Plate I from Cabinet des Modes 1 - 1786

Curator: This is "Plate I from Cabinet des Modes," dating from 1786 and created by A.B. Duhamel. It is currently located in the Minneapolis Institute of Art and realized using etching, ink, and drawing on paper. It seems like it could have been a print used for the purposes of circulation? Editor: Utterly frivolous! But in a delightful way. All those hats with their plumes and frills... it feels very "let them eat cake," though undeniably stylish. Curator: These prints were made specifically for those who *were* eating cake! Or at least aspiring to. It highlights the labor involved in creating these objects of desire, with emphasis on specialized skills within the print and fashion industries, such as the engraver, printer, and *modiste*. Editor: Absolutely, a window into the material culture of the late 18th century, and particularly the lives of women within that system. These weren't just hats; they were potent signifiers of social status, carefully constructed identities broadcasting wealth and refinement. One also wonders about those women who couldn't afford these hats, but worked to make them... Curator: A sharp and astute observation. The detailed etchings, the choice of ink... It also serves as a document showcasing how aesthetic trends are visualized and distributed to those crafting or looking for such status. A vital component in both the manufacture and promotion of these designs! It served a practical purpose that transcended the whims of personal style. Editor: And what about the gazes of these women? Three out of the four sets of eyes stare right back at us, while all display their best features with an air of confidence that feels surprisingly bold. This might suggest these images aimed to promote autonomy of expression through personal fashion? Curator: An interesting question. We must note that this drawing also speaks of social norms. Etching wasn't accessible to many women and there were constraints within the guild system that women had to work against to enter these spaces. Editor: Fascinating! It appears we are seeing simultaneously a record of the gilded lifestyle of a select class, alongside evidence of the complex negotiations inherent for women working within those spheres. Thank you. Curator: Indeed, it seems there’s an ongoing negotiation between individual agency and established structure within fashion's own image economy, that carries onto today.