Shoulder Cape c. 1936

Curator: Well, look at this vibrant design, a preliminary study rendered around 1936 by Beverly Chichester. The piece is identified as "Shoulder Cape" and combines watercolor and colored pencil techniques to achieve its effect. What strikes you about it initially? Editor: My first impression is whimsy, almost theatrical. The deep blues against the black lace trim remind me of some dreamy costume design from a strange fairytale opera. And the tiny embroidered flowers lend such a touch of playful elegance, don't you think? Curator: I find it fascinating how Chichester blends these artisanal details into the potential blueprint for manufactured garment. It's a visual representation of the intersection between handmade luxury and mass production in the early 20th century. Were such designs meant to democratize beauty, making haute couture accessible to a wider audience? Editor: Exactly! I imagine someone flipping through fashion catalogs, spotting this drawing, and envisioning themself transformed. There's a transformative element there, but also something poignant. Are these aspirations to high style attainable or always slightly out of reach? Is there almost a gentle mocking in its detailed and meticulous finish of what it is to want this design? Curator: That potential gap between aspiration and reality would certainly resonate during the social and economic conditions of the time. Fashion became increasingly available through catalogs and department stores, yet a truly exclusive design like this still carries the weight of its cultural capital. Editor: Looking closer at the drawing technique—see how the watercolor washes give depth to the fabric while the colored pencils capture the intricate lace work? It is a great achievement given how watercolor can act unpredictable to any kind of finishing touches on its base! Curator: And how the flowers soften the geometric nature of the overall piece. There's a tension created there, too, wouldn't you agree? This push and pull reveals a negotiation of identity itself. Editor: Yes, I’m leaving with the idea of adornment—as aspiration, construction, or performance. It all depends on how you read this image. Curator: Indeed, whether one views this image as a technical document or a study on desires, Chichester's Shoulder Cape provides plenty to reflect on.