Makeover, Renovation, Interior Decoration, and Styling:

Refining the Limits of Terminologies

In fulfillment of the requirements in

ID 201 Theory of Interior Design

Submitted to

Asst. Prof. Tess Quevedo

Submitted by

John Gabrielle David Basbas

Student # 2005-79048

October 24, 2008

Table of Contents

I. INTRODUCTION 1

A. Statement of the Problem 5

B. Objectives of the Study 7

C. Significance of the Study 7

II. REVIEW OF RELATED LITERATURE 8

A. Interior Design Defined by the Profession 8

B. Television and Magazines: Images of Makeover and Interior Design 10

1. Imaging 10

2. Television as a Myth-Maker of Reality 12

3. TV and the Perception of Work 15

4. The History of Home-Makeover in TV 16

5. Interior Design in TV and Magazine 20

C. Conflicts of norms and language 23

1. Norm conflicts 23

2. Norms, Correctness of Language and Terminology 25

a. Linguistic correctness 25

b. Lexical Correctness 26

c. Relationship of Correctness and Norms 27

D. Review of Current Definitions of Makeover, Decoration, Styling, and

Renovation 28

1. “Makeover” 28

2. “Decoration” 30

3. “Styling” 30

4. “Renovation” 30

III. METHODOLOGY 31

A. Sampling Method 32

B. Instrumentation 32

C. Procedure 33

D. Data Analysis 33

IV. PRESENTATION OF RESULTS 34

V. ANALYSIS 41

A. Limitations of Terms According to Interior Design 41

B. Relationship of Makeover to Renovation, Interior Decoration, and Styling

According to Interior Design 46

C. Comparison of Terms Between Professional Interior Designers and Laypeople

1. Makeover 48

2. Decoration 53

3. Styling 56

4. Renovation 59

5. Synthesis 62

D. Relationship of Makeover to Other Terms 64

1. Makeover and Renovation 64

2. Decoration and Makeover 66

3. Decoration and Styling 67

4. Decoration and Renovation 68

5. Styling and Makeover 69

6. Styling and Renovation 70

E. Makeover: Professional Interior Designers or Other Professions? 71

VI. SUMMARY, CONCLUSION & RECOMMENDATION 74

References/Work Cited 83

Appendix 88

List of Figures

Fig.1. Popular reality TV shows that feature "makeover"

Figure 2. Sample Final Schedule for the ABC’s Extreme Makeover Home Edition series

done in Alaska

Figure 3. Dekora’s Quick List Step for Staging Your Home used to market a home

List of Graphs and Tables

Graph 1. Occurrence Of Words Used To Describe A "Makeover"

In Nine Locally Published Lifestyle Magazines

Table 1. Makeover: Concept & Materials

Table 2. Makeover And Related Terms

Table 3. Interior Decoration: Concept & Materials

Table 4. Styling: Concept & Materials

Table 5. Renovation: Concept & Materials

Table 6. Professional Interior Designers and Related Professions

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I. INTRODUCTION

The term makeover has become a widely used term synonymous with “change”. A

change will involve a quick process of transforming a subject into something (or someone)

that never been previously conceived. This approach of transformation is becoming a

household name for anything that needs to be changed and results to a satisfying

consequence accompanied by a dramatic reveal that culminates in astonishment from the

person.

In salon academies such as the Matrix Global Academy in NY, who is one of the

major salon educators in the world and is the top leader in professional styling education, the

term is applied to changing one's appearance. The term makeover is used to outline the

academy’s goal as a positive changing tool for people’s lives as well as a marketing tool to

increase the profitability of a salon. This academy focuses on making "makeover" a niche in

the cosmetic industry. It is seen here, how the term practically applies when used for the

context of the institution, for this example, the salon academy.

In the academy, stylists develop a system to sell their professional services through a

direct course about makeover, entitled Makeover Connection (See Appendix). In the system,

there are seven steps to follow that includes: develop a customized makeover for each client;

know the elements of the "makeover"; know the ideas for marketing the "makeover"; train

them with systems for building their business; and complete a photo makeover from “before”

to “after”. Through this system, stylists learn a system through the direction of the institution,

with, the delineation and understanding of the term "makeover" as a marketing agenda.

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Many intentions have been developed around this transformative cause: in hairstyle

and makeup, in fashion statements, in the physical appearance of a person, or in home

design. This is intentions are popularized through television and magazine platforms such as

reality shows and interior design lifestyle magazines. The concept has been long an element

of daytime talk shows, makeovers moved into the limelight in reality television shows such

as Queer Eye for the Straight Guy, Extreme Makeover, Ambush Makeover and Pimp My Ride

(http://en.wikipedia.org/wiki/Makeover).

Fig.1. Popular reality TV shows that feature "makeover."

Delineating and understanding terms is significant in providing a direction for a

profession. Courses of actions are determined by the extent in which a term can be

realistically applied, for example, interior design as a term is used simply for the designing of

interiors of buildings and residences (R.A. 8534). The importance of terms relative to the

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professional practice impacts the body of knowledge of interior design in such a way that

terminologies provide order and proper use of language which is valuable.

Hill and Matthews in the Journal of Interior Design article, “What’s wrong with

pretty?” points out the importance of developing a language which “accurately reflects the

essence of the profession (13).” They also pointed out the importance of developing a

language as a means to embrace interior design’s marginal position in relation to architecture,

since architecture already has an arranged language. The variation in the use of language by

those within the profession versus those outside the profession peaks a curios urge for study.

Furthermore, it was also hypothesized that professionals and laypeople speak about

interior design differently. Professionals have intentionally distanced themselves from

laypeople with the use of their language to avoid marginalization (Havenhand in Hill and

Matthews, 12). Bruce Nussbaum, a writer for Business Week, wrote a blog titled, “Are

Designers the Enemy of Design?” which he addressed at the Parsons School of Design in

New York. The subject of his address spoke about the democratization of design, which

asserts that “everybody is now a designer” (Nussbaum). He said that this was opened through

the infinite ability of software tools that made designing accessible and possible for

everybody who is interested. He said that “Design Democracy” is the wave of the future,

that:

“…the design of our music experiences, the design of our MySpace pages, the

design of our blogs, the design of our clothes, the design of our online

community chats, the design of our Class of ’95 brochures, the design of our

screens, the design of the designs on our bodies—We are all designing more

of our lives. And with more and more tools, we, the masses, want to design

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anything that touches us on the journey, the big journey through life. People

want to participate in the design of their lives. They insist on being part of the

conversation about their lives (Nussbaum).”

This radical change is allowing everyone to take part in their own development of

lifestyles and figure out how it works and get involved in the design process, not to interfere

but to experience it (Nussbaum). Through this democratization, design expertise begins to

open up to laypeople more openly and accessibly.

Because of this, the language also is opening up to laypeople that are not familiar

with the language terms through accessible sources such as the internet, TV, and magazines.

These media platforms have opened a lot of interest, especially from young ones, on design

particularly, fashion and interior design as seen on televisions and design magazines.

One point of the possible breach in language, for example, is between the term

“Innovation” and “Design”. Nussbaum said that Business men and women don’t like the

term “design,” because they think it implies drapes or dresses. Even top CEOs who embrace

design terms design as “Innovation” because it sounds stronger and very “techie.” Laypeople

would equate it to words such as “vision” or “imagination” but not the term “design”

(Nussbaum).

Designers exercise choice in design that always has a directional consequence with

material and immaterial impact. The usage of terms has been sustaining design languages for

a long time and with the imminent shift in the industry, the public’s awareness of what

designers actually do and how they do it poses a conflict and fainting of these established

terms. Tony Fry said that we now live in a world that has been made unsustainable by design

because of its relentlessness to consequences which proliferates pluralism in the practice

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(Fry). Fry also added that amid the pluralism and trivialization, design professionals will

have the tendency to lose coherence and suffer subordination to other professions that will

render it impotent. This is already well advanced in Architecture as it split into numerous

divisions of knowledge that became independent of it, for example, structural engineering,

civil engineering, landscape architecture, construction management, project management,

interior design, were all disciplines that once were encompassed by the Architect (Fry).

And the question is now posted, are there practices waiting to be displaced such as

interior design? The goal is not to improve the status quo of the practice but to protect its

body of knowledge, language and terms, as well as, enhance the practice, politics, policy, and

management of interior design.

A. Statement of the Problem

The professional practice of interior design functions within preconditioned terms that

are used to define or refer to a scope of work. Terms like “renovation”, “interior decoration”,

and “styling” enable professionals to refer specific acts of design that encompasses what is

broadly understood as interior designing. It is also because of these terms that a professional

interior designer courses his/her action professionally.

One of the terms that have the potential to encompass interior designing is

“makeover.” The thesaurus pairs the term “makeover” with words such as alteration,

conversion, revolution, change and renovation. In television shows and design magazines

that feature a makeover, it means transforming a subject into something (or someone) that

never been previously conceived, otherwise known as, “change”. This commercial approach

of transformation is becoming a household name for anything that needs to be “changed” and

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often results to a satisfying consequence accompanied by a dramatic reveal that culminates in

astonishment from the person.

“Renovation” is also an interior design term which is a task involving construction.

Construction means an on-site work done, preparation, excavation, foundation, assembly of

all the components and installation of utilities, machineries and equipment of buildings and

structures (NBC-IRR). An “assembly of components and installation” institutes a

construction, may it be in an interior space, furniture construction or structural design. A

“renovation” requires construction but is also defined by many associated terms in building

like restoration, rebuilding and remodeling. These terms all point to what renovation

constitutes as an act of construction, but significantly, as an act of “change” in the design of a

building, structure and interior space. Thus, physical change in any built form constitutes a

renovation. The term makeover and renovation has similarities not yet established in the

context of interior designing.

Reality TV shows and design magazines featuring changes thru the “makeover” have

been popularly directed towards homes and affects its viewer’s (laypeople) conception of

interior designing. Frequent usage of the term within these media platforms has allowed this

to insert itself into the language of design, informally. Presumably, this unreliability also

permits allied design professions like stylists and interior decorators to use the term to pitch

interior design services with a lack of propriety. Determining the limits of these terms and

discussing its implications is significant for the understanding of both parties, and if

neglected, this inconsistency and misuse between language and term will impede

productivity and can lead to mistakes in the practice. The evasion of this issue will also cause

disparity within the use of terms in the profession: styling, interior decoration, and renovation

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in recent terms are already experiencing overlap, confusion, and/or blurring with the term

“makeover.”

B. Objectives of the Study

This paper will analyze the limits of the term “makeover,” decoration, styling, and

renovation.

In order to do this, first, it will relate the term from renovation, interior decoration,

and styling, as well as, refine each term according to its limits. Second, it will analyze and

compare the terms based on the professional interior designers and laypeople. Finally, it will

analyze and determine who is capable and qualified to conduct these terms into action.

The study also aims to prevent the conflict between norms by clarifying the term

makeover from renovation.

C. Significance of the Study

This study shall be a recommendation toward the tenureship of “makeover” as a term

used for interior designing. This is important to the profession because it will allow

professional interior designers to market their services with a set limitation of their work,

thus, charging fees and operating in accordance to the boundaries of the term shall be

certified. This study also hopes to establish the profession as a legitimate practice which

conducts a home “makeover” with authority while observing the roles they have taken under

oath such as safeguarding life, health safety, promotion and enrichment of the quality of life

and not just a trivial portrayal of interior design seen in magazines and television shows. But

most importantly, clarify and eliminate triviality on the impressions of interior design.

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As said by Hill and Matthews, “developing a unique definition and language through

the academe expects to elevate the perception of the profession, the body of knowledge and

the security of the practice (13).” The impressions that the general public has over interior

design sometimes does not represent the authenticity of the actual but a just a fleeting image

of it in reality television and glossy magazines. This study will internalize this term as

preferred and according to the language and terminology of the profession.

For concerned individuals, institutions, and companies who may not have a

distinction of the term “makeover” will also find an overview of how it is used apart from

renovation, decoration, and styling.

This study will also promote a sustained and viability of the future of the design

language. As Tony Fry has said, “There has to be a practice that can ethically confront and

answer two crucial, but currently unasked questions “What should and should not be

imposed?” and, “What should be created, redirected or eliminated?” This hopes to correct

and redirect any emerging pluralism in the practice of interior design. Redirective practice,

after all, is design redesigned for the continuance of the profession for years to come (Fry).

