Female Participation And Female Discourse

thorough out the recent years history about the research on the interior design, we have obtainedinspirations from many factors:(1) The inspirations of the research on new art history: Nowadays the new artmake the most of the feminine elements and has gradually evolved into a new style of modernism, which createdthe unique development of the feminism. It is mainly reflected in artistic and cultural aspects，thus formed asupporting point for the exploration of design style.(2) The diversity of design history research, for example, theimpact of feminism on design history: after the60s and70s of the20th century, the new tendency of designhistory is around women. In no time, the feminine themed design swept the world. The wave also made an impacton subsequent design and creation. Changed with the time after the nineties， the Marxism, post-colonialism andfeminism became more and more remarkable. The scholars’ study styles were also diversified and the blossomingand contending tendency of design history research became more intensified.(3) The development’s requirementof interior design history subject: in comparison with the research in the past architecture history and the designhistory, the research of the interior design is like the rising sun, vibrant and dynamic. The progress of the newsubject made us meet up with higher difficult challenges.(4) The lack of women and gender study in domesticinterior design research: the designers who advocated western feminism architecture first began to integratefeminine elements into the residential buildings in the second phase of the feminism movement in the1970s.Since then, the design history gradually transited toward the space of women and design, gender and design.Throughout the history of Chinese interior design, it is an exclusive system established under the guide ofarchitects who studied in the west in the early days with the style of classical Paris academy of arts and theBauhaus school.The main research of this paper is " Modern Western Feminine interior Design”, the key contents are thedesign research of the female indoor designer, female consumer theme, female temperament and discourse ininterior design works. This article mainly analyzed and illustrated the United States and the United Kingdom asthe representative. The reason to choose these two countries is that they have comprehensive materials anddocuments resources about architecture system and interior design, which is conductive to the fixed pointsanalysis. In addition, the article also researched relevant content of Switzerland, Canada, Germany, Austria andother countries. Many writers discussed in this research interweaved gender, taste, consumerism, identity andmodernism, and created an overall framework to assess the relationship between female works and designs. Fromthe perspective of the current mainstream summary, women made positive efforts to participate in the moderndesign, and expressed their identity through their designs or products consumption. Current literature reviewprovides a strong argument that can help people understand individual’s advantage and disadvantage in society(Gender), skills not from formal education decision (Taste), products related fields (Consumerism), influence ofthe products to manufacturers and users (Identity) and the larger social background where these factors exist(Modernism). Perhaps there exists an overall formula in this respect and perhaps these concepts’ alternative isonly a response to the theme in the analysis.In this research, the consistency of methods, themes and discoveries have also been noticed. In thisrespect, many points of view are very similar. This is probably because many scholars in this review areAmericans and British and they have obviously graduated from a same project or worked in the same project.Despite this fact will not belittle their excellent efforts, but it clearly suggests the reason why the above-mentionedframework is so popular. Even so, their numerous case studies have opened many ways for other scholars whodesired to explore it. These efforts also made the interdisciplinary research method very important. First of all, it isworth mentioning the interdisciplinary research among women’s studies, material culture and cultural studies. In this research, the most compelling statistics are about sorting out female interior designers and theirworks, exploring the relationship between women and space, as well as organizing the quantity of female interiordesign documents (not including biography). What we lacked is the real academic research on the women ofinterior design specialty. Even Mcland and sparke’s <Interior Design and Identity> only includes two case studies,focusing on the real designers (Elsie de Wolfe and Nancy V. McClelland). The rest of the paper researches theinterior space and finitely focusing on the people that created them. Recently the archives information fromDorothy Draper’s company was exposed, and perhaps Jansen and Albert Hadley’s works have marked thebeginning of the movement of pioneers works evaluation. These pioneers undoubtedly played their own roles inthe development of interior design specialty. Now conclusion-criticism cycle are more likely to be broken bymonographs, case studies, and even theoretical works.In the21st century, the development of academic subject has set new challenges to the historians forinterior design. They have a chance to "rewrite" the history of this specialty, not only because female designerscan be included, but also because the rich information about women, family domain, public domain, therelationship between physical and social conditions will emerge. In the century that was defined by the binaryopposition, modernism has excluded women’s contribution and just enhanced the potential of relationshipresearch between men and women. When interior design tries to define its specialty through confirming itsknowledge border, scholars cannot ignore women’s roles in the specialty development.