Tapes for Chair Seat 1935 - 1942

Editor: Here we have Lucille Gilchrist's "Tapes for Chair Seat," made sometime between 1935 and 1942 using a mix of drawing, textile, and watercolor techniques. I'm really drawn to the way these simple textile swatches feel both functional and visually appealing. As an art historian, what story do you see woven into this work? Curator: Well, immediately, I think about the role of design during the Depression era. Mass production was key, and the question became, "How can we make everyday objects beautiful and affordable?" These tapes weren’t just about functionality; they were about bringing aesthetic considerations into the domestic space, likely aimed at a growing middle class. Editor: That's a good point. I was focusing more on the formal aspects, but the socio-economic angle makes sense. Was textile design considered fine art at this time? Curator: That’s a loaded question! The distinction between “art” and “craft” has always been fluid, influenced by societal values and the art market. Something like this challenges those categories. Were these designs destined for factories, or for individual artisans? Did the designer benefit? Knowing that would significantly change how we contextualize it. How do you interpret the colour choices? Editor: They strike me as pretty subdued, almost practical. There's not a lot of vibrancy. Curator: Precisely. Color was money. Gilchrist needed to balance aesthetics with cost-effectiveness. The muted palette might reflect a desire for timelessness. If someone purchased a chair with these tapes, it wouldn’t go out of fashion quickly. Plus, such designs potentially expanded artistic expression to new audiences and contexts. Editor: So it was not just a pretty picture, but really part of a whole social ecosystem. Thanks, I didn't think about that before. Curator: Exactly! I found your questions about formal aspect to have uncovered the real history embedded here.