{ "schemaVersion": 1, "id": "when-a-line-becomes-a-seam", "version": "when-a-line-becomes-a-seam.2", "route": "/essays/when-a-line-becomes-a-seam", "title": "When a line becomes a seam.", "question": "Where does the composition have to negotiate an edge?", "legacy": { "essay": { "slug": "when-a-line-becomes-a-seam", "number": "02", "title": "When a line becomes a seam.", "subtitle": "Mondrian & Saint Laurent / Painting → clothing", "description": "Examine how Saint Laurent’s Mondrian dresses translate geometric divisions into construction, with a clearly identified comparison painting.", "relationship": "Documented design reference · comparative painting", "scope": "Saint Laurent’s reference to Mondrian is documented. Chicago’s 1921 Lozenge Composition is a visual comparison, not an established source canvas for this dress.", "cover": "mondrian", "figures": [ { "key": "mondrian", "role": "A painting to compare", "note": "Piet Mondrian, Lozenge Composition with Yellow, Black, Blue, Red, and Gray, 1921. The diamond-shaped canvas gives the grid a particular boundary." }, { "key": "dress", "role": "A later design, in a museum display", "note": "Jean-Pierre Dalbéra’s 2022 photograph shows a 1965 Saint Laurent dress beside a 1937 Mondrian painting. Neither that displayed painting nor Chicago’s canvas is established here as its exact source." } ], "opening": "A black line can separate two colours. In a garment, it can also help join two pieces of cloth. The surprise of the Mondrian dress lives in that double job: what the eye reads as a composition belongs to an object that must accommodate shoulders, a torso and movement. The image has acquired a body.", "observations": [ { "title": "An edge interrupts a grid", "text": "On the lozenge canvas, horizontal and vertical lines meet diagonal edges. On the dress, the composition meets a neckline, armholes and hem." }, { "title": "White is active", "text": "Compare the unequal areas of white. Their sizes and placements keep the smaller coloured fields from reading as an evenly distributed pattern." }, { "title": "A surface has depth", "text": "The displayed dress appears frontal and graphic, yet it encloses a volume. A photograph records one view of that relationship." } ], "sections": [ { "id": "passage", "title": "Another book opens another passage.", "kind": "Documented history", "paragraphs": [ "The Musée Yves Saint Laurent Paris traces the designer’s inspiration to Michel Seuphor’s 1956 book on Mondrian, given to him by his mother. The museum places the dresses in the autumn–winter 1965 collection. Here, too, a reproduced image is part of the story of how a later maker encountered an earlier artist.", "The source establishes a reference to Mondrian’s work. It does not make every Mondrian painting interchangeable. Our selected 1921 canvas lets us examine a particular arrangement of lines, fields and edges without claiming it appeared on Saint Laurent’s worktable." ], "sources": [ "ysl", "chicago" ] }, { "id": "construction", "title": "The seam is doing two kinds of work.", "kind": "Documented history", "paragraphs": [ "The Met’s account of its own dress, C.I.69.23, describes individually pieced jersey blocks, with the shaping accommodated within the grid of seams. This supports a specific reading of the collection’s construction: the geometric divisions are involved in making the garment, rather than merely being a picture printed over it.", "The photograph reproduced here shows a different museum display, not the Met object. The Met supplies construction research; Dalbéra supplies the photographed view. Keeping those roles separate prevents a useful explanation from becoming an invented object identification." ], "sources": [ "met-dress", "photo" ] }, { "id": "looking", "title": "The body becomes a moving frame.", "kind": "Close reading", "paragraphs": [ "Look first at the Chicago painting’s corners. The canvas is turned, but its black lines remain horizontal and vertical. The outer edge and inner structure disagree. A line appears to have a possible continuation beyond the boundary even though the painting itself ends there.", "A garment introduces other interruptions. The neckline removes an area; armholes cut into the field; the hem gives it a lower limit. The graphic order has to negotiate a shaped object. That negotiation is what makes the comparison more interesting than finding the same colours in two places.", "The full photograph adds a third frame: the museum display. The dress is held still beside a painting. This arrangement makes comparison easy, while withholding what wearing it would feel