A significant portion of the theoretical discourse on modernization reform of applied art and design in Slovakia led by the cultural and political elite in the 1920s was based on the ideological framework of “national culture.” In journal articles, leading proponents of the reform, Josef Vydra and Antonín Hořejš, constructed the concept of “modern national applied art,” which they defined based on an objective, perceived quality: “national specificity” or a “character of national culture,” which they eventually came to label “modern peculiar character” (Vydra).
