Très Parisien, 1925, No.9, Pl. 18.- GRISELIDIS 1925

Curator: This is “Très Parisien, 1925, No.9, Pl. 18 - GRISELIDIS,” a drawing by G-P. Joumard, currently held at the Rijksmuseum. The linear quality and the palette of off-whites and reds give it a charming, vintage feel. What catches your eye about it? Editor: I'm really drawn to how stylized it is; it seems so indicative of the Art Deco period, and how fashion illustrations capture the time’s evolving tastes. I'm curious about the material aspect of it; can you elaborate on what it means to consider it as a material object? Curator: Certainly. When we examine the “stuff” of this drawing – the paper, inks, the techniques of printing involved in disseminating such images – we see how industrial production methods supported the fashion industry and a rising culture of consumption. Consider the kasha de Rodier fabric mentioned in the description. This isn’t just about design, it is about labor conditions in textile mills and global trade networks that brought those raw materials into being. Editor: So, looking at this image isn't just about aesthetic appreciation; it connects us to the tangible world of making and the economy behind it all. The text below the image clearly focuses on the materials; what's the deal with that? Curator: Precisely. In emphasizing 'kasha', the image underscores that consumption isn't a superficial act but embedded within layers of manufacturing, advertisement and aspirational consumerism that shaped societal ideals. This wasn't just art, but marketing. Editor: I hadn’t considered the marketing angle so directly, viewing it primarily as art and a cultural document. I see the connection between design, materiality, and the broader socio-economic context in a new light. Thank you! Curator: And I appreciate your curiosity and willingness to delve into the less immediately visible aspects of this artwork; it demonstrates that the object opens a conversation of immense historic scope, linking material, production, and aspiration.