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Costume or fashion jewelry includes a range of decorative items worn for personal adornment that are manufactured as less expensive ornamentation to complement a particular fashionable outfit or garment [1] as opposed to "real" (fine) jewelry, which is more costly and which may be regarded primarily as collectibles, keepsakes, or investments ...
Elaborate Maya textiles featured representations of animals, plants, and figures from oral history. [10] In modern times, weaving serves as both an art form and a source of income. [11] Organizing into weaving collectives have helped Maya women earn better money for their work and greatly expand the reach of Maya textiles in the world.
Native American jewelry refers to items of personal adornment, whether for personal use, sale or as art; examples of which include necklaces, earrings, bracelets, rings and pins, as well as ketohs, wampum, and labrets, made by one of the Indigenous peoples of the United States. Native American jewelry normally reflects the cultural diversity ...
Jewellery (or jewelry in American English) consists of decorative items worn for personal adornment such as brooches, rings, necklaces, earrings, pendants, bracelets, and cufflinks. Jewellery may be attached to the body or the clothes.
Miriam Haskell (July 2, 1899 – July 14, 1981) was an American designer of costume jewelry. With creative partner Frank Hess, she designed affordable pieces from 1920 through the 1960s. Her vintage items are eagerly collected and the namesake company, which first displayed her jewelry in New York City's McAlpin Hotel, continues.
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In both novels, the bijou serves as a symbol, like a pink carnation may do in English culture. It is worn by the wearer to show that she is available but must be wooed, before any touch, sight or smell, and is an erotic act of self-denial. As a well-known symbol, this same object can still have various uses.
The book includes a glossary of terms and a bibliography of sources. It was originally published in French in 1965 as Histoire du Costume en Occident de l’antiquité à nos jours and was translated into English the next year, but was published after Boucher's death. In 1987 Deslandres updated a new edition with a section on modern fashion.