Très Parisien, 1926, No. 2, Pl. 14: Créations PREMET - POUR LE THÉ 1926

Curator: Here we have G-P. Joumard's "Tr\u00e8s Parisien, 1926, No. 2, Pl. 14: Cr\u00e9ations PREMET - POUR LE TH\u00c9", a print in watercolor and drawing medium housed at the Rijksmuseum. It presents two flapper-era women in distinct dresses. What are your initial thoughts? Editor: I'm struck by the almost melancholy feel, even with the vibrant art nouveau style. The color palette feels muted despite the design being bold and, dare I say, modern? What exactly should I be paying attention to? Curator: Let's delve into that tension. The art nouveau elements provide a sense of ornamentation and luxury. Think about the social context: the '20s were a period of immense social change. Women gained more rights, entered the workforce, and challenged traditional gender roles. How might these fashion plates reflect those societal shifts, while still existing within a deeply patriarchal fashion system? Editor: That's a perspective I hadn't fully considered. I guess it is kind of revolutionary how the dresses don't conform to a certain body type as had always been expected of women? It's so incredibly modern to not try to force conformity. Curator: Exactly! These aren't just pretty dresses; they are expressions of burgeoning female empowerment within consumer culture. Now, consider the ways these images would have been disseminated, to whom, and how that would reinforce a class structure... Editor: That makes a lot of sense! There are so many layers here; I wouldn’t have picked up on them without your insight. Curator: Precisely, understanding the work involves navigating complex historical and political currents, it is amazing to see the fashion that goes alongside these periods!