What Makes This Catch The Eye?

The Woodlands Man Shirt is a garment made by the Native Americans from the great lakes region in the 18th century. This piece was traded to early French explorers in New France which extended from Louisiana to Canada. This shirt was worn by high status Native Americans made from antelope which has some form of early tattoo work done to it. The interlocking designed tattoos represent the sacred Thunderbird who is an important traditional being to Indian spirituality. Some principles of design used in this piece are rhythm and symmetrical balance and some elements of design to note are shape, visual and actual texture, and pattern. I chose these principles to analysis this piece because they are the ones that apply the most to this sculpture and can help to apply context. This also shirt has elements from Woodlands, Great Lakes, and Plains regions, and the complex designs may have been inspired by tattooing. The materials used in this shirt are both functional and ceremonial to the Native Americans but more specifically the Dakota tribe. This shirt is unique because it is only one of 35 remaining from the early 1700s making this piece really rare and hard to compare to because of how few there are available.

I, the undersigned Saloni Agarwal student of B.DES (FD) (Fashion Designing) semester II hereby declare that the project work presented in this report is my own work and has been carried out under the supervision of Ms. Gitanjali Jaiswal (Assistant Professor) of Amity University of Fashion Technology.

Dinnigan possesses a common trademark of femininity, with dresses of chiffon, lace and tulle, eloquently tailored to perfection. Her designs regularly feature beading are constructed from the finest delicate sheer & lace fabrics. Silk organza and other lightweight silks are a favourite of Dinnigans. She manages to achieve all this with a suggestive rather than revealing style, which enables her garments to communicate a sensuality and individuality. Dinnigan depends heavily upon her own imagination, creating and materializing fashion in ways her imagination wants things to come to light.

As the robe simultaneously conceals and reveals, it blends nicely into the lower part of her torso. Her body is proportioned smoothly, with no areas of obvious fault or imperfection. I think having those sensual characteristics adds to her overall beauty.

In the cleavage area has vertical line as well as horizontal on the dress. The detail the artist put into making sure the dress, belt had the right amount of details to catch everyone’s eye who took time to view his figure. The vertical line on the tassel and the knot tie just right to display the left side of the figure waist line. Indicates the figure was a petite woman. The hair is wavy in the front and pulled into a ponytail at the back. I feel there were serval focal points with in the piece after reexamine the figure the three times. Each time something else stood out shifting my focus from the original focal point. There are many repeats of all the lines with in the figure. The artist only has half of the figure's feet and arms expose which displays start and stopping points for the gown. I feel the use of the white marble may display the cold hardness of the figures heart. The smooth texture of the marble gives a life like feel of the figure. The chair has legs of an animal

The dress style for ladies continued to have an emphasis on the narrow waist, but the bodice shifted to a low-necked gown trimmed with fabrics, lace ruffles, or a fichu tucked into the low neckline.The front of the skirt was open to feature a separate petticoat, which made up the ensemble.

When one thinks of comfort, safety and fashion, they immediately think of sweaters. For hundreds of years, people wore these beautiful knitted works of art, so that they may protect themselves from the harshness of winter, but also to look good while doing so. Here at the National Institute of Sweaters, which serves as both an art and history museum, we want to preserve the history of the garment, while also examining the implementation of new styles within the sweater community, and showcase the true aesthetics of the “ugly sweater.” To do so, we allowed ourselves the mission to “collect, study, conserve, and present significant works of knitted artwork across all times and cultures in order to connect people to comfort, warmth, and fashion.”

This work possesses feminine characteristics because of the round and smooth form. There are no sharp edges poking out. It’s in a silky and gentle shape. Even the material is marble, the overall sculpture looks light and balanced. This is a non-objective sculpture.

The plunging v-neck bodice with wide straps is covered in stunning lace details that bring an elegance and beauty to this dress. The entire dress is covered in ruffles of lace with a fringe of tulle on the end of each as it flares into the trumpet shape. The back is open, and while it looks like covered buttons keep the dress closed, it's zippered for easy closing. The train is a few feet, so it won't be unwieldy, but still dramatic as it flows behind the bride. The colors available are solid ivory, solid white, or

The viewer is immediately drawn to the color of the sarong and its patterns. The most notable scene shows Lamour and her sarong sisters. Her design comes to life because her piece is flamboyant in color compared to the others girls and shorter in order to bring attention to not only Lamour but also the sarong she is wearing. Her design gives gives a nice balance of tropical feel to go along with the scene of the movie while maintaining cultural appropriateness. The other girls are stacked up towards Lamour which puts an emphasis on not only Lamour but more importantly her dress that was elegantly designed by Head (Edith Head papers).

The way the whole painting is monochromatic except for the corsage really is striking, and brings emphasis to an object that is traditionally worn only by females. The other focal points in this painting are the woman’s butt and breasts. These are areas that are constantly under a microscope in many cultures. They represent a woman's sexual appeal, which is often directly tied to her worth in ads and in magazines, and especially to the majority of males. Meanwhile, you can’t see the woman’s face, only her curly blonde hair that is cut short. Much like Kahlo’s painting where the emphasis on her hair as an aspect of her womanhood, this painting also shows that

Clothing today is seen as easily assessable and creative, but that was not always the case. We are lucky to live in such a modern world of clothing. Over the course of time, the development of clothing has changed drastically as well as the style.

The figure on the left is a man. The organic forms of his musculature creates an implied line as light hits the sculpture and creates contrast between his muscles. This is particularly evident on his chest where the form of the pectorals and the indentations of abdominal muscles are defined. His only garment resembles a kilt with a belt and a curved pleat over the left half of it. The figure beside him is a woman because of her softer, more feminine hourglass figure. Though the man and her are proportionally similar, she is only as tall as his shoulders. She wears a garment with an ankle length skirt of a light fabric due to her knees and abdomen being defined with softer curved forms as opposed to the male’s more pronounced bone structure unclothed.

At the first glance to Jennifer Trask’s work in Visions and Revisions exhibition at Renwick Gallery I recalled some of René Lalique work. In Paris: Sex and Sensibility—The Allure of Art Nouveau the film showcased some of René’s “cheap” jewelery. The jewelry that was made of horn looked beautiful and very delicate with naturalistic design. On the other hand Jennifer Trask’s work including some jewelry that is made out of animal bone and other recycled material is as exquisite, as René’s beautiful hair combs. In a short documentary that was played in the gallery Jennifer Trask talked about her work and that is inspired by the concept of flora and fauna. Also, she talked about her love for growing things. Besides, Trask’s jewelry that mixed of

The bust has a slight tilt in the shoulders, reminiscent of the contrapposto found within the classical art, which allows for a less two-dimensional image, suited for more angles. Rounded sides and depth in the shoulders and arms also create a three-dimensional appearance. Furthermore, the back has significant detail; the hair is styled and flayed cords dangle. This back has slightly degraded with age so even more detail could have existed but been lost. Overall, the design meets the visual goals of Renaissance and classical sculptors