, both materially and ideologically. When they were constructed, asylums were a composite of reform ideals, architectural materials, and innovative design approaches. An archaeological study of these institutions can offer a materially focused examination of how the buildings worked on a daily basis. This study combines critical analysis of the architecture, material remains, and historical documentary sources for lunatic asylums in England and Ireland. Students and scholars of later historical archaeology and built heritage will find the book a useful overview of this institutional site type, while historians of medicine will find the focus on interior design and architecture of use. The general public, for whom asylums frequently represent shadowy ruins or anonymous redevelopments, may be interested in learning more about the buildings.
What were the distinctive cultures of decolonisation that emerged in the years between 1945 and 1970, and what can they uncover about the complexities of the ‘end of empire’ as a process? Cultures of Decolonisation brings together visual, literary and material cultures within one volume in order to explore this question. The volume reveals the diverse ways in which cultures were active in wider political, economic and social change, working as crucial gauges, microcosms, and agents of decolonisation. Individual chapters focus on architecture, theatre, museums, heritage sites, fine art, and interior design alongside institutions such as artists’ groups, language agencies and the Royal Mint in Africa, Asia, the Caribbean, and Europe. Drawing on a range of disciplinary perspectives, these contributions offer revealing case studies for those researching decolonisation at all levels across the humanities and social sciences. The collection demonstrates the transnational character of cultures of decolonisation (and of decolonisation itself), and illustrates the value of comparison – between different sorts of cultural forms and different places – in understanding the nature of this dramatic and wide-reaching geopolitical change. Cultures of Decolonisation illustrates the value of engaging with the complexities of decolonisation as enacted and experienced by a broad range of actors beyond ‘flag independence’ and the realm of high politics. In the process it makes an important contribution to the theoretical, methodological and empirical diversification of the historiography of the end of empire.
– as stylistically unified wholes.5 As such, the new generation of graduates did not merely espouse new styles over those of the past;
it also threatened to destroy the faubourg’s long-held belief in guilds and
trades, each responsible for a small part of what could be a larger – though
yet unnamed – profession.
Interior decorating in nineteenth-century France
This book analyzes the early stages of the interiordesign profession as
it began to be articulated within various circles involved in the decoration
of the private home in the second half of the
The introduction establishes the book’s focus on depictions of domestic life in 1940s feature films and their engagement with trends in prewar culture – with particular reference to The First of the Few (Leslie Howard, 1942). Across a number of disciplines, explorations of interwar middlebrow fiction and culture, interior design, women’s magazines, the domestic everyday and femininity, have highlighted a distinctive construction, and experience, of modernity: centred on the home, privileging connections to the past, and exemplified by suburbia. Structured in three sections, this introduction outlines the book’s re-contextualising of 1940s British films as part of this field of study and introduces its approach to exploring the relationship between the visual style of British 1940s films and their wider cultural context: it suggests how this research builds on studies of British cinema analysing the relationship between film aesthetics and extra-cinematic culture; it sets out the historical context for the development of ideas surrounding domestic life and modernity during the interwar years; and it introduces the four visual modes of address analysed in depth in the book’s chapters.
Richly illustrated with over 110 colour and black and white images, the book
productively contests the supposedly exclusive feminine aspect of the style
moderne (art deco). It explores how alternative, parallel and overlapping
experiences and expressions of decorative modernism, nationalism, gender and
sexuality in the heady years surrounding World War I converge in the protean
figure of the deco dandy. As such, the book significantly departs from and
corrects the assumptions and biases that have dominated scholarship on and
popular perceptions of art deco. The book outlines how designed products and
representations of and for the dandy both existed within and outwith normative
expectations of gender and sexuality complicating men’s relationship to consumer
culture more broadly and the moderne more specifically. Through a sustained
focus on the figure of the dandy, the book offers a broader view of art deco by
claiming a greater place for the male body and masculinity in this history than
has been given to date. The mass appeal of the dandy in the 1920s was a way to
redeploy an iconic, popular and well-known typology as a means to stimulate
national industries, to engender a desire for all things made in France.
Important, essential and productive moments in the history of the cultural life
of Paris presented in the book are instructive of the changing role performed by
consumerism, masculinity, design history and national identity.
The Musée centennal du mobilier et de la décoration and the legacy of
Anca I. Lasc
and a record number of interiordesign pattern books contracted to both national and foreign publishing houses,
Georges Rémon was a proponent of thematic decoration as translated
first in historical revival styles and exotic décor and, later, in the naturebased style of Art Nouveau. As shown in Chapter 3, a contemporary critic
described Rémon’s designs as “interior dreamscapes” (intérieurs revâbles) that brought distant pasts and foreign spaces into nineteenth-century
rooms. In his work for the Musée centennal, the decorator took to heart
the critic and fine arts