Ankle Band or Garters c. 1937

Curator: Here we have Lyman Young's "Ankle Band or Garters," a watercolor and graphite drawing created around 1937. Editor: Immediately, the somber tones evoke a sense of restraint, don't they? These bands, almost like dark cocoons, suggest hidden layers of adornment… Curator: Indeed. Considering its time, this piece offers a glimpse into the constricting societal norms around female presentation. The ankle, often fetishized, is here both emphasized and obscured, creating a visual paradox. It's a moment in fashion history where the push and pull of displaying versus concealing plays out. Editor: The clasps, buckles, and even that small scissors-like form pinned to one—they read as symbols of both binding and potential release. The golden hue, set against the overall darkness, has an almost ritualistic weight to it. The lower band's fastener recalls Celtic knots – eternal, unbroken. Curator: Absolutely, and let’s think about class. Were these bands signifiers of wealth or of a specific social positioning that dictated their necessity? Were they markers of control—worn, or were they a form of silent rebellion, adornments chosen and styled? The presence of scissors could certainly imply an active agent ready to push back on constricting fashion codes. Editor: Yes! And water-based media enhances the air of elusiveness and delicacy and transience here: watercolor washes lend an additional aura of vulnerability. Considering fashion's ephemeral nature, it makes sense for this depiction. Curator: Considering Young’s context as a popular comics artist perhaps these objects offered further commentary for gender roles outside of his illustrative universes. The image encourages us to rethink everyday items as powerful reflections of broader social issues. Editor: Looking at these sartorial objects reveals far more than fashion itself: in them, are ideas about class, labor, access, freedom of choice and even how long the cultural memory retains meanings assigned to each. It is the potential to read so many layers within the lines. Curator: Precisely. And that constant reassessment—that's the ongoing project of historical and political context when looking at art. Editor: I find myself thinking of each dark, symbolic fastening here as both binding us in the past and urging liberation towards the future.