Gazette du Bon Ton, 1920 - No. 7, Croquis Pl. XXXVI: Poiret 1920

Editor: This is "Gazette du Bon Ton, 1920 - No. 7, Croquis Pl. XXXVI: Poiret", a print by Fernand Siméon. It feels so classically Art Nouveau with its delicate lines. I'm struck by how the clothing design incorporates a very clear silhouette with an elegant shape. What do you notice when you look at this print? Curator: Primarily, I observe a sophisticated interplay of line and form, with the recurring diagonal stresses generating significant visual interest. Observe the contrast between the flounced jacket on the left and the austere verticality of the central figure. Note also how this layering establishes rhythm throughout the work. What do you make of Siméon’s choice to limit his palette? Editor: It almost gives the print a timeless quality. It’s like these fashions are always relevant because they’re not overly defined by specific colors. So you're suggesting the choice of colors – or lack thereof – highlights the foundational shapes themselves? Curator: Precisely. Color can distract. Here, we're directed to assess proportion, the relationship of planes, the construction of an ideal. Note, for instance, the similar placement of the three figures and their slightly divergent gestures; these present three subtly contrasting facets of what the artist would deem a balanced composition. Consider how each costume emphasizes and exaggerates certain anatomical features. Editor: That makes sense. I hadn't noticed those subtle repetitions before. The way they're arranged almost feels like a study in variations. Curator: And what about the function of art and commerce mingling, as we have here? Is this fashion design or art? Or something in between? Editor: It's interesting to see art used so explicitly for commercial purposes, and you are making me reconsider this drawing, paying closer attention to all of its carefully planned components and contrasts, instead of casually noting "fashion." Curator: Precisely, this print is more than a document. It offers critical reflection on line, shape, and form itself.