Harper's Bazar As A Fashion Illustration Essay

Her dress was that of 18th century garments. The frilled cap was probably a Bavolette which “was a ribbon frill at the back of the bonnet. Its purpose was covering the neck, which was considered an erogenous zone in the mid-19th century” (History of Hats for Women). The Bavolette

A “bob” hat advertisement similar to this one would be a familiar sight to many women during the 1920s. During this time period, the bob hat or cloche became a classic. The cloche was bell shaped at the top and had decorative additions such as feathers, geometric shapes, and flowers, which would showcase a woman’s demeanor. As said on vintagedancer.com, there were other accessories that women wore on their heads such as wrapped turbans, short crown straw hats, and an array of different headbands. These hair accessories became popular during the 1920s because of the way it worked with new hairstyles such as the bob. A cloche’s structure would frame the face of the women who wore them. In many cases women would not leave a store without ensuring

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Fashion reflects the attitudes of a society more than any other art form. Like art, fashion is a material record of the ideals that swayed the nations at the time of their creation. Through examining the styles, and tastes of a particular era, we can realize where the interests and priorities of a time lie. As Frank Parsons wrote in his 1920 study, The Psychology of Dress, "There is surly no better field in which to trace the devious paths of human thought than in that of clothes, where man has ever given free play to self expression, in a way which, thought not always a credit to his intelligence, is yet quite true to his innermost self, whether he will acknowledge it or

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The fashion industry is rapidly growing and constantly generating new fashion trends almost weekly. Fashion for some may seem ridiculous and unnecessary; but fashion is not just a meaningless usage of article of clothing or farcical materials sew together for coverage. There is more to fashion than meets the eyes, fashion is precious and significant. It is a reflection of self-image, it speak the ream about who we are and how we review ourselves. Not only is fashion the reflection of self-image but also the reflection of our history as Coco Channel have said, “Fashion is not something that exist in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.” Fashion

Since its introduction to the world in December of 1892 Vogue has gone about as the central form counselor for the socialites of tomorrow, setting up the garments drifts in the interminably developing universe of design. Vogue is presently distributed in eighteen nations, universally extending the legacy and impact of the design wonder. In spite of Vogue's concentrate on the brief form vibes existing apart from everything else, the magazine has kept up its status as the managing voice in first class design styles for almost 120 years.

The 18th century, more precisely between 1715 and 1789, was a significant time period in the fashion sphere for women in France. The time period itself was a mark of great change for the history of France due to various political reasons as well as various art movements and often times fashion, despite being a branch of art, is overlooked by most viewers. However, fashion during this time excelled in France and was essentially the symbol of a new era in this domain; French fashion was now snowballing into something much greater that still echoes to this today. Ultimately, the goal of this essay is to describe women’s fashion during the period of 1715-1789 and the shifts it made through the analytical use of various sources including artwork, literature, museums’ online archives and internet sources.

She further analyzed many artworks based on the process of toning. Though some artists paint with one layer, those that paint with multiple layers enhances the objects in the painting. The color that appears on the surface underwent multiple shades in order to obtain the desirable color. After analyzing Ship Carpenter at His Hobby, 1872, Helena’s second group approached the artwork Women Embroidering, 1904. Two differences I distinguished from the comparison of these two artworks are the time period as well as the visual context. I had paid less attention to the story behind this portrait because there was less detail. Women Embroidery, though looked unique because of its lack of details (which could have been intentional), did not have much space. Helena described it as “flat.” She infers that as time period increases, artists were becoming more focused on flatness, painting on the surface and ignoring the layers of tone and landscape space. Another artwork that we analyzed was the Back Surgery. Dating back to the 1600s, this portrait was created with underpaintings and a few touch ups. It could be inferred that the artist intended to leave the underpainting in order to bring out the procedure. On the surface lies a realistic, colored curtain that seemed to have been drawn by the audience, and staring straight at the artist/audience was the patient. With these observations, I

Fashion is a form of expression and with its ever changing ideas and trends it explores and creates an array of identities. As Bennett, A. (2005) states “Fashion…provides individuals with a key means through which to manage their identities in the context of everyday life”. I wish to explore how fashion has developed to which identities can be created by oneself and what is around in everyday life and culture that may influence choice in dress. Is fashion a form of agency or structure? I will continue these ideas around gender and in particular fashion photography and how in which gender is represented within the popular mainstream media. Looking at if fashion photography plays a role in challenging gender roles, and therefore creating new ideologies of identity. Or, does fashion photography intertwine with the rest of media in its representation and stereotyping of both genders? Helmut Newton will be used as a case study and the interpretation of his work. This study will also look at the theory behind androgyny and continuing by also looking at dandyism and if these concepts are being constantly played with in the fashion media.

1. Go to a public place and OBSERVE the community of people in that place for at least 30 minutes; perhaps as long as 60 minutes. In your report, describe the setting and note the date and time of your observation. Describe the element of “community” that you observed.

«Victim of Beauty» is the title of a series of photographs published in the Bulgarian fashion magazine «12» and it can be depicted as a powerful source of meaning from the content of it's text and image. The title and image both have distinctive denotative meanings sujested by their literal characterization, however their merger creates a polysemy of connotative meanings that can be associated to the ideology of beauty, the evolution of its significance and its harm to society. Nonetheless, when separated, each element also has its own denotation and connotation that give additional essence of the eventual message established by the creator of the editorial. Whilst causing an international controversy, a tide of

For my own artist paper, I chose to study the French fashion house, Christian Dior SE. During the past seven decades, Christian Dior has transformed its brand from just another high end fashion house into a name synonymous with wealth, sophistication, power, dignity, and prestige. Christian Dior stands in a league of its own in our culture. It’s a mega brand with major influence over fashion and business. Instead of spending hours hunting down financial records and hiring practices for a smaller house, Christian Dior appealed to me because of their long history, easily accessible records, and publicly traded status meaning they would have long reports outlining all the companies numbers for a given year. Christian Dior is also the majority owner of the luxury holdings company LVMH, with a 40.9% controlling share and 100% ownership of Christian Dior Couture (CITATION).

Is it possible to be both? If I had to choose, I would say I am more of a backstage person, rather than frontstage person. I typically use frontstage behavior when I meet someone for the first time or when I am feeling out my environment. I often use ethnomethodology to not only assess the people around me, but also to learn boundaries within a group setting so that I am careful not to offend the wrong person with my opinions and/or humor. I find that it often breaks up the group into smaller sects, and I use this method to find common ground with others. Having some social anxiety myself, it weeds out a smaller group to socialize with so that I am not overwhelmed with a crowd. I do not have any issues with being myself and I feel like I am intentional in day to day situations in a partial portrayal of myself, but I do not give more of myself than what is needed in each situation. I use backstage behavior, most often, when I am with my friends and family. Friends know I often say more with my silence than with my words. That says a lot because I do not have any problems expressing myself verbally. It’s something I have practiced a lot being mother to three teens. I say a lot with my body and facial expressions as well. I communicate both directly and indirectly with my eyes, my mother always called it “the look.” When utilizing online social networks, I am very guarded. I share intimate things with only close friends and family, and I put the “pretty pictures” on

Around 1947, after the end of World War II that Christian Dior introduced “Kings” style. This style gave a sense of luxury to Americans and was very classy. The women began to wear formal dresses that had delicate necklines. The women were also introduced to stylish hats and distinctive hairstyles with curls. The men’s style didn’t see many changes expect that the war jackets were now distant, and they followed a narrow shoulder and hip pattern in everything they wore (“Brief History”).