In 1908, Adolph Loos’ historic and controversial essay, “Ornament and Crime “ asserted that “The evolution of culture is synonymous with the removal of ornament from objects of daily use.” Since ornament was a reflection of the society in which it was created, he believed that it was no longer relevant in a civilized, industrialized world --”We have outgrown ornament” – where it not only represented useless labor and expense, but also caused objects to quickly fall out of fashion. Although Loos didn’t deny the emotional and visual appeal of ornament, his comments were seized by modernists to support the total rejection of decoration – in architecture, furnishings, and even –for the most part –textiles. The striking simplicity of International Style buildings and interiors won critical acclaim, but many found it less than comfortable to live in spaces that were often perceived as cold and unwelcoming … a drawback that helped to bring on the proclaimed “death of modernism” in the 1970s, and the short-lived Postmodern movement which sought to return human appeal, and historic references, to design. As the 20th century drew to a close, pattern wended its way back into fabrics, flooring and wallcoverings --but with new textures, unusual printing techniques, mixed-media weaves, and experimental textiles that were inconceivable or technologically impossible even a decade earlier. So in the new century, ornament is once more relevant to our culture, though in incarnations that would surprise Loos – and of which he would most likely have approved.
Pictured: Edgy Modular Fabric Tiles by innovators Ronan and Erwan Bouroullec for Kravdrat
From NYSID's Judith Gura
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