This spring, faculty member Lucy Chudson led her Integrative Seminar 2: Fashion students on two immersive field studies exploring the expressive power of dress—both in historical portraiture and contemporary fashion environments.
At the Metropolitan Museum of Art, students engaged in a guided tour led by a MET educator, analyzing European and American portraits through the lens of fashion and identity. The course assignment, titled What Shall I Wear: The Role of Dress in Painting Identity, invited students to consider how clothing shapes our understanding of the sitter’s status, era, and character. Students responded with close readings of works ranging from Velázquez’s Maria Teresa, Infanta of Spainto Sargent’s iconic portrayal of Mrs. I.N. Phelps Stokes. One student noted how “the representation of wealth, beauty, fashion trends and historical events all combined in one frame is fantastic.”
In a follow-up excursion, the class visited the Comme des Garçons flagship in Chelsea to examine contemporary fashion as immersive, gallery-like installation—closing the semester with a conversation on dress as both art and statement. Images from both visits capture students in thoughtful observation and discussion, surrounded by garments across centuries.
When thinking about portrait painting, A Goldsmith In His Shop, by Belgian artist Petrus Christ’s, doesn’t immediately look like one.
Painted in 1449, in oil on an oak panel, it shows a man working in his workshop, surrounded by tools, jewels and two clients (a young man and woman).
The painting is more than just a shop scene; it is a portrait that shows the lifestyle of the high class, a profession, and a significant moment of 15th Century Bruges.. ( history, culture and fashion.)
UNA CHEN – Parsons First-Year Student
Portrait Painting is a form of art that aims to depict a person. After listening to the MET educator’s explanation, I found that this portrait represents the story of the figures well, with the hidden meanings of their clothing which inspired me to research the painting further.
AVA CHO – Parsons First-Year Student
Maria Teresa’s black silk dress, adorned with metallic embellishments and lace detail, is a defining feature of the portrait. The fabric’s sheen is captured through delicate brushstrokes that create the illusion of light gliding over the fabric surface, giving a soft velvety appearance. A sheer overlay enhances the richness of the garment, while the floral embellishments add subtle decorative detail. (The young Spanish princess’ hairstyle) arranged in a carefully structured fashion is adorned with butterfly-shaped ribbons (“lazos”) which draw attention to her youth elegance. [ Portrait titled “ Mara Teresa, Infanta of Spain,” by Diego Velazquez, 1651-54 ]
HANNAH DAVID – Parsons First-Year Student
It was a true bliss to research and write about this masterpiece. The representation of wealth, beauty, fashion trends and historical events all combined in one frame is fantastic. [“Princesse de Broglie” by Jean Auguste Dominque Ingres, 1853]
AMANDA FERNANDES – Parsons First-Year Student
The exploration of dress in this master portrait will find context and intention behind Durer’s painted manifestation of Christ. [ “Salvator Mundi” by Albrecht Durer, c 1505]
MAX GOLDSTONE – Parsons First-Year Student.
By depicting Edith ( Mrs.I.N. Phelps Stokes) in more causal yet striking attire, rather than the expected formal wear, Sargent aligns her image of the “New Woman,’ a term used to describe the independent, confident and forward-thinking woman of late 19th Century (America). [ “Mr. and Mrs. I.N. Phelps Stokes,” by John Singer Sargent, 1897]
JOSIAH WONG – Parsons First-Year Student