Nyucostumestudies's Instagram Audience Analytics and Demographics
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PROFILE OVERVIEW OF NYUCOSTUMESTUDIES
65.7% of nyucostumestudies's followers are female and 34.3% are male. Average engagement rate on the posts is around 0.60%. The average number of likes per post is 291 and the average number of comments is 2.
Nyucostumestudies loves posting about Art, Design, Visualizations.
Check nyucostumestudies's audience demography. This analytics report shows nyucostumestudies's audience demographic percentage for key statistic like number of followers, average engagement rate, topic of interests, top-5 countries, core gender and so forth.
GENDER OF ENGAGERS FOR NYUCOSTUMESTUDIES
AUDIENCE INTERESTS OF NYUCOSTUMESTUDIES
- Beauty & Fashion 82.30 %
- Art & Design 80.14 %
- Books and Literature 54.79 %
- Entertainment 47.61 %
- Movies and TV 45.74 %
- Photography 45.51 %
- Restaurants, Food & Grocery 43.74 %
- Business & Careers 43.53 %
- Home & Garden 38.25 %
- Fitness & Yoga 36.56 %
- Travel & Tourism 36.35 %
Cindy Sherman’s photography has included male characters in the past, but for her latest series of photographs, she has created multiple male identities and features them, front and center, dressed in menswear from Stella McCartney. Sherman’s subjects are photographed against digitally manipulated backgrounds taken from images of her recent travels. In some, the background is a mirror image of itself, drawing the viewer to the center of the canvas where her male identities are positioned. The images are lifesize, and allow the viewer to observe Sherman’s transformation into well dressed, androgynous fashion plates in full detail. The exhibit is on view by appointment at Metro Pictures through October 31, and also on their website in their digital viewing room. @cindysherman @metro_pictures @stellamccartney
Posted @withregram • @nyusteinhardt @NYUCostumeStudies student Frank New (@manyourstyle)’s masks are 😍. We spoke with Frank to learn more about his relationship with fashion and why he decided to start making masks (without any knowledge of how to work a sewing machine at the start of the pandemic ❗). How would you describe your relationship with fashion? “To me it is armor, it is my way to make a statement or a way to evoke feeling towards the state of the world without ever saying a word. Through fashion I can tell a story of self expression, I boldly wear what I want, how I want, without allowing trends to dictate my style.” Can you describe the moment when you decided to make masks? What was the turning point for you? "I had a hunger to do something creative and I decided to hand sew a mask for a friend, then that led to inquiries for masks, and then I was asked for an order of 25 masks. At that point I knew I had to take the sewing machine down off the self, and make friends with it, so I did. I purchased my sewing machine almost two years ago, went for one lesson, had this vision to make all of these fab products to add to my website, got busy, and never went back to it. Then the pandemic hit and I was faced with an order of 25 masks that I knew I could not all do by hand because of how long it would take, so I faced my fears, asked a friend for help, and we hopped on Zoom for an hour for a crash course and I hit the ground running." What is your approach to choosing fabrics for your masks? "I like to find unique characteristics via patterns or texture that maybe one would not easily find on the market, so it is a lot of keyword searching on Etsy or browsing the Garment District till I find fabrics that catch my eye and that I feel my audience would want. Also, I consider the season or current events happening such as Pride, the protests, the election, etc." #Masks #Mask #FaceMask #MaskUp #CostumeStudies #MaskMaker
This posthumous portrait of Sor Juana Inés de la Cruz (1648-1695), painted by Mexican artist Miguel Cabera in 1750, shows her wearing an Escudo de Monja (nun’s shield) on her chest. Sor Juana, a devout nun of the Hieronymite Order, was one of Mexico's early poets, dramatists, and scholars of the Latin American colonial period and Hispanic Baroque. In New Spain, Hieronymite nuns would decorate their habits with these religious escudos that depicted biblical scenes not only as devotional objects, but as sartorial choices that reflected wealth and status. It is important to recognize the hybrid nature of these objects as both jewelry and religious iconography. An example of religious syncretism, the escudo is a uniquely Central American interpretation of European Christianity. Miguel Cabrera, Portrait of Sor Juana Inés de la Cruz, c. 1750, oil on canvas (Museo Nacional de Historia, Castillo de Chapultepec, Mexico)
Kenzo Takada was born in 1939 in Japan and moved to Paris in 1965. Sewn by hand and from scraps of French and Japanese fabrics, his first collection was an immediate success. “When I started, I had Henri Rousseau’s 1910 painting The Dream in mind. It took off.” The painting was Kenzo Takada’s inspiration when in 1970 he launched his first Paris boutique under the name Jungle Jap. Kenzo became the first Japanese designer to be recognized by the French fashion world, setting in motion a new chapter of French fashion. Kenzo Takada died over the weekend at the age of 80. Click through to see the piece of art that launched his career that spanned decades. #kenzo #japanesefashiondesigners #henrirousseau