II. REVIEW OF RELATED LITERATURE

A. Interior Design Defined by the Profession

According to Republic Act 8534, an Interior Designer is a natural person who has

been issued a certificate of registration and a valid professional license by the Board of

Interior Design. The National Council of Interior Design Qualification’s general outline of

design development for interior environments defines the skills and knowledge involved in

being an interior designer. An interior designer practices with “a systematic and coordinated

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methodology by researching, analyzing, and integrating of information into creative process

which results to an appropriate interior environment.” (Piotrowski, 641)

An interior designer analyzes the client’s needs, goals, and life and safety

requirements; collaborates with other licensed practitioners in mechanical, electrical, and

structural fields; specifications of materials, finishes, furnishings, fixtures, and equipment;

evaluation of design solution from implementation to completion. These are the skills which

are required of a professional interior designer to perform in their practice.

In the Philippines, Republic Act 8534: The Philippine Interior Design Act is the

governing law in which designers are sworn into after garnering a license through a

qualifying examination. A person who becomes a professional interior designer is issued a

certificate of registration by the Board of Interior Design and becomes the supporter of the

law, and an authority of interior design practice in accordance to Republic Act 8534.

Clearly stated in Article 2, Section 2.a – “The practice of interior design in the

Philippines is regulated by the Professional Regulatory Commission. The acts which interior

designers execute are planning, designing, specifying, supervising and giving of general

administration and responsible direction to the functional, orderly and aesthetic arrangement

and development of interiors of buildings and residences that shall contribute to the

enhancement and safeguard of life, health and property and the promotion and enrichment of

the quality of life.” Certified designers who received certification are identified as a qualified

practitioner that must warrant the recognition of the field (Vaughan p.89).

Professional interior designers whose practices are regulated and governed by these

laws have the credentials and proficiency in functional, orderly and aesthetic arrangement

and development of interiors.

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B. Television and Magazines: Images of Makeover and Interior Design

1. Imaging

The history of human social interchange has evolved through three distinct phases:

oral, text-based, and now image-centred communication. In oral cultures, learning and

tradition were passed on by word of mouth, primarily through storytelling (Davis).

“Television cemented the era of image communication (Davis).” Television became

the modern version of the storytelling performed by ancestors because it told stories that

were meant to be heard and watched. Just like our ancestors who sat around a bonfire, the

television performed the same ceremonious nature of storytelling. Davis adds that

“television's most important stories are those not verbalized-the stories and myths hidden in

its constant flow of images. These images suggest myths-and thus help construct our world

and values in much the same way that stories did in oral culture (Davis).” Television

preserved the same aspect of sharing experiences with each other. However, the difference

was that television provided a visual form of experience that improved the way stories were

told. Back then, those shared experiences around a dim-lighted bonfire composed rich

meaning to the listener, and the invention of the television with its flashing images and

commercialized content caused myths about the real image of culture outside TV. These

myths have become a substitute for the search for meaning which other generations sought in

more expansive and significant ways. We no longer face uncharted oceans and unexplored

continents, but with a universe of space and time to explore uncounted problems to solve.

The myths of the image culture became "false or superstitious ideas" as well as "motivating

stories or ideas behind common cultural practices (Thoman)."

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On the other hand, text based human social interchange through the invention of

writing made it possible to preserve information and literary traditions beyond the capacity of

memory, but the circulation of hand-written books was still limited to an elite few (Davis).

With the invention of the printing press, written texts were in effect transferred from

the exclusive property of those wealthy enough to afford hand-copied manuscripts to a broad

reading public. Elizabeth Eisenstien, in The Printing Press as an Agent of Change,

dramatizes this emergence by considering the case of inhabitants of Constantinople born in

1453, the year that he Byzantine capital fell to the Turks (Davis). People born in that pivotal

year that lived to be 50 saw more books produced in their lifetimes than what has been

written in the previous thousand years of Constantinople's existence. The Renaissance, the

Protestant Reformation and the rise of Western science are just a few of the revolutions

spurred by the ability to mass-produced books and newspapers and the growing ability of

common folk to read them.

The 19th century offered the invention of photography. For the first time, visual

representation of objects in space could be reproduced on a mass scale. The image

communication was born (Davis). It only took about 50 years for this new method of

representation to become a major player in the communication of social values in American

society. The rise of the advertising industry spurred this change, for advertisers quickly

learned that the most effective way to sell products was not through stories or plain-text facts,

but through the creation of images that appealed to basic human needs and emotions.

However, in American culture pictures have become tools used to elicit specific and planned

emotional reactions in the people who see them. These pictures are created to give pleasure

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when being watched (Davis). No longer was the translation of stories into images meaningful

in a textual sense but it became a means to inspire emotions of readers.

2. Television as a Myth-Maker of Reality

There are five functions of television as a myth: it is a ritual, it is institutionalized, it

is total, it is entertaining, and it is a socializing process (Gerbner; Hibbs, 101). Only three of

these apply to the premise of this study.

Television is ritual. It is very different from print and film because it is less

selectively used. Most people don't watch television by the program, but by the clock. In the

average home, the television is on more than seven hours per day. It has its own rhythm,

often governing the rhythm of the home. The time of the shows dictated the behaviour of

people around the television. The number of times a show is on television influenced the

habits of the people as well.

Television is total in its grasp of an otherwise heterogeneous mass audience. Only

about seven per cent of children's viewing time goes into "children's programming" so most

children watch what adults watch. There is also little regional, ethnic, religious or other

separate programming that was showed. So there is a totality of audience and a uniformity of

programming concept and program structure (Gerbner).

Finally, television is the overall socializing process superimposed on all the other

processes. By the time a child can speak, go to school, and learn to read, they will have

absorbed thousands of hours of living in a highly compelling world. People see everything

represented: all the social types and situations. People gather certain assumptions about life

that bear the impact and the imprint of situations and social manners most early in life and

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through continued daily ritual of programming. It is television mythology people grow up in

and grow up with (Gerbner).

Some television myths are:

Leave it to the experts (who are usually white men). Images that people assume to be

real is a myth that set the pattern of assumptions about who has power. The authority figures

represented in national news are white, middle-aged men. In a survey conducted by media

critic Fairness and Accuracy in Reporting (F.A.I.R.) on nightly news programs the pattern is

predictably nine out of 10 are white males (Davis). This does not only apply in television,

images found in advertisements and commercials, as well as the national news, reinforce the

white male power structure. Contrast the traditional sex roles of advertisements for Chivas

Regal, showing successful professional men in business suits with the stereotypic portraits of

women and men in food ads that cast women as kitchen "experts." Many other media images

depend on predefined roles based on gender or race (Davis).

Businesses and corporations are concerned for the public welfare. People almost do

not see advertisements and stories that shed negative light on corporations or businesses. This

is not to suggest that all of these organizations are bad. It is worth noting, however, that most

corporate images appear in ads purchased or stories placed by the businesses themselves, so

it's hardly surprising that the messages we hear are relentlessly positive (Davis).

We see full-page color ads for Chevron talking about its concern for the environment

or news items reporting that gasoline emissions are down because of a new formula

developed by ARCO; Ads from tobacco companies like R.J. Reynolds discourage kids under

18 from smoking; Business-oriented magazine and talk shows like Wall Street Week cater to

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the interests of PBS' upscale audience, reporting business and financial trends, while we see

none from a labour perspective.

These are just some of the myths that create unreasonable fantasies raised by

continuous exposure to television programs. Such fantasies have their downsides, in the form

of “salvation panic,” the anxiety that we will never reach our dreams or that we will fail to

reach them in the most seamless fashion (Hibbs, 96). One example of fantasy makeover show

is the plastic surgery show The Swan which conceives the body as a property and a kind of

raw material amenable to technological reconstruction. The show was billed as a “fairy tale”

become “reality,” and purports to offer ordinary looking women a chance to look like beauty

contestants. Another show, Survivor, presents a competitive “boot camp” that eliminates the

undeserving, not only that, applauds scheming and manipulation of other contestants as

entertaining.

The aftermath of WTO 9/11 crisis spurred an impulse in popular culture. Viewers’

appetite for the authentic and unrehearsed, for the non-staged and non-constructed, for the

experience of intimacy that peers beneath or behind the public persona became stronger

(Hibbs, 95). The ever growing phenomenon of reality TV feeds precisely such longing, as

does the confessional character of so much of contemporary television. The idea that reality

is simply a construct runs through much of American popular culture (Hibbs, 99).

Considering the alluring quality of narrative, the power of the image, the dominance

of television, and the forceful invasion of the reality TV into traditional and cable network

programming offered a way to look into the dominant aspects of a culture, such as America

(Page, 20).

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“We are who we watch, and we watch who we are” sums up this culture-media

relationship and reality (Davis).

3. TV and the Perception of Work

Television's portrayal of profession has changed through the years. The perception of

work as depicted on television programs became negative and is not always realistic

(Barber). The first thing that should strike a viewer as odd about professional life on

television is that very few people do any real work at all. Instead, we see lawyers, doctors,

police officers, private investigators, and business tycoons spending a great deal of time

talking to one another on the job, and not the functional depiction of their work.

18 year-old media students were asked what they expected from work in the media

industry resulted to an underrating of clerical, administrative and paperwork that is actually

done in an office on a daily bases (Barber). Moreover, students overestimated the amount of

fame, fortune and fun they would reap from their work. This kind of underestimation of work

and presentation of unreal work situations and settings is causing young adults to choose

more glamorous and convenient professions.

Television is a world in which a few professions like doctors, lawyers, entertainers,

law enforcers outnumber all other working people put together. This effect results to a world

represented as mean and dangerous which causes more people to feel insecure and

apprehensive about real situations (Gerbner). Commercial media teaches children to settle for

the pose. It offers images of success out of the context of work, beauty out of the context of

personality, sex out of the context of relationship, and in the case of teenybopper rock videos,

even sexiness out of the context of sex. It promotes a blasé, self-absorbed kind of “cool” that

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“elevates personal taste into a complete ethos in which you are what you like, and what you

therefore buy . . . without requiring any tiresome study or practice.” (Pountain and Robins in

Lewis, 24). Media equates consumption with creativity, action, resourcefulness, and worth.

This dislocated view of work and misguided power of design has made careers, like

design, look “cool.” The perception now of many kids is that design is both entertainment

and entertaining and maybe a path to fame (Fry). The academy is also a silent supporter of

this askewed perception by introducing demand-driven education systems whose mantra is

“lets keep the cash flowing,” and “the customers is always right.” An unprecedented interest

in interior design as a career has attracted many teenagers through popular design-related

reality shows, such as Trading Spaces, Designer Finals, and Changing Rooms. This revealed

a new phenomenon of teen interest in decorating personal spaces. Clemons adds, “Although

…[Trading Spaces] was originally intended for adults, according to a Wall Street Journal

article titled ‘The Teen-Room Makeover’ the audience has more than 125,000 viewers aged

12 to 17 (14).” This dilemma is posted for the interior design education/profession. Although

teens indicate interest in the field of interior design, they were still exposed to an inaccuracy

on the career because these reality shows have hosts that pass themselves as “interior

designers” deceptively.

4. The History of Home-Makeover in TV

Home Makeover saw its beginning on TV before the glossy pages of design magazine

caught up. One of the birth places of home makeover is Home Garden Television or HGTV.

HGTV started its venture inside the homes of its viewers though stories that are relatable.

Because people relied on stories to relate to, and television provided those stories, narratives

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became HGTV’s pivotal message (Page, 3). In 2004, they celebrated their tenth anniversary

that earned 1.0 prime time rating over 84 million American homes. One of the successful

demographics that HGTV reached was women. They believe the success of their programs

owes itself to women whose role was mainly domestic and home-based. With this success

was the home-makeover television genre that gained cultural presence; specifically as it has

evolved from an earlier instructional and entertainment format to its current reality shows

that emphasize individuals' struggles and triumphs in their homes (Page, 3).

