Evening slippers 1845 - 1865

Curator: Oh, how graceful. These are "Evening Slippers," created sometime between 1845 and 1865. Editor: They look… functional? My immediate thought is, “dancer.” Something about the simplicity and stark black against that pristine white backdrop makes me think of early photography too—very direct. Curator: Precisely! I think you’re picking up on that inherent tension of the utilitarian meeting the refined, like the ballerina’s struggle—the absolute physicality needed to achieve a fleeting illusion. These slippers, housed at the Metropolitan Museum of Art, embody that paradox. Editor: Indeed. And black—why black? I find myself pondering the performance of identity here, especially since ballet at this time often reflected stringent societal expectations around femininity and performance. It is as if they have not yet appeared on stage to perform womanhood. Curator: I think the choice could be tied to available materials. Black dyes were fairly stable, while other colors might fade. So the aesthetic is somewhat dictated by the practical considerations of the time, yet there’s an undeniable chic quality to it as well, don't you agree? The minimalist in me loves the economy of design. Editor: Definitely chic, now. But think about who was likely wearing them, the context, right? Ballet was, and arguably still is, rife with issues of class and gender expectations. Were these slippers symbols of liberation through dance or another layer of societal constraints? The symbolism intrigues me. I wonder how much agency the dancer using these tools even had. Curator: It really makes you contemplate the duality of beauty and restriction that pervades so much art history, doesn’t it? I’m off to attempt a pirouette! Editor: Be careful not to twist your ankle, and I will consider how such dainty shoes upheld a structure where everyone must remain balanced so as to avoid collapsing.