Browsing by Subject "jewelry"

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    Corporate Cannibal: A Fashion Accessories Collection
    (2022-01) Zhang, Caleb
    In the flesh. Corporate Cannibal is a fashion accessories collection exploring the tensions and dynamics that permeate the corporate world. The collection is comprised of four pieces: the Vice Bag, Control Ring, Incision Tie, and Cavity Tie. Each piece is meticulously designed to challenge the conventions of traditional corporate attire by incorporating subversive and provocative elements. By merging graphic imagery, tactile materials, and latent symbolism, Corporate Cannibal illuminates the complexities of our contemporary corporate landscape. It is an artistic exploration of the interplay between power, control, and agency in the corporate world, sparking conversation and dismantling traditional notions of corporate attire. The collection serves as a powerful example of the potential of fashion accessories transcending their mere functional and aesthetic purposes to become as evocative as any other art form.
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    Netsuke on the Neva: Japanese Influence on Russian Sculpture from the House of Fabergé and the Myth of the Decorative Arts
    (2020-05-11) Sveshnikov, Nikita; Leoshko, Janice
    In the late 19th and early 20th centuries, the works of Peter Carl Fabergé flourished under patronage from an international audience. The influence of his House was unrivaled among the royal courts of the world. For over a century, the House of Fabergé has been considered the epitome of Russian craftsmanship and innovation in the field known as the decorative arts, yet there are aspects of his work that are not Russian at all, but directly influenced by Japan. In 1856, Japan opened to the world for trade, causing a vast influx of Japanese art into the European markets. Fabergé was not exempt from this influence, and many of his small animal sculptures directly reference the tradition of Japanese netsuke carving from the Kyoto school. This thesis examines the ways Fabergé drew on Japanese netsuke tradition, the ways his works have been treated in museums and private collections, as well as interrogates the term ‘decorative arts’ and the implications language has on how his work is subsequently categorized.