Fashion as a form of protest has been a powerful tool for Black liberation. In 1956 photographer Kwame Brathwaite cofounded the African Jazz-Art Society and Studios (AJASS) – a collective of activists, artists, playwrights, designers and dancers located in Harlem, New York. AJASS was home to the Grandassa Models, a group of female activists, who through fashion championed the message ‘Black is Beautiful.’ The Grandassa models reimagined the African aesthetic by highlighting African dress, textiles, natural hair, and black skin. The headpiece, designed by Carolee Prince, was inspired by South Afican beadwork- illustrating the use of African techniques to shape an African American interpretation of African aesthetics. In her book Liberated Threads, Tanisha Ford shows how Brathwaite and the Grandassa models were asking what it meant to be Black in America in the 1960s. Those questions are still being asked today. Kwame Brathwaite, Sikolo Brathwaite wearing a headpiece designed by Carolee Prince, African Jazz-Art Society & Studios (AJASS), Harlem, ca. 1968; from Kwame Brathwaite: Black Is Beautiful, Kwame Brathwaite, Tanisha Ford, Deborah Willis (Aperture, 2019). Tanisha Ford, 2015, “Harlem’s ‘Natural’ Soul”: Selling Black Beauty to the Diaspora in the Early 1960s, in Liberated Threads: Black Women, Style, and the Global Politics of Soul, Durham: University of North Carolina Press. @soulistaphd @kwamebphoto @debwillisphoto @thegrandassamodels @aperturefnd #blackisbeautiful #kwamebrathwaite
Yesterday, NYU Costume Studies’ 20th Century History class hosted guest speaker Karen Trivette, Associate Professor-Librarian and Head of Special Collections and College Archives (SPARC) at FIT’s Gladys Marcus Library, who shared stunning images from rare turn of the century fashion publications. Featured here is a 1921 fashion plate from “La Gazette Du Bon Ton”. “La Belle Dame Sans Merci” is a pochoir of a House of Worth gown illustrated by George Barbier. Pochoir, French for stencil, was the technique used to create rich and detailed layers of color by applying watercolor or gouache to stencils cut from copper, zinc, or aluminium. “La Gazette Du Bon Ton” was available by subscription only, for a costly 100 French francs a year, the equivalent of about $400 in 2020. You can view a digital image of this fashion plate and many more on FIT’s SPARC Digital platform. #houseofworth #fashionplate #gazettedubonton @fitspecialcollections
This pajama ensemble designed by Callot Soeurs in 1926 illustrates the changing attitudes towards women's leisure clothing in the early 20th century. The trend for a 'pajama suit' started around 1911, when they were featured in fashion magazine The Queen. Pajamas were at first worn only as indoor dressing but soon became part of beachwear attire, and even worn as evening wear. Fast forward to this year’s Emmy’s and the pajama was the big ‘red carpet’ statement for stars as they showed up virtually from the comfort of their own homes. Hollywood has had many pajama moments over the years, and back in March, @britishvogue curated a list of their favorites throughout the years. Head over to our FB page and take a look! Link in bio. Image: Silk pajamas,1926-27, silk. Designed by Callot Soeurs Collection of the Metropolitan Museum Costume Institute, gift of Miss Isabel Shults, 1944. #pajamas #emmys2020 @britishvogue
This portrait of Ruth Bader Ginsburg, painted by Simmie Knox in 2000, shows her wearing one of the many jabots she collected over her 27 years as a Supreme Court Justice of the United States. As a response to the collared shirt and tie worn by her male colleagues, Ginsburg chose the jabot for its feminine qualities. The jabot, or cravat, became a popular neckwear accessory for men in the mid-seventeenth century. The French were inspired by Croatian mercenaries, enlisted by Louis XIV in 1660, who wore a knotted neckerchief made of lace as part of their military uniform. Almost always white in color and intricate in detail - whether handmade with intricate lace patterns or made from lengths of silk wrapped, pleated and tied just so - the cravat became an essential accessory for both men and women until the nineteenth century, when it evolved into the long necktie, similar to what is worn today. Ginsburg's collection evolved as well. She was given many from her admirers, and she chose specific styles to wear to reflect her position on the cases argued before the Supreme Court. Ginsburg was a champion for gender equality, and her choice to wear the jabot has turned a delicate and ultimately feminine piece of neckwear into a symbol of strength and wisdom. Image: Portrait by Simmie Knox, under commission of the United States Supreme Court, 2000 #jabot #cravat #ruthbaderginsburg @simmieknox
The 1915 fashion plate pictured here, illustrated by Georges Lepape, shows two women playing croquet, their uncorseted and columnular shaped dresses facilitating easy movement. With the increased leisure time of the upper class and the rise of resort culture, croquet became a popular lawn game during the mid nineteenth century. As a mixed gender activity, it was an opportunity for casual conversation and innocent flirtation. It also fostered competition, leveling the playing field among men and women and helping to transition women from sport spectators to participants. Image: 1915 Fashion plate detail, illustration by George Lepape Courtesy of the New York Public Library digital collections. @nypl #croquet #womenssports
Join journalist Alina Cho with fashion model and advocate Bethann Hardison; model, activist, and philanthropist Naomi Campbell; and model, author, and entrepreneur Iman for a conversation on their personal journeys, racial diversity in fashion, the current moment, and their hopes for the future. @metmuseum #theatelierwithalinacho #bethannhardison #naomicampbell #iman https://youtu.be/40u8P37-reA
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