Gallerie des Modes et Costumes Français, nr. 23, kopie naar dd. 165: Caraco à la Polonois (...) 1780 - 1785

Curator: Look at this delightful scene from the Rijksmuseum, "Gallerie des Modes et Costumes Français," printed sometime between 1780 and 1785 by an anonymous artist. It depicts a woman in high fashion, with the original etching brought to life through delicate coloring. Editor: Well, "delightful" is one word! My first thought is… parrots had it good back then. Check out that headwear. Those colours practically shout "look at me", like some kind of feathered rebellion against good taste. I kind of love it, actually. Curator: Indeed! What’s interesting here is less about pure aesthetics and more about the fashion plate’s role in disseminating style trends. These prints became powerful tools for constructing identities, reflecting and shaping desires, particularly within elite social circles. This print showcases a ‘Caraco à la Polonoise’, trimmed gracefully with colored ribbons – almost a proto-advertisement. Editor: Right, right, the *politics* of fashion… Still, she’s totally working that over-the-top vibe! Like, "I'm holding a bird next to a bizarre coat rack, what of it?" There’s this whole performative aspect of status here that just oozes from the composition – not just the clothes, but how they’re worn, held, seen, it's like, this isn't just a dress, it's an entire announcement! Curator: Precisely. Prints like this helped blur boundaries, making aristocratic style visible and accessible. Of course, access was limited by cost, literacy, and social barriers. But the seeds of fashion’s democratization are undeniably present. Think of fashion magazines today; the function is very similar! Editor: So, was everyone walking around looking like a cake topping? That seems…exhausting. Also, did that parrot sign off on that pose? It’s giving me side-eye! Jokes aside, it is kind of powerful to consider fashion as this ongoing visual conversation throughout history, right? We still talk about clothes just as loudly. Curator: Yes, it’s a cyclical, visually loud, often commercially driven conversation, and pieces like this give us a vital glimpse into one particular exchange from the late 18th century. Editor: A delightfully strange conversation, I’d say, now if only I could pull off those hats.