Calash c. 1936

Editor: This is “Calash,” a watercolor and drawing made around 1936 by Esther Peck. I’m immediately drawn to the intricate folds and the single, bold color. What catches your eye when you look at this, maybe beyond the obvious bonnet shape? Curator: You know, it whispers secrets of another era, doesn’t it? Not just a bonnet, but a story held together with watercolor and light. The calash itself was such a fascinating item – a kind of foldable hood women wore to protect their hairstyles in carriages. It’s like looking at a portable private space. Does it spark your imagination in that way? Editor: Definitely, it makes me think about what it would feel like to have that sort of constraint and need for protection. But there’s something beautiful in it, too. Almost architectural. Curator: Yes, architecture made of fabric! It tells you that in the ‘30s, Peck was reflecting on bygone days. What do you think it tells you about how a woman may have seen or conducted herself back then? How the weight of such fashion rules can dictate so much. It’s there, in every precisely painted pleat, wouldn't you agree? Editor: It's interesting that you describe this item as reflecting on bygone days and being simultaneously beautiful but restricting. That tension really opens up the dialogue. Curator: Yes! Isn’t it brilliant how an image of something as simple as headwear opens up a whole avenue into how people navigate society? So, where does your curiosity lead you next with this piece? Editor: This has definitely changed the way I see historical fashion illustrations. It’s no longer just about clothes; it's about stories and context. Thanks for pointing that out.