In retrospect to home makeover, television became the venue for the flourishing of

home makeovers. Nineteenth century media saw hundreds of mail-order journals with

advertisements that were mailed to homes for free. Women’s journals targeting the middle

class woman, such as mothers and wives, warm-hearted to the fictional fantasies these

journals offered along with narratives from early motion serials that showed mythic hopes

and fantasies of a suburban life. Printing technologies half way the century served a wider

audience of women from all social classes. Novels and fiction magazines strengthened

visions of wealth seen in the fashions and material culture desired by these women. Women

learned the art of domestic consumption from home manual writers like Catherine Beecher,

who from 1840 to 1873 preached the standards of housekeeping (Page, 4).

The 1920s brought consumption to an even wider audience. The American family

was tagged as the major consumer with their homes as the venue that inspired consumption.

Radio was the medium that also brought advertisements. Information on American family

lifestyle such as child rearing advices and social etiquettes were inspired by the radio as well.

The American family became the focus of the market and influenced television's content

considerably from its very beginning and turned its focus on the place of presentation: the

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home. Television encouraged a preoccupation with and consumption of food, cleaning

products, and household goods as not only acceptable, but attractive. At the same time,

television played the role of freeing women from arduous housework by introducing them to

appliances and products that cooked and cleaned for them. More free time at home meant

more watching of soap operas, talk shows, lifestyle and game shows, along with the

accompanying advertisements that reinforced homemaking. Daytime programming, in

particular, made public the private and the domestic through content featuring normative

ideals of home and women's role in the family.

The mid-1950s was the golden age of television. NBC created a daytime television

show devoted exclusively to the domestic called Home which featured actress Arlene

Francis.

The1960s provided soap operas, sit-coms, and dramas situated in the home. However,

outside of NBC's earlier Home show, little programming about the home was produced. This

topic was relegated to radio, newspapers, and magazines, with the latter emphasizing the

visual aspects of home.

In 1975, ABC premiered Good Morning America to compete with NBC's Today

Show in style and substance, featuring home how-to projects and cooking demonstrations in

between news segments.

Then in 1979, PBS introduced a bold new concept in home programming with This

Old House, hosted by Bob Vila, a documentary-style series that followed a major home

renovation step by detailed step for months.

And in 1982, Martha Stewart’s first book Entertaining was published. No one has

ever had recognition such as the hailed authority of domesticity than Martha Stewart. She

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helped fuel the multimedia empire Martha Stewart Living Omnimedia, Inc. with its

benchmarking success of Martha Stewart Living magazine in 1991 and her syndicated

television show of the same name debuting the following year. This is likely the most

influential program ever to cultivate the home show genre. Martha Stewart Living triggered

instant industry buzz in the first half of the decade and inspired other home magazines to

mimic its personality-driven focus. While do-it-yourself editorial content emerged decades

earlier in magazines and newspapers, earning mostly a low-brow reputation, her magazine

elevated it to new heights.

Shows earned credits for show content and companies had particularly low budgets

for home shows. Because nearly all programming had to be developed on a meager start-up

budget, it necessitated in studio shoots rather than expensive location work, and shows had to

borrow magazine designers and editors, editorial ideas and projects, and even editorial home

locations to help create a growing number of home makeover shows.

Through her media efforts and subsequent line of home products for Kmart, Stewart

is attributed with bringing home decorating to the masses by raising the level for home

design and the “creation" of an environment in the home. Stewart paved the way for a

domestic revival through a new type of involvement with the home. She suggested that

women did not need to hire a professional, buy upscale, or suffer desires unfulfilled; she

showed them how on the premise that they could simply do it themselves (Page, 19).

Now enters HGTV. Its debut in 1994 by E. W. Scripps Company introduced a 24

hour non-stop home related programming which featured shows on remodeling, decorating,

gardening and craft making. Here, an industry phenomenon was born. As the fastest growing

network in cable TV history, in less than four years HGTV attained profitability, reaching 40

20

million households (Katz in Page, 19). The home represented a large part of the consumer

population and the subject for an unprecedented interest. HGTV's initial formula delivered

the three I's: ideas, inspiration and information (Tyre in Page, 23). Categorized as

documentary by Nielsen, HGTV first-generation shows were do-it-yourself oriented. Usually

done in-studio because of budget constraints, the show would consist of a host and guests

which taught and demonstrated a creative home project in a matter of minutes. Guests were

typically manufacturers' spokespersons, entrepreneurs, authors, or decorating experts from

lifestyle magazines.

In 2005, fewer programs offered the high culture, seemingly unattainable vision of

home. Most shows teach how to appropriate this high style through budget-conscious

shopping and creative strategies. Even the hosts roll up their sleeves and don worker overalls

to demonstrate to viewers (Everett in Page, 22).

5. Interior Design in TV and Magazine

The home market’s efforts pointed toward women have the industry of design and

build cater to their needs. One of the needs provided for women are for the home which

opened an abundant and promising promotion for the marketplace. Some builders are

studying gender culture and female decision-making, attempting to adapt home design and

real-estate marketing to suit women’s decision-making style and emphasis on the tactile.

Others are looking at sub-segments to understand the array of choices women want in home

design.

One design expert has categorized female buyers into four groups according to their

level of assertiveness and the degree to which emotion influences their choices. Builders then

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translate these "personality codes" into luxurious baths, efficient kitchens, or lots of glass

(Page, 19). All this reactions is credited to the high rating of HGTV. Its programming on

decorating, remodeling and gardening interests has effectively helped to shape, reinforce, and

serve the home trends.

One element of the approach of a makeover reality show is its expeditious processing.

The quick aspect of a "makeover" offers only a few minutes to change one’s hairstyle,

fashion, and makeup, the same goes with a room that can be done in just a day. One example

of this rapid approach to change would be ABC’s Extreme Makeover series. This show

surprises a family every episode and takes them on a one week vacation while they transform

their derelict, oftentimes dismal and shanty, houses into a professionally designed home in a

span of only seven days (Jackson). In reality, forty-two minutes would not be ample to show

everything that happens in a home makeover. After shooting is completed, footage is shipped

where the film is edited, cut, and paste (Schneider). Time is always an issue. Extreme

Makeover show is based on families and their real stories and real emotion. The production

of this show emphasizes not only simply building a monster house and focusing more on the

family, and why they deserve it, but also on their experiences of survival which portrays the

families as real with real situations to deal with to make the viewers relate and sympathize

easily. The show taps into the “mystical element in consumer longing (Hibbs, 96).” People

persistently construct fantasies of what their lives might be which are also fed by magazines

and TV ads.

Another reality show that gained popularity through the makeover, is Queer Eye for

the Straight Guy. The reality behind the show is its holistic transformation of a whole

embodiment of the person: his home, his fashion, his manners, and his eating habit. What

22

they do is come in and tear apart the house and make fun of different things for entertainment

purpose. Furniture are literally tossed to the curb, burn clothes in the fireplace and throws

clothes out of the window indicating the rawness of the makeover process. Afterwards, they

go out and buy new stuff with a shopping spree for clothes and furniture. The person is also

taken to a spa to learn self appreciation, a salon for hair styling and some new hair products

(O’Toole, 2). Finally, the most important part of the reality of the show to through a big

reveal among family and friends of the person and the made-over home is shown off (2).

In publication, home market trends also opened opportunities to market the home and

consumer products for the home. However, it did not catch on the same way shows impacted

design culture of the home. But, magazines pulled its own following as well by being

traditional and improving on non-verbal imaging to portray the home as a crucial element for

design.

On the other hand, GK VanPatter thinks otherwise about design magazines

celebrating home design today. He said, “they (design magazines) had largely missed the

very real revolutions underway in the design industries….they were providing very little

coverage of the real drivers of change occurring in the marketplace impacting the design

industries (“Frozen”, 3).” Issues on design were apparently by-passed by the traditional press

because it still rests on naiveté and profit-drivers of the home market.

Magazines are evaluated mainly as a form of graphic design. Consumers perceive

design industry print publications as sources of advertisements and almost diminishing value

of design. The result was that traditional design press publish mainly inconsequential fluff

that contributed to the general public not taking designers very seriously (“Frozen”, 3).

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Design as economically driven and professionally practiced is slowly fading that it is

recognized that within the industry competition between designers is present (Fry).

Impressions of the professions vary from: everyone can be designers because design is

democratic; designers and architects who are critical of the notion that design is something

anyone can do are arrogant; design is a mode of thinking or a meta-practice which everybody

can learn.

C. Conflicts of norms and language

1. Norm conflicts

Bartsch said that an incompatibility between norms is the beginning of what is called

a norm conflict (294). Incompatibility between norms happens when a person is forced to act

according to the norm of the other; when his actions exclude him from the norm; when the

understanding of each of the other norm is “distorted” (Bartsch, 294). Eventually, norms can

also diminish, according to Bartsch. He said that a loss of norm can happen when it fails to

adhere with another norm, such that mutual expectations between the two fail (294).

Bartsch said that a norm becomes a norm concept when an activity and interaction is

situated by the authorities, promulgators, enforcers, and supporters of a given population

(294). These activities and interactions sums up what is known as “culture”, where actions of

the population recur continuously. Hence, a culture “shock” occurs when a person’s norm

concept conflicts with the norm of a population.

Also, there is what Bartsch calls conflict of “interest”, where two or more individuals

or groups have different preferences (295). Preferences, realization and cost regulate an

“interest” and they are impartial to each other. Thus, the strength of an interest is relative to

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the strength of preference and its realization with an indirect proportion to the cost of the

action.

However, an interest does not correspond exclusively to one norm, but many norms.

Although, a common interest may serve a particular group, several interests may prompt out

which serve the same group but carried out by one or several norms. This means that a

conflict of “interest” can also occur within a group or an individual. For example, a person

maybe interested in production, but will encounter many ways to achieve production based

on different norms.

On the other hand, Bartsch suggests that a conflict of “interest” is different from a

norm conflict, yet they are still related (295). Norm conflicts will involve conflict of

interests, such that a norm will experience tension if different interests arise within a group or

individual. Bartsch states this as:

…somebody with opposite interests in the same situation will choose to

behave according to other norms that define another action. In this case, we

have a conflict between interests and not a norm conflict, because the reasons

for the conflict are different interests. If different interests lead to the

realization of different norms or norm systems, the conflict is basically one of

interests and not of norms.

In the same manner as conflict of interests, Bartsch also concluded that a norm

conflict does not only occur between two incompatible norms, but within one norm as well

(295). This is better said by the following concepts incompatibility of norms:

Conflicts which arise with respect to one norm (system) where this norm (system)

exists heterogeneously in a population: A norm (N) is justified in a population with respect

25

to a higher norm or value (V) adhered to by a population (P), if and only if the norm is

rational with respect to the value. If N is rational with respect to V of P, and does not conflict

with another norm or value of P, then N is justified for P. In the case of conflict, between

favouring one higher value or norm and hindering another value or norm, there can only be

justification to some degree, but not absolutely (Bartsch, 301-302).

The justification domain (A) is the group of people for which a norm (N) is justified.

Norm conflicts with respect to norm (N) arise if existence, acceptance, adoption, validity,

and justification do not coincide in their domains within a population (Bartsch, 302).

Discrepancies between Existence domain and Justification domain (Bartsch, 302).

Here, the problem is for people from E – (R ∩ E), there exists norms that they follow but are

not justified for them (Bartsch, 305). Such as people who follow ritual norms for preparation

and consumption of food, and for clothing where they might have been functional before but

are no longer, except in a secondary function as markers of group identity or ethnicity

(Bartsch, 306).

2. Norms, Correctness of Language and Terminology

a. Linguistic Correctness

Linguistic correctness has always been a basic notion in traditional grammar, which

has been concerned with what the correct expressions in a language are and what the correct

use of these expressions are (Bartsch, 1).

Linguistic phenomena are words and idioms, and basic expressions and patterns

which happen when one person does not understand what the other one is saying or implying.

26

Methods of linguistic description came to focus on providing explanations for linguistic

phenomena, for example, that language is learned, that language changes, and that linguistic

expressions can be interpreted and can serve as a means of orientation about the world and as

a constitutive part of actions.

