Très Parisien, 1923, No 10: 10. - AMITIÉ. - Très jolie cette robe... 1923

Editor: Here we have a pen and ink drawing titled "Tr\u00e8s Parisien, 1923, No 10: 10. - AMITI\u00c9. - Tr\u00e8s jolie cette robe..." made in 1923, currently residing in the Rijksmuseum. I’m immediately struck by how this image, ostensibly about fashion, captures something of the mood of female relationships. What do you see in this piece? Curator: The "Très Parisien" prints are fascinating documents of their time. Beyond the beautiful lines and the celebration of Art Deco aesthetics, this piece offers a glimpse into the construction of femininity and social dynamics in the 1920s. Notice how the women are posed – is there a sense of complicity, performance, or perhaps even constraint in these presentations? Consider how these images were consumed and what role they played in shaping societal expectations. Editor: Constraint? That's an interesting take. I mainly focused on "Amitie", which means friendship, or intimacy. I did not think to search beyond the surface. Curator: Well, what does "friendship" mean within the confines of 1920s Parisian society? Who had access to these circles, and whose stories are omitted from these fashion plates? What norms were perpetuated through seemingly harmless depictions of beautiful dresses? Think about gender roles, economic disparities, and the ever-present gaze of the male artist. Editor: So you’re saying the image subtly reinforces existing social hierarchies? Curator: Precisely. Fashion, like all forms of art, is never neutral. It can be both a tool for self-expression and a reflection, sometimes a reinforcement, of power structures. It also invites the debate and understanding of who determines the standards for beauty and style in the first place. Editor: This gives me a whole new lens to look at not just art, but magazines and commercial imagery! Thank you. Curator: A single image can contain so many layers, and thinking critically about context is the key to unlocking these meanings.