like. We should resist describing a photograph of a mannequin as evidence of a wearer’s experience." ] }, { "id": "public-life", "title": "A familiar grid meets a public.", "kind": "Context & interpretation", "paragraphs": [ "The dress can make Mondrian recognizable without reproducing one canvas exactly. Black divisions and unequal colour fields become a vocabulary a viewer can carry between painting and clothing. Returning to the lozenge painting restores a difference that the familiar shorthand can hide: its diagonal boundary cuts across an upright grid.", "There is also a recorded press response. The Musée Yves Saint Laurent Paris cites Combat on 7 August 1965 and Candide on 15 August, describing enthusiastic coverage of the collection. We are reading those newspapers through the museum’s account, rather than claiming to have independently examined their original pages.", "That reception concerns a collection, not every wearer or this photographed dress alone. It gives the story a public setting while leaving room for a different question: what happens to a painting’s particularity when its visual language becomes instantly recognizable?" ], "sources": [ "ysl" ] } ], "question": "Where does the composition have to negotiate an edge?", "exercise": "Follow one black line to the edge of the painting. Then find a division on the dress that meets the neckline or hem. Describe how the boundary changes what the line can do.", "limits": "A documented homage and construction account support this essay. The exact source painting for the pictured dress is not established. The photograph’s CC BY 2.0 license covers the photograph; it is not a blanket license for the designs depicted.", "sources": [ { "id": "ysl", "title": "Musée Yves Saint Laurent Paris: The Mondrian Revolution", "href": "https://museeyslparis.com/en/stories/la-revolution-mondrian", "supports": "Chapters 4–7: the 1965 collection, Seuphor’s book, construction, and quoted Combat/Candide press responses. Newspaper evidence is mediated by the museum account." }, { "id": "met-dress", "title": "The Metropolitan Museum of Art: Dress, C.I.69.23", "href": "https://www.metmuseum.org/art/collection/search/83442", "supports": "Fall/winter 1965–66; wool jersey construction and concealed shaping. A separate object from the photographed display." }, { "id": "chicago", "title": "The Art Institute of Chicago: Lozenge Composition with Yellow, Black, Blue, Red, and Gray", "href": "https://www.artic.edu/artworks/109819", "supports": "Title, maker and date of the 1921 comparison painting; open image record." }, { "id": "photo", "title": "Centre Pompidou display / Jean-Pierre Dalbéra: Mondrian dress and Composition in Red, Blue and Black II", "href": "https://commons.wikimedia.org/wiki/File:1965_Mondrian_dress_by_Yves_Saint_Laurent_et_Pier_Mondrian_(Musée_national_d'art_moderne,_Paris).jpg", "supports": "Photographer, 2022 display identification and CC BY 2.0 image license. The full photograph is retained." } ], "onward": { "label": "Open the complete Chicago painting record", "href": "/works/aic-109819-lozenge-composition-with-yellow-black-blue-red-and-gray" } } }, "edition": "existing", "format": "Visual essay", "period": "Mondrian & Saint Laurent / Painting → clothing", "places": [ "Europe" ], "themes": [ "Clothing" ], "primaryClaimId": "when-a-line-becomes-a-seam-scope", "mediaKeys": [ "journal:mondrian", "journal:dress" ], "entities": [ { "id": "journal-mondrian", "name": "Lozenge Composition with Yellow, Black, Blue, Red, and Gray", "kind": "work", "date": "1921", "mediaKey": "journal:mondrian", "note": "Piet Mondrian, Lozenge Composition with Yellow, Black, Blue, Red, and Gray, 1921. The diamond-shaped canvas gives the grid a particular boundary." }, { "id": "journal-dress", "name": "Mondrian dress and Composition in Red, Blue and Black II", "kind": "work", "date": "Dress: 1965 · Painting: 1937 · Photograph: 2022", "mediaKey": "journal:dress", "note": "Jean-Pierre Dalbéra’s 2022 photograph shows a 1965 Saint Laurent dress beside a 1937 Mondrian painting. Neither that displayed painting nor Chicago’s canvas is established here as its exact source." } ], "claims": [ { "id": "when-a-line-becomes-a-seam-scope", "text": "Saint Laurent’s reference to Mondrian is documented. Chicago’s 1921 Lozenge Composition is a visual comparison, not an established source canvas for this dress.", "kind": "acknowledged-reference", "status": "documented", "limitation": "A documented homage and construction account support this essay. The exact source painting for the pictured dress is not established. The photograph’s CC