Linguistic correctness plays a role in all kinds of correctness judgments from those

who know the expressions and those who don’t know.

b. Lexical Correctness

In every language there are restrictions on word morphology. Possible stems or root

words are mainly affected by phonological restrictions. Since words are coded separately

(organized, that is, in lists rather than in rules), the correctness notion is very simple; what’s

in the list, for example, means that the lexicon is correct. The lexicon is stored in the

“collective memory” of the speech community, often codified in lexica in the form of books

or computer discs. A person will base his correctness judgments on his own memory but will

accept additionally what is stored in the public lexica. If a new item is acceptable to a

significant subgroup, then it will be adopted first by that group and later in the speech of the

community as a whole, to the extent that it is useful there. The moment a word is adopted by

a group, for example, it has been put to use, it acquires correctness standards: there are now

criteria for its further use and for recognition of its proper from and appearance (Bartsch, 8-

9).

Lexical Semantics reflect appropriate aspects of the relations it contracts with actual

and potential contexts. They deal with combination of words and their basic assumptions

concerning their meaning (Cruse, 1). One of these relationships of words is “synonymy”

27

which deals with the congruence of words. However, there is no neat way of characterizing

synonyms. It can only be approached in two ways: in terms of necessary resemblances and

permissible differences. Synonyms must manifest a high degree of semantic overlap and a

low degree of implicit contrastiveness (Cruse, 266).

Synonyms are lexical items whose senses are identical in respect of central semantic

traits but differ in respect of minor or peripheral traits. They also occur together in certain

expressions, like an explanation or clarification of the meaning of another word which is

signaled by something like “that is to say” or a particular variety of “or”. Semantic overlap is

evidenced by semantic traits which must have similarities with each other. Low degree of

contrastiveness is an expectation that the words will have discreet differences in meaning

(Cruse, 266).

c. Relationship of Correctness and Norms

Notions of correctness and norms are intimately related. Such as terms considered as

correct, it must fit correctly to the norm, in this case, language used. Different notions of

correctness are associated with different normative forms, often conditionally, relative to

certain types of situations and groups within the population. Different notions of correctness

are the content of different norms (Bartsch, 70). Norms can be organized in subset according

to certain properties. Bartsch said that they are constellations in social reality that create,

delimit, and secure the notions of correctness (70). They are relationships of people who

determine what models or standards which are followed, who follows and provides the

models and who enforces it.

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The central model of norms is the model that everyone follows. Simply put, the

farther away from the model the less the norms are correct. The written models provide

general availability to the people who follow the norms, therefore, become more compatible

to one’s notion of correctness. The hierarchy of models is also a social fact, which is evident

in the different degree of acceptability of speech which is incorrect when measured against

the central models: the further away a person is socially from the central models, the more

acceptable it is when he produces incorrect speech (Bartsch, 71).

One example is, educated people follow the central models, provided by literature,

handbooks, and personal models. People with less education follow the more educated ones

and those who are one step higher on the social ladder, oftentimes, those who are socially and

economically better off. However, there are different degrees of centrality depending on the

social relationships (Bartsch, 71-72).

D. Review of Current Definition of Makeover, Decoration, Styling, and

Renovation

1. “Makeover”

A "makeover" is a term applied to changing one's appearance. Matrix Global

Academy (See Appendix) in New York, New York is one of the major salon educators in the

world and is the top leader in professional styling education said that “makeover service is a

way in which you can positively change people’s lives as well as a powerful marketing tool

to increase your salon’s profitability.” There are five steps to follow to achieve a makeover:

first, one has to develop a customized makeover for each client; second, know the elements

of the "makeover"; third, know the ideas for marketing the "makeover"; fourth, train them

29

with systems for building their business; fifth, complete a photo makeover from “before” to

“after”. Through this system, a stylist can learn the system in which a "makeover" is

implemented.

“Makeover”, in another article by Cynthia Nelson who interviewed Cook, an interior

designer, mentions it as re-decoration and re-arrangement of the home through the use of

existing furniture, accessories, and a style that reflects the tastes and needs of the client

(Nelson).

Encarta defines makeover as a change of physical appearance: an alteration of the

way somebody looks, usually including changes of hairstyle, makeup, and clothing;

Remodeling: a remodeling of something that completely changes the way it looks.

One article that defines makeover is also found in the seventh issue of My Home, a

locally published design magazine that featured what they call their first mega "makeover" of

a condo unit. Here, the term "makeover" revolved around the concept of “merging the pieces

that the owner already had and making it work with very contemporary touches (Santos

116).”

In another locally published magazine called Real Living, a "makeover" was done in

seven days flat and accomplished what the owner has been trying to do for over three years.

But a "makeover" can also be done in a day depending on the tasks needed, for example,

relocating furniture, making new settings and placing finishing touches a room like scented

potpourri, throw pillows and coffee table books can be done in 24 hours (Alvarez 32).

Another one mentioned in a one page article were an owner saw an ad for interior

makeovers from a design firm which meant “transforming a room using mainly furniture and

accessories the homeowner already has (Watkins).”

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A One Day Room Makeover, also known as, "Interior Re-Design" accordingly uses

the similar term as well, where a makeover is done using furnishings, art and accessories that

you already own and “love”. A "makeover" re-creates a space to make a room functional,

comfortable and organized without buying anything or, if so, “blend the old with the new

(Room Re-Creations).”

Krista Hoefle, an Assistant Professor of Art at Saint Mary’s College, Notre Dame,

Indiana, described "makeover" as a “transformative process aimed at fabulousness and

fantasy in the otherwise humorless and every day, rather than functioning as merely an

expressive form of style or acute imitation (or as a renovation or revamping), this symbolic

makeover functions as an embraced form of perpetual beginning (Hoefle).

2. “Decoration”

Decoration from Better Homes and Garden’s 3-Ingredient Decorating, means style,

function, and beauty using three key ingredients: background, furniture and accessories (7).

3. “Styling”

Styling is the advising of styles in clothes, furnishings, and the like (Guerreiro &

Jarnow).

4. “Renovation”

Allen & Stimpson (94) defines renovation in the Beginnings of Interior Environment,

as the modification, restoration, and remodeling of dwellings to suit personal needs and

desires. Renovation involves repair work, including new wiring, plumbing, roofing, and

interior and exterior replacements.

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Section 106 in the Revised Implementing Rules and Regulations of PD 1096, also

known as the National Building Code of the Philippines, defines “renovation” as any

physical change made on buildings/structures to increase the value, quality, and/or to

improve aesthetic (IRR-NBC).

Other literature defines renovation as a restoration to an earlier state or an

improvement by cleaning or repairing (Simmons xi).

And a process of rebuilding, sometimes done to change the style of a building. Old

materials are replaced with the new (Hacker 292).

III. METHODOLOGY

An initial content analysis patterned after Hills and Matthews (12), in their article

entitled What’s wrong with pretty? published in the Journal of Interior Design. They

performed a content analysis of twenty-one mainstream design magazines and academic

journals looking specifically at the use of the words “beautiful,” ”pretty,” “fun,” and “joy.”

A similar content analysis was also performed in nine (9) locally published lifestyle

magazines that feature a makeover looking particularly for an occurrence of words associated

with the concept of makeover.

Preliminary findings revealed that lifestyle magazines (e.g. Real Living, My Home)

used words like “look”; “accents”; “storage”; “clutter”; “small”, which refers to space; and

“old”, referring to items, furniture, interior elements. Below is the graphic representation of

the analysis with the number of occurrence of words.

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"Clutter"17

"Storage"15

"Accents"13

"Look"26

"Small" (Space)

12

"Old"11

"Buy" "Organizing"

10

"Solution"9

"Change"7

"Categorize"6

"Arrangement/ Re-

arrangement" "Theme"

"Focal Point"5

00000000

Graph 1. Occurrence of Words Used to Describe a "Makeover" in Nine Locally Published Lifestyle

Magazines

A. Sampling Method

Purposive sampling of twenty (20) professional interior designers who are certified

and registered professionals that were issued by the Board of Interior Design, as duly defined

by Republic Act 8534, were used for the study. In addition, twenty (20) laypeople were also

sampled who are persons that are not related to interior design professionally.

B. Instrumentation

A survey questionnaire using Likert scaling, was developed after the initial content

analysis. This was pre-tested to 10 professional interior designers. Adjustments were

incorporated in the survey after the pre-test.

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C. Procedure

In the tested survey, respondents were asked to encircle their agreement or

disagreement to the statements based on their respective opinions. Surveys were handed out

personally by the researcher among the guest jurors during the thesis deliberations of the

senior students of 2007 of the Interior Design Department of the College of Fine Arts and

Design of the University of Santo Tomas. Selected respondents from the Department of

Interior Design at the UP College of Home Economics were also included for the survey.

Emails were sent through the internet forwarded to various professional interior design firms

and offices until quota of 20 sampling of fully accomplished surveys were achieved.

Survey forms were handed out to laypeople randomly through friends and Yahoo

Messenger chat relay electronically.

D. Data Analysis

The data gathered from the survey were tabulated and organized into separate tables

according to themes. Data was analyzed according to the frequency of responses for each

statement.

The study shall identify norm conflicts and discrepancies in the terms using

justification domain (Bartsch, 301-302); and linguistic phenomena of the terms (1). Finally, it

will use synonymy of lexical semantics, specifically, semantic overlap and low

contrastiveness (Cruse, 1), as basis for the comparison of the term decoration, styling, and

renovation with makeover.

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IV. PRESENTATION OF RESULTS

A quota purposive sampling of twenty professional interior designers and twenty

random laypeople was used as respondents for this paper. Twenty respondents for each

sampling group were used to determine the limitations of the terms.

Survey form from laypeople was handed out randomly through friends and Yahoo

Messenger chat relay that were sent electronically. Although twenty forms were distributed,

only nineteen were accomplished. Seventeen of which were fully answered where two from

nineteen respondents failed to answer the remaining pages of the questionnaire. This was

used to represent the data for laypeople as well.

Collectively, 39 survey questionnaires from professional interior designers and

laypeople were tabulated for their results.

35

36

37

38

39

40

41

V. ANALYSIS

This analysis will relate and limit each term using the scope of its concept and

materials. Analysis will bring out the type of materials and actions used to achieve such term,

the cause behind these terms, and other ideas, which make the term correct. These will be the

outline to determine their limits, definition, category, and comparisons.

A. Limitations of Terms According to Interior Design

Makeover

Table 1 tallies the term makeover and its concept and materials. In the survey of

twenty professional interior designers, seventy-four frequencies under “not all the time”

shows that they have other opinions regarding what makeover means to them. However,

there are some statements that designers strongly agreed on these are:

• A makeover means a transformation.

• A makeover usually shows the “before” condition of the room and highlights the

“after” effect in the room.

• Solving storage problems and clutter is part of a makeover.

Two of these statements confirm the solid stand of interior designers toward

makeover being a concept of “change” which suggest the need to act on it through design.

Ten out of twenty strongly agreed to this statement. Another statement about makeover is the

existence of a “before” and “after” in a makeover. Fourteen out of twenty see the necessity of

showing the original condition and result of the design after for it to be considered a made

over room. Eight out of twenty also strongly approved that organizing clutter and providing

42

storages is part of a makeover. This may also suggest that makeover is only limited to

cleaning the clutter which constitutes already a makeover in a room.

Furthermore, there are some statements that were agreed on but not as strong, which

are:

• A makeover is budget conscious.

• A makeover is a term used to market interior design in magazines and television

shows.

A makeover being budget conscious means that it does not require a costly process.

Makeovers are economical and flexible in terms of value. This means that the design will

depend on smart decisions and resourcefulness of the person doing a makeover. Makeovers

are about creative decisions that can affect expenses.

Nine out of ten also agreed that a makeover is used as a platform for promoting

interior design. Professional interior designers are aware that the term being used in exchange

for their expert function of interior designing is used as a subject matter for magazines and

television show, hence, its exposure of interior design to the public is a form of marketing or

selling.

Finally, there are also statements that were neutral which received “not all the time”

rating:

• A makeover brings out the personality of the owner through color, patterns,

fabric, and furniture.

• A makeover involves readymade furniture and accents.

• Old items like furniture and accessories are also used for a “makeover”.

• A makeover means repainting the walls with a new color scheme.

43

• A makeover involves installation of shelves and do-it-yourself items.

• A makeover involves construction of built-in items, walls, and restructuring of

spaces.

These statements are moderately agreed on considering the overall rating as shown in

Table 1. First, “A makeover brings out the personality of the owner through color, patterns,

fabric, and furniture,” is strongly agreed by six professionals, the second highest rating in the

statement. This shows the statement leaning more towards agreement on terms that a

makeover can also be used as an effect for a room using color, pattern, fabric and furniture.

