of behaviour. She would have employed the
top decorators, the likes of Syrie Maughn from
London to contemporize her wing of the house,
money being no object, sowing that hard touch
of contemporary glamour and modernism in an
otherwise aspic house.
The 'exterior' architecture of the rooms were
designed to be as a mirror image of the east wing
where Max and the second Mrs. de Winter had
their ivy-infested suite. Ben from the early days
wanted to use the ivy motif as representative for
the struggle by the second Mrs. de Winter.
In Rebecca's suite, the windows and the fireplace
were all that remained after her 'makeover.'
The walls were covered in a pale aqua silk moiré
(representative of the watery end that she met).
The audience should be thrown out of kilter in
the same way that the second Mrs. de Winter is
as she pushes into the mirrored ante room that
played both on the set build and at the Hatfield
house corridor location, creating a link with this
nightmarish conuence of mirrors.
A
B
C