BY 2.0 license covers the photograph; it is not a blanket license for the designs depicted.", "evidence": [ { "sourceId": "when-a-line-becomes-a-seam:ysl", "locator": "Chapters 4–7: the 1965 collection, Seuphor’s book, construction, and quoted Combat/Candide press responses. Newspaper evidence is mediated by the museum account." } ] }, { "id": "when-a-line-becomes-a-seam-construction", "text": "The Met describes individually pieced jersey blocks and shaping concealed in the seam grid of its dress C.I.69.23.", "kind": "catalogue-fact", "status": "documented", "limitation": "The photographed Centre Pompidou display is a different object; the construction account is not a new identification of it.", "evidence": [ { "sourceId": "when-a-line-becomes-a-seam:met-dress", "locator": "Fall/winter 1965–66; wool jersey construction and concealed shaping. A separate object from the photographed display." } ] }, { "id": "when-a-line-becomes-a-seam-comparison", "text": "Artologium compares Chicago’s 1921 Lozenge Composition with the photographed dress to examine edges, fields and boundaries.", "kind": "visual-comparison", "status": "editorial-observation", "limitation": "This particular Chicago painting is not established as the dress’s source canvas.", "evidence": [ { "sourceId": "when-a-line-becomes-a-seam:chicago", "locator": "Title, maker and date of the 1921 comparison painting; open image record." }, { "sourceId": "when-a-line-becomes-a-seam:photo", "locator": "Photographer, 2022 display identification and CC BY 2.0 image license. The full photograph is retained." } ] }, { "id": "when-a-line-becomes-a-seam-press", "text": "The Musée Yves Saint Laurent Paris cites enthusiastic collection coverage in Combat on 7 August 1965 and Candide on 15 August 1965.", "kind": "reception", "status": "attributed", "limitation": "These newspaper accounts were read through the museum’s account. They concern the collection and do not establish every wearer’s experience.", "evidence": [ { "sourceId": "when-a-line-becomes-a-seam:ysl", "locator": "Chapters 4–7: the 1965 collection, Seuphor’s book, construction, and quoted Combat/Candide press responses. Newspaper evidence is mediated by the museum account." } ] } ], "sources": [ { "id": "when-a-line-becomes-a-seam:ysl", "title": "Musée Yves Saint Laurent Paris: The Mondrian Revolution", "author": "Musée Yves Saint Laurent Paris", "url": "https://museeyslparis.com/en/stories/la-revolution-mondrian", "kind": "institutional-account", "language": "en", "locator": "Chapters 4–7: the 1965 collection, Seuphor’s book, construction, and quoted Combat/Candide press responses. Newspaper evidence is mediated by the museum account.", "supports": "Chapters 4–7: the 1965 collection, Seuphor’s book, construction, and quoted Combat/Candide press responses. Newspaper evidence is mediated by the museum account.", "limitation": "A documented homage and construction account support this essay. The exact source painting for the pictured dress is not established. The photograph’s CC BY 2.0 license covers the photograph; it is not a blanket license for the designs depicted.", "checked": "2026-10-17", "verification": { "checked": "2026-10-17", "method": "source-text", "note": "Relevant source text and its stated object, date or license fields were inspected; this does not imply independent specialist review." } }, { "id": "when-a-line-becomes-a-seam:met-dress", "title": "The Metropolitan Museum of Art: Dress, C.I.69.23", "author": "The Metropolitan Museum of Art", "url": "https://www.metmuseum.org/art/collection/search/83442", "kind": "institutional-account", "language": "en", "locator": "Fall/winter 1965–66; wool jersey construction and concealed shaping. A separate object from the photographed display.", "supports": "Fall/winter 1965–66; wool jersey construction and concealed shaping. A separate object from the photographed display.", "limitation": "A documented homage and construction account support this essay. The exact source painting for the pictured dress is not established. The photograph’s CC BY 2.0 license covers the photograph; it is not a blanket license for the designs depicted.", "checked": "2026-10-17", "verification": { "checked": "2026-10-17", "method": "source-text", "note": "Relevant institutional record text checked through the research browser; direct scripted requests were rate-limited." } }, { "id": "when-a-line-becomes-a-seam:chicago", "title": "The Art Institute of Chicago: Lozenge Composition with Yellow, Black, Blue, Red, and Gray", "author": "The Art Institute of