{"id":27793,"date":"2026-05-01T15:31:52","date_gmt":"2026-05-01T19:31:52","guid":{"rendered":"https:\/\/damasketdentelle.com\/?p=27793"},"modified":"2026-05-03T15:37:30","modified_gmt":"2026-05-03T19:37:30","slug":"kate-reed-premiere-designer-canadienne","status":"publish","type":"post","link":"https:\/\/damasketdentelle.com\/index.php\/2026\/05\/kate-reed-premiere-designer-canadienne\/","title":{"rendered":"Kate Reed, premi\u00e8re d\u00e9coratrice du Canada"},"content":{"rendered":"
<\/div>\n

Le nom de Kate Reed circule peu dans les conversations sur l’histoire du design canadien. Pourtant, cette femme n\u00e9e \u00e0 Cobourg en Ontario en 1856 a, selon toute vraisemblance, pos\u00e9 les fondements du m\u00e9tier de d\u00e9coratrice d’int\u00e9rieur au pays, bien avant qu’Elsie de Wolfe n’ouvre le Colony Club \u00e0 New York en 1907, souvent cit\u00e9 comme acte fondateur de la d\u00e9coration professionnelle f\u00e9minine en Am\u00e9rique du Nord.<\/p>\n

\"\"

Topley Studio, Kate Reed, Avril 1896, Library and Archives Canada, PA-201232<\/p><\/div>\n

Reed, n\u00e9e Kate Armour, \u00e9tait la fille a\u00een\u00e9e du juge John Douglas Armour de la Cour supr\u00eame du Canada. Elle avait fr\u00e9quent\u00e9 l’\u00e9lite du Gilded Age new-yorkais : les Morgan, les Astor, les Vanderbilt, Thomas Edison. Elle comptait aussi parmi ses relations Sir Wilfrid Laurier et les grands magnats du chemin de fer canadien, William Van Horne et Sir Thomas Shaughnessy. Ce r\u00e9seau n’\u00e9tait pas anecdotique : c’est pr\u00e9cis\u00e9ment ce capital social qui lui a ouvert les portes du Canadien Pacifique.<\/p>\n

En 1900, lorsque son second mari Hayter Reed devient directeur g\u00e9n\u00e9ral des h\u00f4tels du C.P.R., elle prend en charge la red\u00e9coration de l’ensemble du r\u00e9seau h\u00f4telier : Ch\u00e2teau Frontenac, Banff Springs Hotel, Empress Hotel, H\u00f4tel Viger, Ch\u00e2teau Lake Louise, entre autres. Elle n’avait pas de formation formelle en design. Ce qu’elle avait, c’est un \u0153il, un carnet d’adresses, un acc\u00e8s direct aux archives de la mode d\u00e9corative de son \u00e9poque, et des journaux personnels dans lesquels elle consignait chaque d\u00e9cision, chaque achat, chaque h\u00e9sitation. Ces journaux, conserv\u00e9s aux archives du Mus\u00e9e McCord, constituent aujourd’hui une source primaire exceptionnelle.<\/p>\n

\"\"

Salon d\u00e9cor\u00e9 Kate Reed au Ch\u00e2teau Frontenac, Qu\u00e9bec, entre 1900 et 1905, Archives du Canadian Pacific Railway, A.16541.<\/p><\/div>\n

Son travail au Ch\u00e2teau Frontenac illustre avec pr\u00e9cision les tensions de son \u00e9poque. D’un c\u00f4t\u00e9, les salons communs, le Red Room et la Ladies’ Drawing Room, refl\u00e8tent le vocabulaire victorien tardif qu’elle ma\u00eetrisait : meubles anciens achet\u00e9s chez son amie Ada pr\u00e8s des chutes Montmorency, plantes tropicales en pots de laiton, chintz, bibelots, papiers peints japonisants. Elle pr\u00e9f\u00e9rait les antiques aux reproductions industrielles, rejetant les objets de fabrication m\u00e9canique au profit de pi\u00e8ces fa\u00e7onn\u00e9es \u00e0 la main. R\u00e9mi Labrusse nommerait ce geste une r\u00e9ponse au \u00ab chaos \u00bb ornemental de l’\u00e8re industrielle : une tentative d’inscrire la modernit\u00e9 par l’accumulation plut\u00f4t que par la rupture.<\/p>\n

