Mlle Simon 1865

Editor: Here we have André-Adolphe-Eugène Disdéri's "Mlle Simon," from 1865, a photograph presented within a curious page of posed subjects. The shift in clothing, specifically between the everyday wear and performative garments is captivating. What stories are they telling? Curator: That's a keen observation. Disdéri was a master of the carte-de-visite, a popular calling card format, and portraiture more broadly, during the Second Empire. The portraits tell a complicated story of gender, performance, and power. Have you noticed the differing poses and their correlation to what looks to be assigned ‘gender roles’ being depicted? Editor: I do now! There’s definitely a staged feeling to it all. Why would he choose to depict the sitter in what appears to be different acts or roles? Curator: Exactly. In an era of shifting social norms and growing bourgeois aspiration, photography offered a space for crafting identity. Think about the ways this reflects societal expectations and the performative aspects of gender and class at the time. Does this challenge or reinforce those boundaries, in your opinion? Editor: It’s interesting to consider these through the lens of "performativity.” On one hand, you can argue they’re showcasing different sides of someone's character, their aptitude. However, it’s also reinforcing gender norms, as you mentioned. The theatrical clothing seems connected with societal expectations rather than genuine desire. Curator: Precisely. It encourages us to investigate how deeply embedded societal roles can be, and how we continue to challenge those roles today. Disdéri's piece becomes a tool for that investigation. Editor: It really does offer an opportunity for discourse on those subjects, past and present! I see the value of looking through a feminist perspective to learn even more about the photograph's underlying layers.