13 3 367 https://thefabricofcultures.com/CultureOfFashion/files/original/14f1a72149dd978056abd8fd1f15b4ba.jpg 451a5dd508c58ee0e285bbfd55b21f36 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 Indian Sari Subject The topic of the resource Saree Through Time Creator An entity primarily responsible for making the resource Kirty Singh Description An account of the resource Tracking the story of the sari from ancient India to British colonialism to India as a nation state Contributor An entity responsible for making contributions to the resource Kirty Singh Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting 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 Indian Attire Cross Regionally Subject The topic of the resource Saree before 1900s Description An account of the resource Painting by famous artist Raja Ravi Varma called "Galaxy of Musicians ", oil on canvas, depicting a group of female musicians dressed in attires from all over India. Creator An entity primarily responsible for making the resource Raja Ravi Varma Date A point or period of time associated with an event in the lifecycle of the resource 1889 https://thefabricofcultures.com/CultureOfFashion/files/original/e140db4685b53c59fea3a2e218d9c74b.jpg 166fcb854c712ddca208d8beddd994e4 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 Indian Sari Subject The topic of the resource Saree Through Time Creator An entity primarily responsible for making the resource Kirty Singh Description An account of the resource Tracking the story of the sari from ancient India to British colonialism to India as a nation state Contributor An entity responsible for making contributions to the resource Kirty Singh Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Painting 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 This painting titled orginally as above , depicts a women from the Parsi community living the the city of Mumbai. The painting shows a typical Parsi lady wearing a Parsi Gara style sari. This is evidented by the drape across the left shoulder with part of the fabric going around the head to cover it and the top being worn is the Prasi style choli which was influenced by the British exposure as seen through the long sleeves, frill white texture, and with complete length covering the entire body, head to toe. The special part of this sari is of the line of embroidery towards the side which became a signifier for those women. The Gara Sari is named after its base material ,made from a special silk once imported from China called Gaaj but would later be woven and made closer to home for the Parsis' extensive use and requirement of the material. Title A name given to the resource Parsi Lady in Mumbai Painting Subject The topic of the resource Indian Sari Date A point or period of time associated with an event in the lifecycle of the resource 1920 Creator An entity primarily responsible for making the resource M.V.Dhurandhar Source A related resource from which the described resource is derived Women of India by Otto Rothfeld Publisher An entity responsible for making the resource available Project Gutenberg gara mumbai parsi saree https://thefabricofcultures.com/CultureOfFashion/files/original/16955e583942378a438e1a4b5a8013df.jpg daa99cebf017ace42afac174b5215df8 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. URL https://retroette.com/wp-content/uploads/2015/03/1840.jpg 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 Queen Victoria's veil Source A related resource from which the described resource is derived <a href="https://retroette.com/wp-content/uploads/2015/03/1840.jpg" target="_blank" rel="noopener">https://trc-leiden.nl/trc-needles/individual-textiles-and-textile-types/secular-ceremonies-and-rituals/queen-victorias-wedding-lace</a> Contributor An entity responsible for making contributions to the resource Marissa Guijarro