Namilia S/S 2018
NYU Washington Square News-Sep. 10, 2017
... instead covering the model in dangling red and pearl-studded nipple tassels. ... Additionally, the final look was a recreation of a typical Victorian style dress ...
From Vetements to Versace, Couture Without Borders
New York Times-Jul. 6, 2016
It's ironic, given that couture is a fashion subsector roped off in velvet. ... seed pearl macramé, shades from aqua to navy, and Ariel-on-the-clamshell embroideries. ... So at Guo Pei the over-the-top entrance gowns were a mash-up of Victorian ...
The Cool New Ways to Wear Pearls This Fall
Allure Magazine-Aug. 12, 2016
Pearls are having a renaissance in fashion—and they're unlike anything Audrey ... pearl studs on models' faces for Riccardo Tisci's macabre, Victorian-inspired ...
Rihanna, new top designers debut from powerhouses Lanvin ...
National Post-Sep. 29, 2016
There has been increasing criticism in recent years that fashion shows in the major ... Pearl necklaces, lace headdresses, sheer shawls, fabric fans and ... high neck details in Victorian lace, as well as beading and needlework from that period.
How Outlander's 'Nipple Dress' Came Together
Vulture-Apr. 18, 2016
After all the wool clothing and drab fashions of 1743 Scotland, Claire's world in ... that sells pierced nipple jewelry with giant swans with pearl-encrusted eyes,” costume ... The Victorians, for instance, also pierced their nipples — they just didn't ...
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"The concept of space in this science applies only to the external sensory world, as space is a pure form of visual representations, which, therefore, all geometrical cognition as based on a priori visual representation pokachivaet its evidence and in which the objects are given by means of the knowledge in the visual representation a priori (from the form)" (p. 120).
. "As the subject may appear to us, i.e. to be the object of empirical visual presentation, only by means of such pure forms of sensibility, space and time is the essence of pure pictorial representations, contains a priori condition for the possibility of objects" (p. 122).
"In order to cognize something in space, e.g. a line, I have to spend it, i.e. to implement synthetically a certain connection of the manifold, so that the unity of this act is, however, the unity of consciousness (in the concept of lines), and thus the first known object (a space). Synthetic unity of consciousness is therefore an objective condition of all knowledge; not only I need him to know the object, but every visual representation should stand under him to make for me object because any other way and without this synthesis the manifold would not unite in one consciousness" (p. 138).
"However, space and time are themselves not only as foRwe a sensual visual presentation, but also as a visual presentation, containing a variety of therefore, a priori determination of unity of this diversity" (p. 160).
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