Hoed van zwart stro, versierd met moirélint en struisveren c. 1900 - 1910

Curator: What an extraordinary artifact! We are looking at a photograph of a hat believed to be from around 1900 to 1910, its title, "Hat of black straw, decorated with moire ribbon and ostrich feathers," offering us a peek into its composition. It is an interesting mixed-media artwork composed of photography and textile. Editor: My initial impression is one of contained drama. It’s somber but possesses a performative quality, all in the dense materiality and dark palette. It feels very evocative. Curator: Indeed. Hats such as this were very prominent signifiers. It raises interesting questions about the female image and the performance of social identity during that era. Consider the symbolism of the ostrich feathers; they were, for a period, harvested to the brink of extinction. A woman who could afford this hat broadcasts that status, that dominance, but there’s an intersection here with the violence of colonialism. Editor: Exactly! I think focusing on that symbolism is incredibly insightful. Beyond personal identity, we see the hat embodying anxieties about resources and global exploitation in a very material way. And it shows that these anxieties are draped onto this image of femininity. Curator: Furthermore, how do we unpack the absence of a wearer? The disembodied hat. It forces us to contemplate a presence. The construction and consumption of "femininity," perhaps? It pushes boundaries around issues of class, colonialism, and labor that may have been considered unconventional topics in traditional museum spaces, too. Editor: Right. Thinking of its location within a museum collection adds another layer, doesn't it? How it’s now charged with different narratives by the institution showcasing it. Is it meant as a relic of a bygone era or a reminder of unresolved histories? Curator: Well, whether presented as a social artifact, fashion icon, or unsettling reminder, this ornate hat prompts much deeper reflections. Editor: Definitely food for thought, especially about our place in contemporary discussions of gender, exploitation, and visuality.