De l’autre c\u00f4t\u00e9, les suites th\u00e9matiques du Ch\u00e2teau Frontenac racontent une autre histoire. La suite Habitant, avec ses meubles en pin, ses catalognes tiss\u00e9es \u00e0 la main, son rouet dans le coin et son prie-dieu, pr\u00e9sentait les premiers colons canadiens-fran\u00e7ais comme un peuple fig\u00e9 dans un pass\u00e9 immuable. Rustique, pittoresque, destin\u00e9 \u00e0 \u00eatre admir\u00e9 par une client\u00e8le anglo-am\u00e9ricaine fortun\u00e9e plut\u00f4t qu’\u00e0 \u00eatre reconnu comme contemporain. La chambre canadienne-fran\u00e7aise, les lits \u00e0 colonnes grav\u00e9s de Je me souviens<\/em>, les panneaux sculpt\u00e9s g\u00e9om\u00e9triquement : tout cela fabriquait une sc\u00e9nographie du pass\u00e9 colonial, non du pr\u00e9sent vivant.<\/p>\n

\"\"

Chambre “canadienne fran\u00e7aise”, Ch\u00e2teau Frontenac, Archives du Canadian Pacific Railway, M.5017.<\/p><\/div>\n

Ce n’est pas un hasard si ces choix co\u00efncident avec le projet identitaire du Canadien Pacifique lui-m\u00eame : celui de vendre un Canada exotique, sublime, \u00e0 la fois archa\u00efque et accessible. Kate Reed en \u00e9tait, consciemment ou non, une actrice centrale.<\/p>\n

\"\"

Kate Reed lit \u00e0 son pupitre dans la suite Royale du Ch\u00e2teau Frontenac. Un portrait d’elle (1901), par Robert Harris, est accroch\u00e9 au-dessus. Vers 1905, C.P.R. Archives, A.1651.9.<\/p><\/div>\n

Son portrait, command\u00e9 \u00e0 Robert Harris en 1901 et accroch\u00e9 dans son bureau-salon de la suite royale du Ch\u00e2teau, dit beaucoup sur la femme qu’elle \u00e9tait. Elle \u00e9crit dans son journal : “I know Hayter will think I am crazy to put myself into a portrait \u2014 BUT I feel I owe it to my children and to their children. I want them to feel ME.”<\/em> Cette phrase saisit une femme qui savait son importance, m\u00eame si l’histoire officielle tardait \u00e0 la lui reconna\u00eetre.<\/p>\n

\"\"

Robert Harris, Portrait de Kate Reed, 1901, Mus\u00e9e McCord, MEL 966.188.1.<\/p><\/div>\n

Kate Reed est d\u00e9c\u00e9d\u00e9e en 1928, sans jamais figurer dans le canon des Great Lady Decorators<\/em> qu’Adam Lewis a reconstitu\u00e9 en 2010, aux c\u00f4t\u00e9s de Dorothy Draper, Syrie Maugham et Elsie de Wolfe. Cette absence est r\u00e9v\u00e9latrice. Le design canadien reste trop souvent regard\u00e9 depuis ses marges, avec des \u0153uvres majeures laiss\u00e9es dans l’ombre des r\u00e9cits institutionnels. Reed m\u00e9rite sa place dans cette histoire : pas comme anecdote, mais comme figure fondatrice dont l’\u0153uvre, complexe et contradictoire, refl\u00e8te pr\u00e9cis\u00e9ment les forces qui ont fa\u00e7onn\u00e9 ce pays.<\/p>\n","protected":false},"excerpt":{"rendered":"

Le nom de Kate Reed circule peu dans les conversations sur l’histoire du design canadien. Pourtant, cette femme n\u00e9e \u00e0 Cobourg en Ontario en 1856 a, selon toute vraisemblance, pos\u00e9 les fondements du m\u00e9tier de d\u00e9coratrice d’int\u00e9rieur au pays, bien avant qu’Elsie de Wolfe n’ouvre le Colony Club \u00e0 New York en 1907, souvent cit\u00e9…<\/p>\n

Read More<\/a><\/p>","protected":false},"author":1,"featured_media":27996,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4510,2099],"tags":[4580,2968,4579],"class_list":{"0":"post-27793","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-design-her","8":"category-interieurs","9":"tag-designer-canadienne","10":"tag-featured","11":"tag-kate-reed","12":"entry"},"yoast_head":"\nKate Reed, premi\u00e8re d\u00e9coratrice du Canada<\/title>\n<meta name=\"description\" content=\"Au d\u00e9but du 20e si\u00e8cle, Kate Reed a d\u00e9cor\u00e9 les grands h\u00f4tels du Canadien Pacifique. 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