In addition, it also indicates that nine out of twenty designers believe that makeover does not

bring out the personality of the owner all the time because design is treated as a hard science

which deals with practicality and not only through effects.

The statement above ties up with this statement: “A makeover involves construction

of built-in items, walls, and restructuring of spaces,” with nine out of twenty score “not all

the time” rating. This shows the need-basis of a makeover requiring construction in a room

in as far as restructuring the space. However, this statement, more likely, is not leaning

towards agreement among professionals as seen in Table 1, which shows a sharing of values

regarding the term involving actual construction from the ground up.

“A makeover involves readymade furniture and accents,” states the ease in using off-

the-rack items to achieve a makeover. This indicates that makeovers are also customized to

suit a room. Eight out of twenty answered this statement.

The next three statements all tied in terms of the number of ratings. These are: “Old

items like furniture and accessories are also used for a “makeover”; “A makeover means

repainting the walls with a new color scheme”; “A makeover involves installation of shelves

44

and do-it-yourself items.” Each statement acquired ten out of twenty rating individually. This

is a significant sign that the perception of a makeover does not always involve repainting and

use of old and do-it-yourself items.

The summary of the limits of makeover is described in this definition: “Makeover is a

concept of transformation shown using a “before” and “after” representation. Makeover

solves storage problems and clutter in a wisely budgeted solution. It is also used to market

interior design in the media. Makeover will sometimes use the owner's personality as color,

pattern, fabric, accents, old and readymade furniture, with easy to install items.”

Interior Decoration

Table 3 shows the total frequencies of “Interior Decoration” from professional

interior designers’ point of view. Total rating of frequency indicated thirty-five under “agree”

which concludes that most of the concepts and materials asked about interior decoration are

subjectively true.

For example, ten out of twenty strongly agree that “interior decoration can improve

the look of a room.” This concept of beautification through interior decoration is established

in the practice of interior design which indicated its unmistakable recognition.

In summary, “Interior decoration is the selection of furnishings and room finishes

such as curtains, draperies, pillows, and wallpapers.” However, in the concept of interior

decoration bringing out the personality of the owner of the room; and

“Interior decoration uses themes like retro, classic, or modern,” some designers did not agree

all the time, but ratings showed favour towards these concepts becoming subjectively true if

45

referred to the second highest rating from these statement. But this is yet to be studied

further.

Styling

For the term “Styling,” the same with interior decoration, it showed a trend toward

agreeing with all the concept and materials. Forty-eight total frequency for “agree” shows

support of interior designers on all the statement in the survey.

Table 4, shows the breakdown of the tally of scores per statement. Interestingly, a

neutral stance regarding styling “mostly done in magazines and TV”; “rearranging furniture

and accessories” is inferred. This means that styling is applied in their practice (and not

exclusively as seen in media) and does not involve furniture layout all the time.

Other statements are all agreed upon by the professionals. In summary, “Styling’ is

about effects which brings out the character of the owner through accessories like paint,

fabric, and accents applied as focal points, drama, and subtle effects.”

In addition, it must be noted that these statements were only agreed, but not strongly

agreed because it was asked on the basis of interior design and not on the general aspect of

styling which is also a term used in fashion. The fashion design industry also uses the term

styling and it is in this light that interior designers did not “strongly agree” with these

statements because it is a term that is shared by both industries.

Renovation

Table 5 shows the tabulation for the term “Renovation.” Thirty-nine “strongly agree”

frequency rating shows that all of the statements are true. All of the statements were

46

significantly agreed except for the statement: “Renovations are expensive,” which shows that

it can be budgeted and executed with expert resource management and well thought design.

Fifteen out of twenty answered that renovation is not expensive all the time which refers to

the practice of interior design as an inclusive act that does not limit its services to part of

society that can only afford interior designers.

In general, “Renovation” is the repair or restructuring of spaces through walls with

budget that can be managed with expertise. It goes through different phases and entails

construction of built-in items with materials like lumber, plywood and concrete.”

B. Relationship of Makeover to Renovation, Interior Decoration, and Styling

According to Interior Design

Makeover in relation to each term was asked in the survey questionnaire of twenty

professional interior designers and nineteen laypeople. Table 2 shows the relation of the term

makeover with other terms. A significant number of interior designers said that decoration

and styling is not a makeover all the time, eleven out of twenty and twelve out of twenty,

respectively. This maybe brought from the fact that interior designers do not usually serve or

charge independently for decoration and styling in their services but comes as a part of their

services. Makeover is a flexible term such that it seems bendable into different design tasks,

including decoration and styling.

Eight out of twenty interior designers said that renovation is not all the time the same

as a makeover, although, there may be a relationship between the two. The remaining twelve

respondents have interspersed ratings on its relationship which must be further studied. Five

47

out of twenty strongly agreed that makeover could also be a renovation. This indicates a

relationship between the two terms.

This may also indicate the flexibility of the term. Professional designers use

renovation as a comfortable term than makeover when describing their services. In contrast,

this also indicates an ambiguity of the term because professionals also consider renovation as

an action with a wider scope just like a makeover.

On the last statement, interior designers agree that renovation involves decoration and

styling. Seven strongly agreed and seven agreed, which makes fourteen out of twenty in

agreement with this fact. This indicates that renovation has a wide scope of work that

encompasses the act of decorating and styling. This awareness is indicated in the scope of

work of an interior designer that is mentioned in Article 2 of the Republic Act 8534: the

Philippine Interior Design Act of 1998, which enlists “renovation” and “aesthetic

arrangement” ergo decoration and styling, as one among their many practices.

This is also because interior designers work holistically when doing a design project,

which may or may not involve decoration and styling. It is taken from the point that, as

professionals, interior design is partly hard science that deals with environmental,

psychological aspects that may be denounced by some professionals as soft and inferior.

On the other hand, the total frequency of rating shows a high concurrence toward

makeover not the same with decoration, styling, and renovation all the time. There is still an

ambiguity toward the term. It also indicates that the term is flexible that encompasses the

other term but that is yet to be debated on. Thirty-seven frequencies on “Not all the Time”

shows the flexibility or vagueness of the term compared to other terms.

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To summarize the relationship of makeover with other terms: “Decoration” is not

similar all the time but is less likely to be a makeover; “Styling” is not similar all the time but

is moderately related to makeover; “Renovation” involves styling and decorating and

indicates a moderate relationship with makeover because both have a wide scope of tasks. It

is also a comfortable term to use than makeover in the professional field because it considers

a wider scope and multiple phases in construction that is suitable to be used professionally,

but, this is yet to be studied further.

C. Comparison of Terms between Professional Interior Designers and

Laypeople

1. Makeover

Makeover has been previously defined as: “a concept of transformation showing a

“before” and “after” representation. Makeover solves storage problems and clutter in a

wisely budgeted solution. It is also used to market interior design in the media. Makeover

will sometimes use the owner's personality as color, pattern, fabric, accents, old and

readymade furniture, with easy to install items.” This definition is based on the professional

interior designers which will be compared to laypeople’s limitation of the term.

Discrepancies and its Linguistic Phenomena

In Table 1, scores tallied from the survey answered by laypeople about the statements

are shown. In these statements, only the following were revealed to have differences in

limitations. The statement, “A makeover is budget conscious” was not similar to the point of

view of designers. Laypeople perceive makeover as expensive and costly in relation to what

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they can actually spend. Laypeople are the mass public who do not necessarily have a budget

for a makeover because they are seen as luxury than necessity, and this may have caused

them to answer the statement with carefulness.

Next statement which received a different score compared to the designers is the

statement: “A makeover brings out the personality of the owner through color, patterns,

fabric, and furniture.” Designers do not believe that this term is obliged in a makeover, but

laypeople believe that it is true. A total of thirteen laypeople have agreed, in general, that a

makeover is a way to bring out their personality with the use of colors and patterns applied in

a room. This statement from laypeople is not aligned with the professional interior designers.

Finally, the statement which disagrees with the designers is: “Old items like furniture

and accessories are also used for a makeover.” Eight “strongly agree” and seven “agree”

which total to seventeen out of twenty that agree on this statement to be positive. Laypeople

believe more than the designers that the use of old furniture and accessories is part of the

implementation of a makeover. This perception may have risen from the reality that their

budget constrains them to buy new items. And also, that makeover is equated with cost,

either extravagantly or practically, which they choose to have the latter instead to save up for

more important expenses.

Majority of the statements are all agreed by both designers and laypeople except for

the reality that makeover is not always budget-friendly for the laypeople. Again, this is

rooted from the fact that some depictions of makeover in magazines and television shows

look extravagant and hefty for them. They say that television is total, and whatever is shown

represents on the screen is representative of what is perceived to be the best that is out there.

In a media where the best is highlighted through commercials and advertisements, the

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perception of things is altered in a way that it no longer holds true to the real actual capacity

of its viewers. This is a reason why most laypeople see makeover as unrealistic in cost

sometimes.

The discrepancies between the limits of the term from both respondents are: reuse of

old items, keen observation of one’s personality in the design, and the handling of budget. In

the definition below, these discrepancies were adjusted to fit into the laypeople’s definition

of the term.

In summary, both designers and laypeople believe in the concept of makeover but do

not agree on it being budget-conscious. It can be assumed that their definition of the term is

almost the same. This definition is: "Makeover is a concept of transformation shown using a

“before” and “after” representation. Makeover solves storage problems and clutter on a

potentially costly budget. It is also used to market interior design in the media. Makeover

always uses the owner's personality as color, pattern, fabric, especially old furniture and

accents, but it rarely uses readymade furniture and easy to install items.”

Relationship with Media

Makeover as depicted in television shows like Extreme Makeover Home Edition have

human interest stories behind it, such as the story of a widower who lost a husband from

toxics inside their house and was forced to move in with her sister (Rice). These stories

attract viewers because of the emphasis on depressing human conditions of the people whose

homes are subject of a makeover and then accented by the revelation of a completely new

home. Even the “before” and “after” format of presenting the story remarkably reinforces the

concept of transformation.

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Also, it is said that this is intentional because these shows follow a strict format where

hours are calculated and know what exactly will be aired (Denhart; Schneider). Because of

these, laypeople are subjected to a show that’s manufactured and underlined by myth from

the media achieved through the ritualistic watching of these shows. And that myth is taking

the real genuine purpose of design as a professional industry away from the layperson.

It was also learned that they usually involve contractors who actually execute from

heavy construction to interior finishing. Construction takes an average of 130 hours of

construction and 30 editors have 350 hours of video that must be squeezed into a 42-minute

episode (Denhart). This accounts for the perception of makeover as quick and easy because

time and process is shortened with crucial points in design not being emphasized, maybe

even deleted on the show.

They added however that homes built in the television show are managed with a strict

compliance to a schedule (See Figure 2). The method of construction is rigid and

systematically compressed to actual construction time, maybe relative to the extent of

“makeover” being implemented. It is said that the construction of these houses require the

same permits and goes through the same inspections as homes built the traditional way.

Local government agencies stay up all night with the contractors to make sure the homes are

built to the same standards as any other home in the community. These are information that

the viewers of the show don’t normally care for and may not bother to know because they

watch the show for entertainment and socializing. Viewers, as a result, develop an inaccurate

view of a profession foreshortened and misrepresented of its normal (most importantly,

quality and safe) development of design.

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Figure 2. Sample Final Schedule for the ABC’s Extreme "Makeover" series done in Alaska (PDF Source: http://extrememakeoveralaska.com/pdffiles/401_Schedule_Final%20July%206%205%20pm.pdf)

Finally, the last important detail to note is that none of the workers are paid and

materials are sponsored and donated in exchange for commercial time (Denhart). They say

sponsors pay an integration fee as well as buy commercial time in exchange for outfitting the

entire home from appliances and sheets to artwork and lawn tractors. This explains the

limitation of a makeover in terms of readymade furniture and do-it-yourself items and why,

according to results from professional interior designers, it is seen as a marketing tool for

interior design because the items for the home themselves are being marketed.

They say that the producers determine what products are needed, and the crew and

design team go shopping for those items at a local outlet or ordered online (Denhart).

Assuming that these homes are fitted out by producers and designers that have a

predetermined list of items from the sponsor’s outlet store, it is more likely that the show is

promoting the store and not the superiority of interior design profession.

