Magasin des Modes Nouvelles Françaises et Anglaises, kopie naar 1787, Pl. 1, 8e cahier 1787

Curator: This lovely drawing is titled "Magasin des Modes Nouvelles Fran\u00e7aises et Anglaises, kopie naar 1787, Pl. 1, 8e cahier," and dates to 1787. The artist listed is J.J. Tuttot. Editor: Oh, the pastels! It's like a sugared almond became a whole outfit. And that enormous headpiece, like a ship in full sail…slightly intimidating but undeniably charming. Curator: Absolutely! These fashion plates were not mere illustrations. Consider the intense labour represented, from weaving textiles to intricate lacework; how dressmaking supported a burgeoning industry of largely female labourers. The social meaning—these garments defined class. Editor: It’s interesting to consider the politics woven—literally!—into the very fabric of the day. I find this figure embodies a very rococo sense of playful absurdity. Almost like she doesn’t quite believe in her own grandeur. Curator: Precisely! The medium is watercolor, offering delicacy that tempers that inherent status signifier you noticed. The washes imbue the textures with an approachable softness. But the original plate was a product to sell: note how the title explicitly lists two regions – France and England – subtly hinting that there’s choice, maybe competition, in acquiring *this* look. Editor: Right, so while visually ethereal, its practical context lies in mercantile pursuit. The hand resting jauntily on her hip even reads as a pose designed to show off design details more than regal poise. This single sheet reveals such layers of fabrication – the fabric itself, and also this early method for mass distributing 'the look'. It hints at fashion’s early reach as a driver in consumer society. Curator: Yes, we forget that early examples of fashion were so deeply connected with artistry and industry in that way. But consider how watercolours such as these circulated tastes; perhaps creating and distributing aspiration much earlier than many of us imagine. Editor: From powdered wig to painted watercolour, these artifacts remind us: taste making always had material costs, dreams never quite escape tangible hands.