Très Parisien, 1923, No. 4: 13. - COBBALT. Un charmant costume... 1923

Editor: This is "Très Parisien, 1923, No. 4: 13. - COBBALT. Un charmant costume..." from 1923. It’s attributed to an anonymous artist and seems to combine drawing, tempera, and print techniques. I find the bold colours and flattened perspective so striking, very modern. What stands out to you about this piece? Curator: It is quite striking, isn't it? For me, it speaks volumes about the changing role of women in the 1920s. Fashion became a powerful tool for self-expression. Editor: How so? Curator: These women, in their ‘garçonne’ style, defied traditional ideals of femininity. Look at the simplification of form, the bold embrace of color – it's a rejection of Victorian constraints, of corsets, both literal and figurative. What do you see in their postures? Do they evoke a sense of liberation to you? Editor: I can definitely see the idea of liberation. The woman in blue, especially, looks so self-assured with her cane. Almost like a dandy. Curator: Precisely. The adoption of traditionally masculine accessories further blurs gender lines. Consider also the economic and social factors: the rise of the flapper culture, increased visibility of women in the workforce…This print becomes more than just fashion; it documents a shift in power dynamics. The clothing embodies these shifts and reveals social rebellion. Editor: That's fascinating. I hadn't considered the social and political implications so explicitly. Seeing it as a document of women claiming agency and disrupting social norms makes a huge difference. Curator: Exactly. Art acts as a mirror reflecting, and often challenging, the world around it. Thinking about art as related to wider social shifts makes its complexities clearer, wouldn't you agree?