Handschoen, galahandschoen, van wit wasleer met sluiting van parelmoeren knoopjes c. 1930

Curator: What elegance! At first glance, these off-white gloves look almost spectral, like something from a dream… or a very stylish ghost. Editor: Indeed. This work, dating to around 1930, presents us with a pair of "Handschoen, galahandschoen, van wit wasleer met sluiting van parelmoeren knoopjes"—that is, "Gloves, gala gloves, of white waxed leather with a closure of mother-of-pearl buttons"—created by M. Laimböck. Immediately striking is their exaggerated length; they extend far beyond the wrist. Curator: They feel like they are about to whisper secrets of jazz clubs, smoky lounges, clandestine affairs! I can almost hear the rustle of silk gowns and the clinking of champagne glasses. It evokes a world of subtle intrigue and opulent gatherings. Editor: Absolutely. These gloves weren’t mere accessories; they were integral to crafting a certain social identity. Note the material: Wasleer, waxed leather, a luxurious yet practical choice. This piece pushes us to consider how objects were valued not only for beauty but also for utility and status signaling during the period. Mother-of-pearl buttons are small signifiers, but such material details convey luxury at the time. Curator: The color too...off-white, like old Hollywood glamour. I find myself wondering who wore them and where. A dancer? A socialite? What stories these gloves could tell! Editor: The craftsmanship itself also warrants attention. It's highly likely that specialized ateliers employing skilled artisans were responsible for producing gloves like these. When we observe how each seam is rendered and fastened, we gain insight into specific labor conditions during the Art Deco era. Consider not only where and when the gloves were worn but *how* they were produced, as objects of labor. Curator: It brings an almost unexpected dimension to them; the ghostly impression I got initially turns almost haunting in a different, very human way. They transform from being about glamour to encompassing narratives of labor, class, and material constraints. I almost feel differently looking at them now. Editor: Precisely, and ultimately the convergence of aesthetic intention, material properties, and manufacturing processes produces an artifact embodying social relations specific to its time and context. Curator: A tangible encounter, and not just something lovely to admire. It gives real, and sometimes unspoken, life to what we see in front of us! Editor: Indeed, transforming our perception of seemingly simple artifacts, in this case gloves, into objects carrying significant social weight.