Waisted Effort, Brown and Bigelow calendar illustration 1952

Editor: Here we have Gil Elvgren's "Waisted Effort," a 1952 calendar illustration rendered in oil paint. The woman's surprised expression gives the scene a sense of playful mischief, but I’m also drawn to how the artist meticulously painted each garment. What stands out to you when you look at it? Curator: I'm interested in this image's connection to the labor of fashion. Note the overt display of undergarments and tailoring tools: the open trunk overflowing with fabric, the tape measure, and the dress form itself. These were, and continue to be, instrumental in crafting feminine ideals, perpetuated and consumed through media such as the Brown and Bigelow calendars this was made for. How does this relate to the history of making clothing for women? Editor: That’s fascinating. So, the painting isn't just about the idealized woman, but also the *industry* of shaping that ideal? Curator: Exactly. Think about the layers of material and labor involved: from the textile production, to the unseen hands that sewed these garments. Elvgren profits, Brown and Bigelow profit. Even the model profits to a certain degree. It brings to mind questions of how such representations reinforce specific standards, and who benefits most from them. Who do you imagine was the target audience for this piece, and how might they have interacted with this image? Editor: Probably mostly men at the time. The pin-up style is meant to be alluring, something to admire passively. Knowing now that it's tied to this larger system of production gives it an unsettling edge. Curator: Indeed. Examining the materials and context in which this image was produced reveals so much about mid-century culture. Editor: It definitely shifts the focus from simply admiring the image to questioning its role in a consumerist society. I’ll definitely think about this in future encounters. Curator: Glad to have shared these insights with you!