Chemise c. 1938

Editor: This is Eugene Croe’s "Chemise," from around 1938, a pencil drawing on toned paper. It's quite simple, really, almost like a technical drawing. How would you interpret this work? Curator: Seeing this drawing, I'm immediately drawn to considering the gendered history of labor and fashion. It’s not just a study of a garment, it’s a glimpse into the domestic sphere, a space historically relegated to women. Consider, who would have worn this, and who would have likely made it? What societal expectations are subtly woven into the folds of this simple chemise? Editor: That’s interesting. I was so focused on it as a fashion design that I didn't really consider it in that context. Curator: And that context is crucial. During the 1930s, mass production was changing the fashion landscape, but handmade items still held a certain value, didn’t they? A chemise like this might represent both personal care and a quiet form of resistance against industrialization. Do you see it that way at all? Editor: I do now that you mention it. It makes me think about the economics of dressmaking and who had access to handmade garments. Were these skills passed through generations? Curator: Exactly. The seemingly simple sketch invites questions about class, skill, and the social construction of femininity in the interwar period. It invites us to ponder the politics of the everyday, the unseen labor embedded within even the most intimate garments. Editor: This conversation has really opened my eyes. I appreciate the new perspectives. Thank you. Curator: My pleasure. Hopefully, by engaging in discussions such as this one, we start unpacking some complex issues surrounding identity.