Chicago", "url": "https://www.artic.edu/artworks/109819", "kind": "institutional-account", "language": "en", "locator": "Title, maker and date of the 1921 comparison painting; open image record.", "supports": "Title, maker and date of the 1921 comparison painting; open image record.", "limitation": "A documented homage and construction account support this essay. The exact source painting for the pictured dress is not established. The photograph’s CC BY 2.0 license covers the photograph; it is not a blanket license for the designs depicted.", "checked": "2026-10-17", "verification": { "checked": "2026-10-17", "method": "source-text", "note": "Relevant source text and its stated object, date or license fields were inspected; this does not imply independent specialist review." } }, { "id": "when-a-line-becomes-a-seam:photo", "title": "Centre Pompidou display / Jean-Pierre Dalbéra: Mondrian dress and Composition in Red, Blue and Black II", "author": "Centre Pompidou display / Jean-Pierre Dalbéra", "url": "https://commons.wikimedia.org/wiki/File:1965_Mondrian_dress_by_Yves_Saint_Laurent_et_Pier_Mondrian_(Musée_national_d'art_moderne,_Paris).jpg", "kind": "institutional-account", "language": "en", "locator": "Photographer, 2022 display identification and CC BY 2.0 image license. The full photograph is retained.", "supports": "Photographer, 2022 display identification and CC BY 2.0 image license. The full photograph is retained.", "limitation": "A documented homage and construction account support this essay. The exact source painting for the pictured dress is not established. The photograph’s CC BY 2.0 license covers the photograph; it is not a blanket license for the designs depicted.", "checked": "2026-10-17", "verification": { "checked": "2026-10-17", "method": "source-text", "note": "Relevant source text and its stated object, date or license fields were inspected; this does not imply independent specialist review." } } ], "sections": [ { "id": "passage", "title": "Another book opens another passage.", "voice": "Historical account", "paragraphs": [ "The Musée Yves Saint Laurent Paris traces the designer’s inspiration to Michel Seuphor’s 1956 book on Mondrian, given to him by his mother. The museum places the dresses in the autumn–winter 1965 collection. Here, too, a reproduced image is part of the story of how a later maker encountered an earlier artist.", "The source establishes a reference to Mondrian’s work. It does not make every Mondrian painting interchangeable. Our selected 1921 canvas lets us examine a particular arrangement of lines, fields and edges without claiming it appeared on Saint Laurent’s worktable." ], "claimIds": [ "when-a-line-becomes-a-seam-scope" ], "sourceIds": [ "when-a-line-becomes-a-seam:ysl", "when-a-line-becomes-a-seam:chicago" ] }, { "id": "construction", "title": "The seam is doing two kinds of work.", "voice": "Historical account", "paragraphs": [ "The Met’s account of its own dress, C.I.69.23, describes individually pieced jersey blocks, with the shaping accommodated within the grid of seams. This supports a specific reading of the collection’s construction: the geometric divisions are involved in making the garment, rather than merely being a picture printed over it.", "The photograph reproduced here shows a different museum display, not the Met object. The Met supplies construction research; Dalbéra supplies the photographed view. Keeping those roles separate prevents a useful explanation from becoming an invented object identification." ], "claimIds": [ "when-a-line-becomes-a-seam-scope", "when-a-line-becomes-a-seam-construction" ], "sourceIds": [ "when-a-line-becomes-a-seam:met-dress", "when-a-line-becomes-a-seam:photo" ] }, { "id": "looking", "title": "The body becomes a moving frame.", "voice": "Close reading", "paragraphs": [ "Look first at the Chicago painting’s corners. The canvas is turned, but its black lines remain horizontal and vertical. The outer edge and inner structure disagree. A line appears to have a possible continuation beyond the boundary even though the painting itself ends there.", "A garment introduces other interruptions. The neckline removes an area; armholes cut into the field; the hem gives it a lower limit. The graphic order has to negotiate a shaped object. That negotiation is what makes the comparison more interesting than finding the same colours in two places.", "The full photograph adds a third frame: the museum display. The dress is held still beside a painting. This arrangement makes comparison easy, while withholding what wearing it would feel like. We should resist describing a photograph of a mannequin as evidence of a wearer’s