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https://thefabricofcultures.com/CultureOfFashion/files/original/e3b7a64364d27f75054e8fbaedb80508.jpeg
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Description
An account of the resource
Marissa Guijarro is a student in the Master of Liberal Studies program at the CUNY Graduate Center. Her research interests include fashion and its expressions in terms of identity, culture, and sociopolitical history. In 2022, she completed a certificate in Image Consulting from the Fashion Institute of Technology. Marissa is a retired high school counselor and continues to work as a college counselor and private consultant. In her free time, Marissa enjoys reading, creating, traveling, and going to cultural events in the city.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bridal Veils in Film and Media
Contributor
An entity responsible for making contributions to the resource
Marissa Guijarro
Description
An account of the resource
History
Women had worn veils since ancient times as a symbol of high status. Bridal veils specifically protected the bride from evil spirits and were a symbol of innocence. However, Queen Victoria of England popularized wearing white wedding dresses and the bridal veil when she married Prince Albert in 1840. White was considered the color of wealth (not purity) because it was difficult to maintain white prior to modern bleaching techniques. However, Victoria chose white for her wedding day because it was an ideal color to display lace from England, and she wanted to promote the perception of innocence associated with the color.
Textiles
The exhibit includes photos of veils from the Victoria & Albert Museum and other resources to show examples of lace, tulle, and embroidery techniques.
Depiction in film, media, and fashion from approximately 1950s to the present
Veils have been displayed in movies such as Father of the Bride, Funny Face, The Sound of Music, The Godfather, and other films. Media images from royal weddings are also included here to display different types of veils, and the evolution of the veil over time and history in the 20th and 21st centuries. Many fashion shows end with the culminating procession of the model in the bridal gown and veil, which also sends a message to the consumer in terms of the theatrical quality and power of the veil.
Summary
The veil allows its wearer to create a dramatic moving image because of the diaphanous nature of the fabric, which provides motion in a way that the rest of the ensemble does not. The veil has morphed from a symbol of innocence and purity to an elevated accessory to convey qualities associated with being regal, confident, and unique.
Person
An individual.
Text
Any textual data included in the document
Marissa Guijarro is a student in the Master of Liberal Studies program at the CUNY Graduate Center. Her research interests include fashion and its expressions in terms of identity, culture, and sociopolitical history. In 2022, she completed a certificate in Image Consulting from the Fashion Institute of Technology. Marissa is a retired high school counselor and continues to work as a college counselor and private consultant. In her free time, Marissa enjoys reading, creating, traveling, and going to cultural events in the city.
Biographical Text
Marissa Guijarro is a student in the Master of Liberal Studies program at the CUNY Graduate Center. Her research interests include fashion and its expressions in terms of identity, culture, and sociopolitical history. In 2022, she completed a certificate in Image Consulting from the Fashion Institute of Technology. Marissa is a retired high school counselor and continues to work as a college counselor and private consultant. In her free time, Marissa enjoys reading, creating, traveling, and going to cultural events in the city.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Marissa Guijarro Bio
Creator
An entity primarily responsible for making the resource
Marissa Guijarro
-
https://thefabricofcultures.com/CultureOfFashion/files/original/9778c7415e4f2605c10cf92bc02fc090.pdf
2e0f799d694f8d05f60d0cb1ab5e23c6
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bridal Veils in Film and Media
Contributor
An entity responsible for making contributions to the resource
Marissa Guijarro
Description
An account of the resource
History
Women had worn veils since ancient times as a symbol of high status. Bridal veils specifically protected the bride from evil spirits and were a symbol of innocence. However, Queen Victoria of England popularized wearing white wedding dresses and the bridal veil when she married Prince Albert in 1840. White was considered the color of wealth (not purity) because it was difficult to maintain white prior to modern bleaching techniques. However, Victoria chose white for her wedding day because it was an ideal color to display lace from England, and she wanted to promote the perception of innocence associated with the color.
Textiles
The exhibit includes photos of veils from the Victoria & Albert Museum and other resources to show examples of lace, tulle, and embroidery techniques.
Depiction in film, media, and fashion from approximately 1950s to the present
Veils have been displayed in movies such as Father of the Bride, Funny Face, The Sound of Music, The Godfather, and other films. Media images from royal weddings are also included here to display different types of veils, and the evolution of the veil over time and history in the 20th and 21st centuries. Many fashion shows end with the culminating procession of the model in the bridal gown and veil, which also sends a message to the consumer in terms of the theatrical quality and power of the veil.
Summary
The veil allows its wearer to create a dramatic moving image because of the diaphanous nature of the fabric, which provides motion in a way that the rest of the ensemble does not. The veil has morphed from a symbol of innocence and purity to an elevated accessory to convey qualities associated with being regal, confident, and unique.
Text
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bridal Veils in Film and Media: Allure and Identity
Creator
An entity primarily responsible for making the resource
Marissa Guijarro
Format
The file format, physical medium, or dimensions of the resource
PDF
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bridal Veils in Film and Media
Contributor
An entity responsible for making contributions to the resource
Marissa Guijarro
Description
An account of the resource
History
Women had worn veils since ancient times as a symbol of high status. Bridal veils specifically protected the bride from evil spirits and were a symbol of innocence. However, Queen Victoria of England popularized wearing white wedding dresses and the bridal veil when she married Prince Albert in 1840. White was considered the color of wealth (not purity) because it was difficult to maintain white prior to modern bleaching techniques. However, Victoria chose white for her wedding day because it was an ideal color to display lace from England, and she wanted to promote the perception of innocence associated with the color.
Textiles
The exhibit includes photos of veils from the Victoria & Albert Museum and other resources to show examples of lace, tulle, and embroidery techniques.
Depiction in film, media, and fashion from approximately 1950s to the present
Veils have been displayed in movies such as Father of the Bride, Funny Face, The Sound of Music, The Godfather, and other films. Media images from royal weddings are also included here to display different types of veils, and the evolution of the veil over time and history in the 20th and 21st centuries. Many fashion shows end with the culminating procession of the model in the bridal gown and veil, which also sends a message to the consumer in terms of the theatrical quality and power of the veil.
Summary
The veil allows its wearer to create a dramatic moving image because of the diaphanous nature of the fabric, which provides motion in a way that the rest of the ensemble does not. The veil has morphed from a symbol of innocence and purity to an elevated accessory to convey qualities associated with being regal, confident, and unique.
Hyperlink
A link, or reference, to another resource on the Internet.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rapsodia Satanica (1917) Nino Oxilia
Date
A point or period of time associated with an event in the lifecycle of the resource
1917
Relation
A related resource
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