As is often the case in the works of Tennessee Williams, in Twenty-seven Wagons Full of Cotton, we're given insight into a world that, though recognizably situated in a particular time and place, nonetheless has more than a hint of unreality about it.
When the curtain goes up for the opening scene, we're introduced to a house which, in Williams's detailed stage directions, is described as "not unlike a doll's house." With its fluffy white curtains gathered in the middle by baby-blue satin bows, that's precisely what the Meighans' place resembles. Even before we've been introduced to Jake and Flora Meighan, we sense that they live in a world of their own, somewhat apart from other people.
In particular, the doll's house façade of the house hints very strongly at what kind of person Flora Meighan is. As we will discover throughout the rest of the play, Flora is something of a doll, the plaything of the men in her life.
The house in which she lives and to which we're introduced right at the start of the play should therefore be seen as a symbol of the childlike state in which Flora is kept by her husband Jake. Confined to a narrow domestic environment, Flora, like Nora Helmer in Ibsen's play A Doll's House, is unable to develop, either emotionally or intellectually.