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2. Decoration

This term was defined by designers as, “the selection of furnishings and room finishes

such as curtains, draperies, pillows, and wallpapers.”

Discrepancies and its Linguistic Phenomena

Table 3 shows the term and its concept and materials according to the laypeople. The

discrepancies found in the limitation of the term are: “Interior decoration uses themes like

retro, classic, or modern”; “Interior decoration brings out the personality of the owner of the

room.”

Laypeople answered the first statement above with a score of sixteen respondents (the

score was tied with “strongly agree’ and “agree” which was added for total) which means

that they strongly agree that interior decoration uses themes when decorating. This showed a

discrepancy with the score from the designers who do not completely agree with the

statement but only see it as irregular in decorating.

Laypeople may understand that what the designers portray as design solutions are

seen as themes. Many designers now are eclectic and used to a wide array of styles that suit

the need of a person, the “need” is the keyword. Designers do not impose style or themes in

their design solution instead they collaborate and develop the theme with the client. This is

the reason why designers do not agree on decorating as thematic all the time. Laypeople, on

the other hand, are inclined to recognize themes easier and tend to buy an idea based on

themes more openly. This is because they are not expertly trained in practicality like the

designers.

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Another discrepancy with designers is the statement: “Interior decoration brings out

the personality of the owner of the room.” Laypeople scored seven under “strongly agree”

and designers scored nine under “not all the time.” Laypeople see decorating as a more

personal touch than designers. They see decorating as a reflection of the owner and maybe

themselves that when a decorator translates this into pleasing compositions, they are

extending themselves in the room. And being Filipino may have contributed to this

agreement because they are very sentimental and places value into their things. Hence,

decorating is a way for them to present and open themselves for other people to know them

well. This is in slight contrast with what designers see decorating to be, it may be because

professionals do not want to be associated by decorating only. They have a fundamental

understanding of design that it is not only decorating but a set of values that is also practical

and should not entirely be based on the owner’s personality.

The remaining statements have an agreement with both respondents. All of the agreed

statements from laypeople can be summed in this definition: “Interior Decoration is a way to

improve the look and bring out a person’s personality in a room through the selection of

furnishings and room finishes such as curtains, draperies, pillows, and wallpapers. It uses

themes such as retro, classic, or modern to achieve the look.”

Relationship with Media

Decoration as defined by Better Homes and Garden’s 3-Ingredient Decorating is that

decoration is about style, function, and beauty using the three key ingredients: background,

furniture and accessories.

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The operative definition above is an expanded view of interior decoration. But it is

important to note that both definitions are similar. Although function is not stressed in the

definition above, they generally fit together in terms of identifying the elements in order to

achieve “decoration.”

HGTV and Lifestyle channel on cable television provided round the clock home

related programming featuring remodeling, decorating, gardening and craft making. The term

“interior decoration” is the earliest, if not oldest, term associated with the home. Interior

decoration in earlier times has already been associated with style and homemaking (Page,

10). Women were marginalized and were only able to understand style through women’s

journals in the 1920s which emphasized the mythic hopes and fantasies of a suburban life. It

also reinforced visions of wealth seen in the fashions and material culture desired by these

women. Interior decoration then was the arena for women to express their material desires

and wealth in the decors of their homes.

But now in 2005 there are fewer programs that offer the same relationship of style

with home-making. Although there are shows that direct you how to achieve high style for a

budget, much of it is no longer directed towards the home like they used to.

The term has not evolved from its roots which can be considered a positive and a

negative. It is positive because it is a legacy and a testament to how the home was valued

during the 18th century, where the pride of the people living in it showed themselves in their

furnishings and decors in a sincere way. Compared to modern developments in interior

design where it is almost unrecognizable for the viewer to know who and what kind of a

family lives in the space because of the hygienic look that is becoming generic. Interior

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decoration preserves the person’s need to connect to other people through the decors in his

space.

And it is also negative because interior designers have a long history with interior

decoration that is to say, the discipline evolved past decoration. In the growing times where

environmental issues and economic developments affect the practice of interior designers,

they cannot help but overthrow the one sidedness of interior decoration in exchange for

innovation and practical solutions. Interior decoration is no longer providing solutions for the

changing times. The definition formulated from the laypeople shows how old-fashioned

interior decoration is in comparison to what the designers perceive it to be which may

already be unnecessary to them.

3. Styling

The definition formulated from the designers is: “Styling’ is about effects which

brings out the character of the owner through accessories like paint, fabric, and accents

applied as focal points, drama, and subtle effects.

Discrepancies and its Linguistic Phenomena

The two statements that received a different perception of the term are: “Common

materials used for styling are paint, fabric, and accents”; “Styling also means rearranging

furniture and accessories.”

Laypeople say that styling occasionally use paint, fabric, and accents, while designers

agree on the statement. The discrepancy between the two respondents is that the materials

said in the statement may not be common in styling. For example, painting may not be

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necessary when styling a space because it means purchasing materials and tools just to style.

The issue about budget is recognized again. It could also be that laypeople see styling as a

creative resourcefulness that do not rely on too much effort, too much cost in making things

but instead, styling is putting things together without spending anything.

Second statement that had a discrepancy with the definition is: “Styling also means

rearranging furniture and accessories.” This statement is in reference to “decoration” being a

term that also deals with furniture and accessories. Laypeople “agree” with the styling needs

to rearrange furniture and accessories as well. Designers do not wholly agree with this

statement because they see styling as a quick solution to design and needs to think about

foot-traffic patterns, furniture sizes, and clearances when rearranging furniture. This is

different from rearranging furniture in “styling” because it is only done to achieve a focal

point or drama in the room. This is the reason why the remaining statements were all agreed

by both respondents, and most significantly that “Styling is about focal points, drama and

subtle effects in a room.”

As summary of all statements which were agreed on, the definition of styling

according to laypeople is: “Styling’ is about effects which bring out the character of the

owner by rearranging furniture and accessories to achieve focal points, drama, and subtle

effects.”

Relationship with Media

In Table 2 the statement, “Styling is similar to a “makeover” shows a significant

similarity with the term makeover. In Extreme Makeover Home Edition show, they create

“special touches for the house before they reveal the new home to the subject family

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(Schneider). The term styling is evident in makeover shows because it provides that extra

appeal which the show needs to contrast the “before” condition of the house, that once

revealed will solicit a strong visual reaction from the viewers.

Laypeople have a significant amount of exposure to magazines and television shows

more than the professionals. Styling is said to be the “advising of styles in clothes,

furnishings, and the like (Guerreiro & Jarnow, 91).” Coupled with focal points, effects and

drama, styling is a consultation. And stylists build a profession out these advisements, just

like professional interior designers, as said in R.A. 8534, Art.2 Sec.2-1 “Consultation, advice,

direction, evaluation, estimates, appraisals, adjustments and operational programming.”

This advising is not just for the purpose of adding drama to a space but for marketing

purposes too. This is similar to makeover as marketing for interior design, even if it is yet to

be debated on. The marketing purpose of styling is evident in Guerreiro & Jarnow’s

definition of styling as “advising” (91).

For example, Dekora, which is a company that offers a unique service which is called

“home staging”. Similar to styling and makeover, home staging is also about putting

personality to the home for the purpose of marketing. Home staging is a new phenomenon in

real estate selling (Mackie). In staging a home, it is important to see through the eyes of the

prospective buyers so as to impress them to buy the property fast. In real estate selling,

making the home professionally presented determines its saleability. Hiring professionals to

do the staging is what Dekora offers to homeowners who intend to sell their properties.

Below is their example of steps to staging a home:

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DEKORA's Quick List Steps for Staging Your Home: 1. Curb Appeal. If the outside doesn't look great buyers won't come into the home. 2. Unclutter. Clear off the refrigerator, mantel, dresser and bathroom counter. The less clutter in a room, the bigger it looks and the more people focus on the home and not the “stuff!” 3. Clean. Make your home sparkle with extra attention! Organize closets. 4. Neutralize. Put away extra furniture, family portraits and decorations. Consider painting walls a warm neutral colour. 5. Rearrange and Accessorize. Carefully consider artwork and furniture. Change furniture grouping to create an inviting setting.

Figure 3. Dekora’s Quick List Step for Staging Your Home used to market a home (Source: www.dekora.com)

Home staging, according to the figure above, involves subtleties and extra touches.

They said that making the home look empty is a bad impression because buyers want to

imagine themselves in the house (Mackie). According to Dekora, a basic staging also

involves furniture rearrangements, similar to styling.

4. Renovation

Renovation was defined from the designer as: “…the repair or restructuring of

spaces through walls with budget that can be managed with expertise. It goes through

different phases and entails construction of built-in items with materials like lumber,

plywood and concrete.”

Discrepancies and its Linguistic Phenomena

There are no incomparable discrepancies of the term between two respondents except

for the level of agreement and understanding of some statements. These are: “A renovation is

the repair or restructuring of a room”; “Renovation goes through different phases before

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completing”; “Construction materials like lumber, plywood and concrete are used for a

renovation.”

All of these statements were strongly agreed by professional interior designers while

laypeople agreed on these consistently. Laypeople commonly understand the concept and

materials involved in a renovation but did not strongly agree on the basis of the survey

because it is a term that is associated with knowing the discipline of interior design and

architecture. Laypeople may have also hesitated because it is a term they are familiar with

but do not have enough expertise and technical knowledge to agree strongly on.

Because of there is almost no discrepancy between two respondents regarding the

concept of a renovation, the same definition gathered from the designers is summarized:

“Renovation is the repair or restructuring of spaces through walls with budget that can be

managed with expertise. It goes through different phases and entails construction of built-in

items with materials like lumber, plywood and concrete.”

Relationship with Media

The use of actual construction methods in reality television shows like Extreme

Makeover Home Edition has been discussed before. The implementation of actual

construction methods taking place under intense time schedule is the characteristic of a

renovation which is aligned with makeover. In renovation, time is also observed although not

as tight and compressed as the one in reality shows. Renovation in reality takes longer

because there are stages in planning and implementation (Litchfield, 67).

Reality makeover shows uses a local builder that has strong connections with the

construction trades. This is important because none of the workers in the show are paid and

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most if not all of the materials are donated as well (Rice). This is still similar with renovation

in terms of hiring workers and acquiring materials except that there is not free trade between

builders and its workers and materials are managed.

The use of hundreds of workers may not be economically reasonable when renovating

in an actual setting because the quality of work may suffer when workers are pressured in a

time frame. In an episode in the show they used as much as 2,000 tradesmen and volunteers

to help to knock down an old structure, then build, decorate and landscape a 3,900-square-

foot new house in 53 hours and 54 minutes (Rice). This type of organized movement is

possible but stressful for the budget. This concept of building is a fantasy for the viewers but

unrealistic unless you have the money to support such method. Even in amid the free trade

given by the workers, compensation is still important.

This method is also unsafe. In the shows were workers are overlapping their jobs one

on top of the other, there is a tendency that a piece of work will be missed out. Yet builders

make it work for the show, as said by one of them in the show, “It's a very choreographed

dance, which people in building say can never work -- they would get in each other's way,

they would never get along -- and yet, somehow, we make it work every time (Rice).”

The administrative procedure of renovation needs the builder to acquire necessary

permits and licenses in order to start a construction. The same procedure goes with the show,

however, inspectors are made to stay up during their construction to check up and provide

inspection standards when needed. The process of inspection, again, is compressed by the

time relative to the demand of the format of the show and its producers. It can be assumed

that the results comply with their building standards, even though the quality is yet to be

deliberated.

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And according to the show, no matter how much expertise the builder has with his

business, the format and schedule of the show still precedes the manner it is carried out

Schneider).

5. Synthesis

In abstract the following definitions below compiles the terms according to the

designers and the laypeople. It is noteworthy for each respondent to recognize the

discrepancy of each term in order to be able to condense these two definitions together. On

the other hand, it is not the objective of this study to form a definition according to both

sides.

Makeover

Interior Designers: "Makeover is a concept of transformation shown using a

“before” and “after” representation. Makeover solves storage problems and clutter in a

wisely budgeted solution. It is also used to market interior design in the media. Makeover

will sometimes use the owner's personality as color, pattern, fabric, accents, old and

readymade furniture, with easy to install items.

