Très Parisien, 1926, No. 1, Pl. 11: Création ANNA, Création PHILIPPE ET GASTON 1926

G-P. Joumard made this print, Très Parisien, in 1926, maybe with lithography or pochoir; something that lends itself to flat colour. I imagine Joumard might have been interested in the cut and silhouette as much as the ornamentation. The surface is so smooth, unlike painting where the medium can have so much presence. I always wonder, what if we could dive into a painting or a print and be inside of it? Like the painter, who is inside their process. I feel like I know them when I look at their gestures. Here, the dresses appear so solid, like blocks, and yet they are just floating there, rendered on the page, like a daydream. Maybe Joumard was thinking about other fashion plates of the era, or like Sonia Delaunay's fabric designs, finding a new way to depict the zeitgeist of Parisian style. We are all in an ongoing exchange, each of us a note in a long conversation, inspiring each other's creativity, across time.