Journal des Modes, 1836, No. 19 : Toilettes de Bal 1836

Curator: "Journal des Modes, 1836" showing "Toilettes de Bal"—a lovely watercolor illustration depicting ladies in elaborate ballgowns. The detailed rendering of the dresses really grabs the eye. What strikes you most about this image? Editor: The sheer intricacy of the gowns. The amount of work and the specialized skills involved in creating these ephemeral fashions... It really makes you wonder about the people who were involved in creating this kind of material culture. How does the artist capture this idea through the medium? Curator: I see a direct commentary on consumption and class through the representation of these luxurious garments. Consider the labour involved—the weaving of the fabric, the stitching of the dresses, the crafting of the floral decorations. It speaks to a highly stratified society. Does the print itself function as a commodity? Editor: Absolutely. It is mass-produced yet caters to an exclusive audience. The coloured pencil highlights on the original give it that sense of uniqueness that speaks to the individual who desires this unattainable luxury. Curator: Exactly. So, the print performs a complex dance, doesn’t it? On one hand, it democratizes the *image* of high fashion, making it accessible to a wider audience via printed media. But, the illustration's appeal *depends* on the exclusive nature of the *clothing* being advertised. It reproduces existing hierarchies while potentially stoking desires across class lines. Do you think that the focus is more on aspiration or is there any implied labor through these images? Editor: I think it is more aspirational. While there’s labor implicit in the materiality, the composition and romantic style downplay those aspects in favour of fantasy and status. But acknowledging the role of skilled garment workers helps me see beyond just the elite consumer! Curator: Precisely. Understanding that even something seemingly frivolous like a fashion plate implicates entire networks of production changes our appreciation and our criticism of such work.