Laypeople: "Makeover is a concept of transformation shown using a “before” and

“after” representation. Makeover solves storage problems and clutter. It is also used to

market interior design in the media. Makeover always uses the owner's personality as

color, pattern, fabric, accents, and old furniture, but rarely uses readymade furniture and

easy to install items.

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Interior Decoration

Interior Designers: “Interior decoration is the selection of furnishings and room

finishes such as curtains, draperies, pillows, and wallpapers are the materials.”

Laypeople: “Interior Decoration is a way to improve the look and bring out a

person’s personality in a room through the selection of furnishings and room finishes

such as curtains, draperies, pillows, and wallpapers. It uses themes such as retro, classic,

or modern to achieve the look.”

Styling

Interior Designers: “Styling’ is about effects which bring out the character of the

owner through accessories like paint, fabric, and accents applied as focal points, drama,

and subtle effects.

Laypeople: “Styling’ is about effects which bring out the character of the owner

by rearranging furniture and accessories to achieve focal points, drama, and subtle

effects.”

Renovation

Interior Designers: “Renovation” is the repair or restructuring of spaces through

walls with a budget that can be managed with expertise. It goes through different phases

and entails construction of built-in items with materials like lumber, plywood and

concrete.”

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Laypeople: “Renovation” is the repair or restructuring of spaces through walls

with a budget that can be managed with expertise. It goes through different phases and

entails construction of built-in items with materials like lumber, plywood and concrete.”

D. Relationship of Makeover to Other Terms

Lexical Semantics reflect appropriate aspects of the relations it contracts with actual

and potential contexts. They deal with combination of words and their basic assumptions

concerning their meaning (Cruse, 1). Synonyms are lexical items whose senses are identical

in respect of central semantic traits but differ in respect of minor or peripheral traits. They

also occur together in certain expressions, like an explanation or clarification of the meaning

of another word which is signaled by something like “that is to say” or a particular variety of

“or.” In the case of this study, “makeover” is the same as “renovation.”

Synonymy is approached in two ways: semantic overlap and low contrastiveness

(266). Semantic overlap is evidenced by semantic traits which must have similarities with

each other. Low degree of contrastiveness is an expectation that the words will have discreet

differences in meaning.

Below is the synonymy of the terms in relation to each other.

1. Makeover and Renovation

The definition of a makeover is:”Makeover is a concept of transformation shown

using a “before” and “after” representation. Makeover solves storage problems and clutter

in a wisely budgeted solution. It is also used to market interior design in the media.

Makeover will sometimes use the owner's personality as color, pattern, fabric, accents, old

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and readymade furniture, with easy to install items.” This is compared with renovation which

is: “Renovation is the repair or restructuring of spaces through walls with a budget that can

be managed with expertise. It goes through different phases and entails construction of built-

in items with materials like lumber, plywood and concrete.”

Semantic Overlap

The similarities found between two terms are budget management and the idea of

change in the words “transformation” in the term makeover, and “phases” and

“restructuring” in renovation. The concept of managing the budget wisely is the most similar

among the two overlaps since both terms deal are defined with reference to the expenses for

materials and solution which both terms point to the “change” that will happen on the space.

Next overlap is the meaning of change as mentioned in the definition of makeover

which is “transformation” and “phases” and “restructuring” in renovation. Transformation in

makeover is depicted through the “before” and “after” representation, this is significantly

related to renovation, because the “before” and “after” represent the phases that were

foreshortened. In addition, restructuring also means “to reform” and this is strongly related to

the meaning of transformation.

Low Contrastiveness

The terms in the definitions that were found to have low contrastive qualities are the

meaning of materials. Both definitions refer to the use of materials, for renovation its hard

materials (lumber, plywood, concrete), and in makeover its soft materials (fabric, accents,

furniture). Both terms can consider the materials, in general, as building and finishing

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materials. These terms in the definition have a low contrast because they fall under one

classification.

2. Decoration and Makeover

The definition of a makeover is:”Makeover is a concept of transformation shown

using a “before” and “after” representation. Makeover solves storage problems and clutter

in a wisely budgeted solution. It is also used to market interior design in the media.

Makeover will sometimes use the owner's personality as color, pattern, fabric, accents, old

and readymade furniture, with easy to install items.” This is compared with decoration which

is: “Interior decoration is the selection of furnishings and room finishes such as curtains,

draperies, pillows, and wallpapers are the materials.”

Semantic Overlap

The words which received an overlap between two definitions are the following: use

of room finishes and selection furnishing.

In decoration the use of room finishes such as curtains, draperies, pillows and

wallpaper is similar to the use of fabric, accents, and easy-to-install items for makeover. Both

terms use items that are soft and trouble-free in a room, wallpaper for example is considered

an easy-to-install item because it does not require professional expertise. Fabrics and accents

through curtains, draperies, and pillows fall into the category of soft finishing materials.

Finally, it is interesting to see that the term makeover’s use of fabric comprises the materials

(curtains, pillows, and draperies) which decoration has defined.

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Next are the selection of furnishing in decoration and the use of readymade furniture

for makeover is also similar to each other. Selection means that the furnishings are not

customized in the same manner that use of readymade furniture for makeover is also made.

Low Contrastiveness

There are no contrasting terms in the definitions.

3. Decoration and Styling

The definition of decoration: “Interior decoration is the selection of furnishings and

room finishes such as curtains, draperies, pillows, and wallpapers are the materials.” Which

is compared with styling: “Styling’ is about effects which bring out the character of the

owner through accessories like paint, fabric, and accents applied as focal points, drama, and

subtle effects.”

Semantic Overlap

Terms under decoration which is “…room finishes such as curtains, draperies,

pillows…” is relatively proportional to “…paint, fabric, and accents...” in styling.

The use of room finishes such as curtains, draperies, pillows and wallpaper is similar

to the paint, fabric, and accents. All terms are categorized as finishes and accents, which

exists on both definitions. Both terms have a soft quality to their materials.

Low Contrastiveness

There are no contrasting terms in the definition.

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4. Decoration and Renovation

The definition of decoration: “Interior decoration is the selection of furnishings and

room finishes such as curtains, draperies, pillows, and wallpapers are the materials.” Which

is compared with renovation: “Renovation is the repair or restructuring of spaces through

walls with a budget that can be managed with expertise. It goes through different phases and

entails construction of built-in items with materials like lumber, plywood and concrete.”

It has been established in Table 2 that renovation has a relationship with styling and

decoration which means that the definition of decoration is included in the works of a

renovation, thus, will not be proportionate in terms of comparison. However, for the purpose

of determining the overlap and contrast between the “semantics” of both terms, their

definition will be compared nonetheless with minimal consideration on the prior discussion.

Semantic Overlap

There are no overlapping terms in the definition.

Low Contrastiveness

Renovation “goes through different phases” while decoration “selects furnishings and

room finishes.” This clearly indicates that decoration is under renovation and is a form of

subsidiary of renovation. They are still synonymous because of the relationship of the terms,

and that the definition of renovation is a broad term than decoration, wherein the “phases”

established by renovation was not specified but, actually, identified in decoration as one of

the phases.

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5. Styling and Makeover

The definition of styling: “Styling’ is about effects which bring out the character of

the owner through accessories like paint, fabric, and accents applied as focal points, drama,

and subtle effects.” Which is compared with makeover: “Makeover is a concept of

transformation shown using a “before” and “after” representation. Makeover solves storage

problems and clutter in a wisely budgeted solution. It is also used to market interior design

in the media. Makeover will sometimes use the owner's personality as color, pattern, fabric,

accents, old and readymade furniture, with easy to install items.”

Semantic Overlap

Three overlaps were seen in the definitions: first, personality and character of the

owner; second, materials used to accessorize; lastly, the idea of revelation.

First, the “character of the owner” is brought out when styling, and this is also evident

in the makeover where “owner’s personality is used.” Both these terms rely on the

user/client/owner in shaping the look of the space. The term “personality” is closely related

to “character” and this makes both terms similar in that aspect.

Second is material definition of styling which is “paint, fabric, and accents” and rolls

in with “color, pattern, fabric, accents” in a makeover. Both terms use same reference to soft

finishing materials to convey their language.

Finally, the idea of revelation is expressed in both definitions. Styling is “about

effects which bring out,” while makeover uses the “after” representation,” these terms

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convey an element of surprise. But the important aspect of these definitions is that they both

have a concept of uncovering, exposing, or making something publicly known.

Low Contrastiveness

There are no contrasting terms in the definition.

6. Styling and Renovation

The definition of styling: “Styling’ is about effects which bring out the character of

the owner through accessories like paint, fabric, and accents applied as focal points, drama,

and subtle effects.” Which is compared with renovation: “Renovation is the repair or

restructuring of spaces through walls with a budget that can be managed with expertise. It

goes through different phases and entails construction of built-in items with materials like

lumber, plywood and concrete.”

In like manner as mentioned above, renovation has a relationship with styling, and

these terms will be treated proportionately in the evaluation to understand their lexical

semantics.

Semantic Overlap

There are no overlapping terms in the definition.

Low Contrastiveness

Almost the same manner in which decoration is integrated in the “phase” of

renovation, the definition said, “It goes through different phases…” that is subordinated with

while styling’s “applied as focal points, drama, and subtle effects.”

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Styling applies focal points and drama during the last phases of a renovation. It is also

surmised that this phase is the finishing stage of the construction process. This indicates that

styling is under renovation on the premise of the construction process and real estate

developments where model houses are built for selling. Renovation is the broad sense of

construction which styling is a phase.

They comparatively have low contrasting quality in their definitions.

E. Makeover: Professional Interior Designers or Other Professions?

In the survey, professional designers and laypeople were also asked questions not

relating to the concepts and materials of each term. Questions on the background and

qualifications needed for a person to achieve a makeover and renovation was also rated. The

statements which both respondents strongly agreed on are the following:

• I have seen/heard of a “makeover” in lifestyle magazines and television

shows.

• In all the lifestyle magazine and television shows I have seen/watched, a

licensed interior designer is the one doing a “makeover.”

• I have done a “makeover” in a room during my practice.

• I prefer a licensed interior designer do a “makeover” than someone who is not.

• Interior decorators have studied design and fine arts.

• A licensed interior designer can budget the time and money for a project

systematically.

• A licensed interior designer has an extensive knowledge of finishing materials

for the home.

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These statements have a consistency in the perception of the design practice. And

although there are still antiquated views on the practice, much is to be improved on. For

example, both respondents agreed that interior decorators have studied design and fine arts.

They agree that in order to be an authority of style and decoration, one must have a

background in design or fine arts. This indicates that they necessitate the value of learning

your craft in order to achieve a status in the profession.

In terms of media exposure, both respondents have consistently read and watch a

makeover. This means that the exposure is repetitive and regular for the ideas flashing before

them to develop myth-making and probably an understanding of the process in a makeover.

This process is then put into practice. Both respondents have agreed that they conducted a

makeover based on these exposures. Since media like television and magazines is a

democratic medium made available to anyone who can afford, it can be easy to mimic the

process of a makeover on the grounds of how visual and how exposed the feature is. For

example, if the makeover feature tells the readers/viewers where and how to achieve a wall

paint effect or where and how much it would cost to have a furniture piece, the reader/viewer

will develop a direction and motivation to do achieve one.

Nevertheless, a licensed interior designer is still the most trusted person to do a

makeover as agreed by both respondents. This means that professionals are being recognized

for their expertise and trustworthiness and not just by the amount they would charge. This

also means that there are objectives in a makeover which may be understood extensively by a

professional than someone who is not, like installing a light fixture or choosing the finishes

for the wall, tile selection, construction procedures and, importantly, budget time and money

systematically.

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There were no statements that both respondents only “agree” on but there were which

they see as occurring “Not all the time” such as:

• A stylist does what an interior decorator does.

• To be a stylist, one does not have to have a formal training.

• One must hire professionals when renovating.

In contrast to the above statement on interior decorators, respondents do not

completely agree that stylists perform the same function as an interior decorator. This

indicates that the respondents are able to differentiate both professions from each other and

what they do separately. However, they see styling as a profession that does not need a

formal training, but maybe, just an eye for style and drama.