experience." ], "claimIds": [ "when-a-line-becomes-a-seam-scope", "when-a-line-becomes-a-seam-comparison" ] }, { "id": "public-life", "title": "A familiar grid meets a public.", "voice": "Context & interpretation", "paragraphs": [ "The dress can make Mondrian recognizable without reproducing one canvas exactly. Black divisions and unequal colour fields become a vocabulary a viewer can carry between painting and clothing. Returning to the lozenge painting restores a difference that the familiar shorthand can hide: its diagonal boundary cuts across an upright grid.", "There is also a recorded press response. The Musée Yves Saint Laurent Paris cites Combat on 7 August 1965 and Candide on 15 August, describing enthusiastic coverage of the collection. We are reading those newspapers through the museum’s account, rather than claiming to have independently examined their original pages.", "That reception concerns a collection, not every wearer or this photographed dress alone. It gives the story a public setting while leaving room for a different question: what happens to a painting’s particularity when its visual language becomes instantly recognizable?" ], "claimIds": [ "when-a-line-becomes-a-seam-scope", "when-a-line-becomes-a-seam-press" ], "sourceIds": [ "when-a-line-becomes-a-seam:ysl" ] } ], "treatment": { "kind": "legacy", "invitation": "Follow one black line to the edge of the painting. Then find a division on the dress that meets the neckline or hem. Describe how the boundary changes what the line can do.", "stops": [ { "id": "observation-0", "label": "Close reading", "title": "An edge interrupts a grid", "text": "On the lozenge canvas, horizontal and vertical lines meet diagonal edges. On the dress, the composition meets a neckline, armholes and hem.", "claimIds": [ "when-a-line-becomes-a-seam-scope" ] }, { "id": "observation-1", "label": "Close reading", "title": "White is active", "text": "Compare the unequal areas of white. Their sizes and placements keep the smaller coloured fields from reading as an evenly distributed pattern.", "claimIds": [ "when-a-line-becomes-a-seam-scope" ] }, { "id": "observation-2", "label": "Close reading", "title": "A surface has depth", "text": "The displayed dress appears frontal and graphic, yet it encloses a volume. A photograph records one view of that relationship.", "claimIds": [ "when-a-line-becomes-a-seam-scope" ] } ] }, "reception": { "reach": "The reference belongs to the autumn–winter 1965 collection; no sales or wearer total is established here.", "response": "The museum cites Combat (7 August 1965) and Candide (15 August 1965). This is mediated press evidence about the collection.", "consequence": "The sources support a documented homage, construction and reported press response; they do not measure the dress’s effects on women’s lives." }, "review": { "checked": "2026-10-17", "research": "source-checked", "independent": "pending", "assistance": "Source verification and prose revised with AI assistance. Independent specialist review remains pending.", "editorial": { "checked": "2026-10-17", "method": "AI-assisted source and prose review", "focus": "The seam joins material where a painted line divides a field.", "changes": [ "Checked the museum’s construction account and distinguished it from the photographed dress.", "Added the collection’s contemporary press reception as reported by the Musée Yves Saint Laurent Paris.", "Kept the Chicago canvas as a formal comparison, without a direct source edge." ] } }, "revisions": [ { "version": "when-a-line-becomes-a-seam.1", "date": "2026-10-17", "note": "Migrated into the shared dossier registry. Existing authored text, objects, image decisions and qualifications retained." }, { "version": "when-a-line-becomes-a-seam.2", "date": "2026-10-17", "note": "Checked the museum’s construction account and distinguished it from the photographed dress. Added the collection’s contemporary press reception as reported by the Musée Yves Saint Laurent Paris. Kept the Chicago canvas as a formal comparison, without a direct source edge." } ], "next": [ "a-dish-translates-porcelain" ], "summary": "Saint Laurent’s reference to Mondrian is documented. Chicago’s 1921 Lozenge Composition is a visual comparison, not an established source canvas for this dress.", "canonical": "https://artologium.com/essays/when-a-line-becomes-a-seam", "releaseStatus": "Local review edition; editorially revised with AI assistance; independent specialist review pending", "socialPreview": "Canonical investigation card. Selected passage is preserved in the URL and export, not pictured in the card.", "media": [ { "id": 109819, "sourceId": "aic:109819", "provider": "aic", "slug": "aic-109819-lozenge-composition-with-yellow-black-blue-red-and-gray", "category": "Painting", "shortTitle": "Lozenge Composition with Yellow, Black, Blue, Red, and Gray", "title": "Lozenge Composition with Yellow, Black, Blue, Red, and Gray", "creator": "Piet Mondrian Dutch, 1872–1944", "date": "1921", "medium": "Oil on canvas", "place": "Netherlands", "culture": "", "dimensions": "60 × 60 cm (23 5/8 × 23 5/8 in.)", "accession": "1957.307", "creditLine": "Gift of Edgar Kaufmann, Jr.", "institution": "The Art Institute of Chicago", "sourceUrl": "https://www.artic.edu/artworks/109819", "sourceImage": "https://www.artic.edu/iiif/2/25f660ee-f1db-d13b-42a5-56df97c98ba7/full/1686,/0/default.jpg", "api": "https://api.artic.edu/api/v1/artworks/109819", "license": "CC0", "rights": "Public Domain", "licenseUrl": "https://creativecommons.org/publicdomain/zero/1.0/", "rightsSource": "https://www.artic.edu/image-licensing", "retrieved": "2026-10-17T22:14:53.841Z", "changes": "Unchanged copy of the institution’s verified web image; smaller responsive JPEGs are resized derivatives. Full-resolution image remains linked to the institution.", "src": "/images/journal/mondrian.jpg", "width": 843, "height": 843, "sha256": "c43121da48cb6fc2edc2292abd13f7a75fed38b88249a8a45f0a3889e0664886", "themes": [], "alt": "A diamond-shaped white canvas crossed by black horizontal and vertical lines, with small yellow, blue, red and gray areas.", "sourceUpdated": "2026-10-05T23:27:07-05:00", "snapshotSha256": "67be682d8c830ecff05ce1acba79f46efe3acb09d3427408c55ebf0774f057d1", "rightsRule": "aic-cc0-primary-image/2026-10-17.1", "rightsDecision": "approved", "imageVerifiedAt": "2026-10-17T19:11:43.230Z", "imageBytes": 64652, "imageFormat": "jpeg", "rightsCheckedAt": "2026-10-17T19:11:43.232Z", "displayVariants": [ { "src": "/images/journal/mondrian-320.jpg", "width": 320, "height": 320, "sha256": "6d27545cabb08acadbbefa2371f5054e0e05325c5282a6b2e664ae594a315d45" }, { "src": "/images/journal/mondrian-640.jpg", "width": 640, "height": 640, "sha256": "90b60819f4035dc2f593037dd717ff566c3eb921828df95ed68239499e8acbfe" } ], "key": "journal:mondrian", "rightsStatus": "open", "sourceSha256": "ccde29fc52f473886a0d6b808d087bba96919030d1df762c9bcb53f6a1549beb", "displayCrop": null }, { "key": "journal:dress", "title": "Mondrian dress and Composition in Red, Blue and Black II", "creator": "Yves Saint Laurent and Piet Mondrian; photograph by Jean-Pierre Dalbéra", "date": "Dress: 1965 · Painting: 1937 · Photograph: 2022", "institution": "Centre Pompidou display / Jean-Pierre Dalbéra", "accession": "Flickr 51884007615", "sourceUrl": "https://commons.wikimedia.org/wiki/File:1965_Mondrian_dress_by_Yves_Saint_Laurent_et_Pier_Mondrian_(Musée_national_d'art_moderne,_Paris).jpg", "sourceImage": "https://live.staticflickr.com/65535/51884007615_baf0c06a1b_o.jpg", "license": "CC BY 2.0 (photograph)", "licenseUrl": "https://creativecommons.org/licenses/by/2.0/", "rightsSource": "https://www.flickr.com/photos/72746018@N00/51884007615/", "creditLine": "Photograph © Jean-Pierre Dalbéra (dalbera), CC BY 2.0, via Wikimedia Commons. Shown cropped around the dress; full photograph available. License covers the photograph, not rights in the depicted designs.", "alt": "A Saint Laurent dress with black dividing bands and red, blue-green and yellow panels displayed beside a Mondrian painting at the Centre Pompidou.", "rightsStatus": "licensed-photo", "changes": "Resized full photograph plus a labeled crop around the dress. The fashion spread uses a CSS silhouette crop to exclude the surrounding display background. No retouching or colour changes; full photograph available.", "src": "/images/journal/dress.jpg", "width": 1600, "height": 1067, "sha256": "1f4bfa194c5a64f71f64b88af758585647a777298af86a6b23f5fd641c588dae", "sourceSha256": "d4e0a5e14bfc7aafc65bed7ab3afbf7f656963a9e1ee5d41610f3163711df539", "retrieved": "2026-10-17T22:14:53.000Z", "displayVariants": [ { "src": "/images/journal/dress-320.jpg", "width": 320, "height": 213, "sha256": "03d0cae3eae244bbe848b6cb54cabda26874c4e2750c46d4a1086f8421cdc26e" }, { "src": "/images/journal/dress-640.jpg", "width": 640, "height": 427, "sha256": "60c2e25dd4f463e00646229829c11b2d82386af92e43a2aea4258cd9a604a1c3" } ], "displayCrop": { "src": "/images/journal/dress-detail.jpg", "width": 650, "height": 1394, "sha256": "be01616d833d7eebcfba924b03e3b0f2cf5d8805ded897986c696005595093ac", "alt": "Detail of Saint Laurent’s Mondrian dress: red, blue-green and yellow panels separated by black seams." } } ] }