Decorating is not about making stage sets, it's not about making pretty pictures for the magazines, it's really about creating a quality of life, a beauty that nourishes the soul.
Interpretation
Decorating transcends aesthetics, focusing on enhancing life and enriching the soul.
The quote emphasizes that the essence of decorating lies not merely in creating visually appealing spaces for decoration's sake, but rather in fostering an environment that enhances oneβs life experience and nurtures the spirit. It suggests that true beauty in design should serve a deeper purpose, contributing to the emotional and spiritual well-being of individuals who inhabit those spaces.
In practice
A designer might use this quote during a home decor workshop to inspire participants to think beyond mere aesthetics.
So many young decorators are trying to reinvent the wheel, and the results are sometimes very dubious. They're striving to do things that have never been done before. Quite often it is done without authority, without knowledge, and without a background in taste. They need to be educated about the past, and they need a richer vocabulary.
The essence of interior design will always be about people and how they live.
Too much of what passes for design now is theater. It's one thing to be eccentric- and by the way, most eccentrics tend to be rather well-educated people - and quite another to be a faddist, by which I mean someone who tries to conjure a totally foreign aesthetic in a misplaced environment.
Decoration is really about creating a quality of life, and a beauty in that life that nourishes the soul, that makes life beautiful.
You can't have it all one way - be on the telly and the radio and make lots of money - and not offer anything to your followers when they need you.
There's nothing like living a long time to create a depth and soulfulness in your music.
Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don't find it anywhere else.
The ambivalence of writing is such that it can be considered both an act and an interpretive process that follows after an act with which it cannot coincide. As such, it both affirms and denies its own nature.
How do you explain what it feels like to get on the stage and make poetry that you know sinks into the hearts and souls of people who are unable to express it
I say, 'If I had a serious brain injury I might well write a children's book', but otherwise the idea of being conscious of who you're directing the story to is anathema to me, because, in my view, fiction is freedom and any restraints on that are intolerable.
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