Styling has been established in previous discussions to be an effect and drama added

to a room. This act is perceived as uncomplicated and even accessible to anyone by the

media which does not necessitate studying because one can easily create a styled effect if

given the materials, since materials do not have to be designed but arranged. This perception

of styling as an open profession activated by anyone who is “stylish,” shall we say, has a

democratic value to it which means that anyone can be a stylist. Just like Nussbaum said,

“And with more and more tools, we, the masses, want to design anything that touches us on

the journey, the big journey through life. People want to participate in the design of their

lives. They insist on being part of the conversation about their lives (Nussbaum).” Through

this democratization, design expertise begins to open up to people, in general, more openly

and accessibly.

The last statement which both respondents said to occur occasionally is the need for a

professional when doing a renovation. This is in contrast with the licensed interior designer

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being hired for a makeover but in a renovation, one needs to hire a person who has expertise

on the trade. But the respondents do not completely agree that it is necessary all the time to

hire a professional. This may be rooted from the fact that respondents see hiring a

professional as someone costly. And it is also be rooted from the fact that a renovation has

different phases, hence, different set of needs determined by the scope of the phase.

VI. SUMMARY, CONCLUSION & RECOMMENDATION

Summary

The limitation of the terms have been limited according to Professional Interior

Designers and compared to the perception of laypeople. The limitation according to the

designers does not serve as the correct perception but only represents a part of society that is

considered to have an expertise on the subject terms.

Here are the definition of the terms and their limitations in as far as concept and

materials:

o "Makeover is a concept of transformation shown using a “before” and “after”

representation. Makeover solves storage problems and clutter in a wisely

budgeted solution. It is also used to market interior design in the media. Makeover

will sometimes use the owner's personality as color, pattern, fabric, accents, old

and readymade furniture, with easy to install items.

o “Interior decoration is the selection of furnishings and room finishes such as

curtains, draperies, pillows, and wallpapers are the materials. ”

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o “Styling’ is about effects which brings out the character of the owner through

accessories like paint, fabric, and accents applied as focal points, drama, and

subtle effects.

o “Renovation” is the repair or restructuring of spaces through walls with budget

that can be managed with expertise. It goes through different phases and entails

construction of built-in items with materials like lumber, plywood and concrete.”

It must be noted that renovation was the only term which remained consistent with

the laypeople.

And the relationship of makeover to renovation, interior decoration, and styling based

on the professional interior designers are summarized as having these relationships:

• “Decoration” is not similar all the time but is less likely to be a “Makeover.”

• “Styling” is not similar all the time but is moderately related to “Makeover.”

• “Renovation” involves styling and decorating and indicates a moderate

relationship with “Makeover” because both have a wide scope of tasks.

In the comparison of the terms between the designers and the laypeople, the

discrepancies between the limits of makeover from both respondents are: reuse of old items,

keen observation of one’s personality in the design, and the handling of budget.

In the limits of interior decoration, the statements which had discrepancies are:

“Interior decoration uses themes like retro, classic, or modern”; “Interior decoration brings

out the personality of the owner of the room.”

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In styling, the two statements that received a different perception of the term are:

“Common materials used for styling are paint, fabric, and accents”; “Styling also means

rearranging furniture and accessories.”

Finally, in renovation, there were no incomparable discrepancies of the term between

two respondents except for the level of agreement and understanding of some statements

which are: “A renovation is the repair or restructuring of a room”; “Renovation goes through

different phases before completing”; “Construction materials like lumber, plywood and

concrete are used for a renovation.”

The semantic overlap and low contrastiveness of each term to the other was

summarized as: for Makeover and Renovation, the overlap that was found were budget

management and the idea of change in the words “transformation” in the term makeover, and

“phases” and “restructuring” in renovation. These terms also have a low contrastive quality

which was seen in their meaning of materials. Both definitions refer to the use of materials:

for Renovation its hard materials (lumber, plywood, concrete), and for Makeover its soft

materials (fabric, accents, furniture).

For Decoration and Makeover, the words which received an overlap between two

definitions are the following: use of room finishes and selection furnishing.

Between Decoration and Styling: under decoration is “…room finishes such as

curtains, draperies, pillows…” is relatively proportional to “…paint, fabric, and accents...” in

Styling. The use of room finishes such as curtains, draperies, pillows and wallpaper is similar

to the paint, fabric, and accents. All terms are categorized as finishes and accents, which

exists on both definitions. Both terms have a soft quality to their materials.

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Between Decoration and Renovation: Renovation “goes through different phases”

while decoration “selects furnishings and room finishes” and indicated that decoration is

under renovation and is a form of subsidiary. Both are synonymous and have low

contrastiveness with each other and that renovation is a broad term than decoration, wherein

the “phases” established by renovation is actually identified in decoration as one of the many

phases.

Between Styling and Makeover there were three overlaps that were seen in the

definitions: first, personality and character of the owner; second, materials used to

accessorize; lastly, the idea of revelation.

Between Styling and Renovation, the definition said, “It goes through different

phases…” that is subordinated with while styling’s “applied as focal points, drama, and

subtle effects.” Styling applies focal points and drama during the last phases of a renovation,

this phase is the finishing stage of the construction process. This indicates that styling is

under renovation on the premise of the construction process. This shows a comparatively low

contrasting quality in their definitions.

The similarities of Makeover from Renovation are:

1. Makeover believes that the more labor that is put out, the faster the time a

construction can be completed. A similar formula can also be applied to a

renovation if allowed by the budget.

2. "Makeover" uses readymade products available in home depots and home

improvement stores. The use of materials that are easy to install and quick

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fixes contributes to the shortness of time spent because it does not require

building from scratch.

3. Renovation occasionally uses the same supplies as a "makeover".

4. The key element in both a "makeover" and renovation is the existing space.

5. Equivalent methods, tools and materials that are easy and quick to control are

the similar factors in expediting the implementation of a renovation and a

"makeover.

6. In terms of permits and compliance to building standards, both "makeover"

and renovation have the same requirement.

The differences of Makeover from Renovation are:

1. Makeover is still less costly because its uses and re-uses existing furniture and

others in its process.

2. The advantages of costs in a "makeover" can range from affordable to cheap.

3. The difference a renovation has with "makeover" is that it has the tendency to

hold itself too much on the sequence of activities, while a "makeover"

overlaps activities in a well choreographed system.

Conclusion Based on the findings, it is in the purpose of this study to clarify and eliminate

triviality on the impressions of interior design and hopes to correct and redirect any emerging

pluralism in the practice of interior design. The professional field of interior design failed to

coagulate some characteristic of what makeover is. Most answers that were taken from the

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survey fall into ambiguity with ratings that often fall under “not all the time”. This indicates

confusion and maybe needs more assessment from them. But one term is for sure, renovation

is a term designers know. Not to mention, the laypeople who clearly understood what

renovation is as well.

And even though renovation and makeover have strong similarities, they are still

semantically different. But in relation with other terms, makeover seemed to encompass

decoration and styling, just like renovation. These surprising similarities with characteristics

will tend to equate renovation with makeover, but in the findings of this study, they have a

low contrastiveness but no semantic overlap which means they have nothing in common

when it comes to their limitations.

Interior design and the media have a relationship such that the public is learning more

about the industry, the creativity, the personalities and it is seen as a fairy-tale way which

yields a power to change people’s lives, ergo, a make-over. However, the totality of the

makeover reality shows makes viewers feel that their homes do not work. Hence, the need

for a makeover arises and amplified. And as a result interior design is perceived to be the

savior of these desperate, unattractive, and unpleasant conditions. Interior design becomes

popular because of the “messianic” qualities of the professionals, as portrayed in these reality

makeover shows.

Fry describes the terminal condition of the design profession because of the

popularization and change of perception among the public. The capacity of design has turned

the profession into entertainment which the public sees as a step up to public recognition.

And the perpetuating trivialisation tends to make the design profession unsustainable and

plural. This is already well advanced in architecture as it split into numerous divisions of

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knowledge that became independent of it: structural engineering, civil engineering, landscape

architecture, construction management, project management, interior design, are all

disciplines that once were encompassed by the architect. (Fry, p.3)

Yet, a question rose from this study: Is makeover the portrayal of interior design in

the media?

Film and television are modern civilization’s central ways of making sense of itself. It

leads and takes people in a myriad of directions. Reality television shows are the conflation

of real life and make-believe combined with the desire to live vicariously through others

(Hibbs, 105). They are species of entertainment, not intended to provide a unifying cultural

vocabulary but operate as a formative technology which can be used, and should be used, for

the proliferation of a beneficial culture grounded on facts and not fantasy.

This medium of so-called reality impacts the national soul and suggests the

significant absence of anything other than entertainment as a shared vehicle for

understanding a culture and metropolitan conditions.

The perception of media on the profession of design does not prevent the plurality of

the practice. Chris Downs said that the problem is that there are so many design communities

which is fleeting. He said, “There is an awful trend in the UK towards television ‘home

makeover’ shows where ‘designers’ inflict hideous interior themes on their victims. These

self-obsessed, uncompromising and erratic creatures call themselves ‘designers’ – and are

probably what 95% of people think of as true representations of designers (“i-Gitators”, 9).”

Viewers and readers of these media platforms often see the most glamorous aspects of what

designers do only. The actual routine and behind the- scenes is rarely seen at all.

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Television has made many jobs seem mundane and unattractive, while exaggerating

the allure of a few professions. Viewers are attracted by careers portrayed as ultra glamorous,

exciting, well paid and trendy. This is not a definitive picture of how naïve young people

sometimes are about careers that have all the trappings of wealth and prestige, but it indicates

that the work world is often far less glamorous and rewarding than television frequently leads

viewers to believe. Often children want to be what they see on television - news anchors, film

stars, lawyers and corporate executives (Barber). And these platforms have a responsibility to

portray and educate what these jobs really are.

In the publication platform, Julie Lasky, Editor-in-Chief of I.D. Magazine said, “To

remain viable, however, magazines may very well be neglecting content that is of interest to

a slice of their market in favor of appealing to the largest possible readership (“Frozen”, 4).

Even press publications are doing the part of obliterating the true representations of design.

The appeal to a larger demographic is more important since circulation contributes to the

marketing of the magazine itself but lacks the coherence with the reality of designers in

practice. She also added, “There are too many design magazines serving too many

constituencies for me to assign a general value to the lot. Even in the realm of industry

publications, examples run from flashy style books to organizational newsletters to how-to

bibles. Almost any publication that has managed to survive has forged some kind of pact

with its readers and is delivering an acknowledged service (4). Magazines owe their content

to the readers and if it is something they would like to see then the content is driven to the

same direction. This claim is concluded more when she said that, “My experience has taught

me, however, that the design media alone cannot bridge the gulf. For example, we have made

many quixotic attempts to publish inspirational stories about how design can improve a

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client’s profitability, only to be denied the slightest shred of evidence (4). Budget for

magazine production is also minuscule and depend solely on advertisements, which is also a

reason why publications opt to circulate and put content that matters to its demographics.

Lastly, Julie Lasky puts design in the picture as a strategic decision making in the

service of producing something for the market (9). She said that design is multiple and even

if you add art, craft, product and graphic design, it still possesses varying folds. Design does

not even have to be material but may even be pure strategy.

Recommendation

It is recommended that the instrumentation be tested and revise to substantiate the

limitations more accurately. The sampling should also be extensive to support

generalizability of the definition of the terms.

It is also noteworthy for each respondent to recognize the discrepancy of each term in

order to condense the definitions from the designers and the laypeople together. On the other

hand, it is not the objective of this study to form a definition according to both sides.

It is also recommended that a corrective motion must be directed towards the

profession in terms of ethics and sustainment by focusing on creative and critical points in

the practice. By investigating editorial approaches from the points of view of journalists,

designers, manufacturers, and marketing specialists, it is in better hope that the breadth and

seriousness of design’s representation in the press will be expanded and redirected.

Magazines wrongly represent design as fashion, a chic accessory to a modern lifestyle, and

not to contribute to the quality of life. Publications skip the narratives and go straight to the

information most consumers want: How much is it and where can I get one?

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Design media must adopt a critical strategy to better reflect the realities of the

practice. For example, designers seek what is optimal, not what is perfect, or else they would

accomplish nothing. And yet even in the editorial pages of professional journals, much

design is touted as flawless when it is always, at best, a compromise.

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Appendix

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