Dress 1887

Editor: This dress, made by White Howard & Co. in 1887 and held here at the Met, is absolutely captivating in its design. The bold use of that singular rust-red hue, combined with the texture play, immediately draws me in. What compositional elements stand out to you? Curator: Indeed, let us examine the rigorous structure. The garment exhibits a sophisticated manipulation of line and form. Note the cinched waist, a defining characteristic, creates two distinct visual fields within the composition. How do the various design elements accentuate or interrupt the silhouette? Editor: Well, the cascading fabric and the elaborate draping, along with the gold detailing, really give it a sense of movement and dynamism despite its static form. Does that level of ornate detail affect its overall construction? Curator: Precisely. Consider the visual tension between the smooth satin of the upper bodice and the rich velvet of the skirt. Semiotically, the textures engage to signal both opulence and restraint. We observe visual balance – and imbalance, too. What does the visual cadence achieve for its aesthetic? Editor: The high collar and long sleeves, offset by the gathered skirt, suggest a demureness and simultaneously a sense of drama – a fascinating combination! I hadn't considered how intentionally the different textures speak to each other. Curator: This object provides fertile ground for contemplating how materials intersect with meaning. Formalist readings help us deconstruct how the aesthetic, design, and structural arrangement evokes this very reading.