I wrote a book about autocrats’ design tastes. The U.S. president would fit right in.
By PETER YORK March/April 2017
IMAGE - Ben Baker/Redux
The Friday Cover for June 15: ‘This is a place that just sucks your soul.’ [.. i don't see inside, it must be a hidden descriptor of the top image ..]
Every good brand needs a theme and an aesthetic, and President Donald Trump has spent decades cultivating both. The theme is success, wealth, winning, and the aesthetic is bright, brassy, loud—or, depending whom you ask, gaudy and fake. In person, the Trump look is that distinctive hair, oversize suits (apparently from the expensive Italian clothier Brioni) and long, shiny red ties. Architecturally, it’s gilt and mirrors, as in his famous marble-and-gold Trump Tower apartment, photographed many times over the years, with its canopy beds, fresco-style ceilings and colossal chandeliers.
Trump’s design aesthetic is fascinatingly out of line with America’s past and present. If you doubt it, note that the interiors of the apartments his company actually sells bear no resemblance to the one he lives in. But that doesn’t mean his taste comes from nowhere. At one level, it’s aspirational, meant to project the wealth so many citizens can only dream of. But it also has important parallels—not with Italian Renaissance or French baroque, where its flourishes come from, but with something more recent. The best aesthetic descriptor of Trump’s look, I’d argue, is dictator style.
[...]
The whole point is that dictators’ homes aren’t for one’s family, friends or private self; they’re not a refuge from the world or the job. Dictators’ homes, in fact, are the job—a place to do business, harangue people and settle scores, all while one’s entourage stays nearby. They are an architectural and artistic means of establishing the power of the occupants, of intimidating and impressing any visitor.
[...]
This, of course, is a startlingly un-American idea. The Trump look is miles from the architectural tradition of Washington, D.C., a city kept deliberately low-rise in its center, and whose neoclassical public buildings evoke stability and trustworthiness through their restraint. From the White House to the monuments, the American capital was designed to avoid Europe’s autocratic excesses, projecting a message of simplicity, democracy and egalitarianism—precisely the opposite of the new brand in town.
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