Bonnet 1935 - 1942

Curator: Here we have "Bonnet" by Jean Peszel, created sometime between 1935 and 1942 using mixed media drawing techniques. Editor: It's certainly striking! My initial impression is one of duality; there's the darker, richly rendered bonnet contrasting against a more skeletal, ethereal rendering of another hat. Curator: The play with light and shadow is compelling. The texture implies particular materials—perhaps glazed cotton or leather, a sheen achieved through the media she’s employed. Editor: Absolutely. I find myself focusing on the line work. See how she defines the shape with confident strokes? There's an interesting tension between the weight of the dominant hat and the almost unfinished quality of its companion. It hints at transition or maybe incomplete construction, but also class divisions of fine fabric and simpler lines. Curator: We can explore the socio-economic angle through an assessment of hat making at the time. The craftsmanship of such bonnets involved skilled labor and signifies certain access to materials unavailable to the masses. And this was between 1935-42, amidst significant economic shifts during WWII, where access to materials could have influenced their creation. Editor: I agree it’s essential to consider those larger contexts. The rendering choices still invite us to interpret. The absence of color in the second bonnet draws us in, like we could decide its colour as well. I can imagine how women aspired to create the richer item with fewer means, and how this work highlights the transition between classes, old traditions and modern innovation. Curator: Perhaps it represents the aspiration towards sophistication and luxury at a pivotal time? I keep thinking about labor; what would it have cost to commission? Was this designed and produced within the household, or made by skilled professionals? Editor: That’s an insightful direction to explore. This analysis brings our focus away from just an appealing visual display toward the real people who had these types of bonnets and all who helped to make and reproduce such objects. Curator: A fascinating way of illustrating societal fabrics with… fabric. Editor: Exactly! I've certainly got more to consider here. Thank you for this opportunity.