57 3 367 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. Website A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ). Local URL The URL of the local directory containing all assets of the website <a href="https://www.vam.ac.uk/articles/the-victoria-connection" target="_blank" rel="noopener">https://www.vam.ac.uk/articles/the-victoria-connection</a> 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 The Victoria Connection Source A related resource from which the described resource is derived https://www.vam.ac.uk/articles/the-victoria-connection https://thefabricofcultures.com/CultureOfFashion/files/original/f49d3b68020378cf438f2121629f74de.jpg 935a8801897975b99fb7d0f5fa4c03de 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 Marilyn's White Dress: Re-creating The Look Subject The topic of the resource Impersonators, home sewers, pugs... everyone wants to be Marilyn. 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. 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 Celluloid Heroes Never Really Die Subject The topic of the resource The ThrillerNYC float in the Village Halloween Parade, October 21, 2023 Description An account of the resource Photograph of the exhibit author as Zombie Marilyn, performing with the ThrillerNYC float in the Village Halloween Parade Creator An entity primarily responsible for making the resource Lisa Raymond Date A point or period of time associated with an event in the lifecycle of the resource October 31, 2023 Rights Information about rights held in and over the resource Copyright: photographer Lisa Raymond https://thefabricofcultures.com/CultureOfFashion/files/original/f230cbcc7dbb1440bf6afe0030934272.png ef88ccbd74fbb0b340cf586f2691f916 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. Website A resource comprising of a web page or web pages and all related assets ( such as images, sound and video files, etc. ). Local URL The URL of the local directory containing all assets of the website https://craftsmanship.net/women-who-embroider-the-air/ 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 Women Who Embroider the Air Source A related resource from which the described resource is derived <a href="https://craftsmanship.net/women-who-embroider-the-air/">https://craftsmanship.net/women-who-embroider-the-air/</a> Subject The topic of the resource lacemaking, Burano Creator An entity primarily responsible for making the resource Erla Zwingle