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Skin of Identity: Fashion, History, and the Self

Explore Ghazal Shayani's 'Skin of Identity', an artistic deconstruction of the velvet gown inspired by Farah Diba and the tension between power and self.

#artistic-identity#fashion-design#cultural-history#velvet-material#conceptual-art#deconstruction#visual-metaphor
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Pitch

The Body Under the Dress

SKIN OF IDENTITY

GHAZAL SHAYANI

minimalist abstract white line art of a female silhouette merged with flowing fabric, entirely white lines on solid black background, vector style, elegant, high contrast
Made byBobr AI

THE CONCEPT

When I wear this red velvet top and look at myself in the mirror, I don’t only see my body — I see history looking back at me. This work explores the tension between wearing a garment designed for power and the personal reality underneath it.

minimalist white line art symbol representing tension or duality, abstract geometric shapes, white on black background, clean lines
Made byBobr AI
minimalist white line art of a stylized crown or royal motif, abstract, single continuous line, white on black background

HISTORICAL MUSE

Farah Diba's Royal Velvet Gown

  • Represented the image of a powerful woman and a modern nation.
  • Her body became a surface for projecting beauty, control, and politics.
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minimalist white line art of a mirror frame or reflection ripples, abstract, white on black background

CULTURAL REFLECTION

“ When I wear a similar velvet dress today, I feel connected to that image, even though I live in a completely different time and place. ”

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MATERIAL: VELVET

+ Looks rich and shiny, but absorbs light instead of reflecting it.

+ Soft, luxurious, yet concealing.

People see the surface, but not what is inside.

minimalist abstract white wavy lines representing flowing fabric or velvet texture, white on black background, elegant line art
Made byBobr AI
minimalist white line art of sharp geometric shards or starburst sparkles, white on black background, abstract

REFLECTIVE MATERIALS

I added crystals and reflective materials around the edges of the open back. They are not there to decorate me. They act like broken pieces of a mirror, showing that my identity is shaped by how I am seen, remembered, and judged.

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DECONSTRUCTION

By cutting the dress into a top and opening the back, I removed the idea of a royal gown and turned it into something more personal.

Cut the original dress into a top to remove the 'royal' association.

minimalist white line art of scissors or a cut line, abstract, vector style, white on black background
Made byBobr AI

THE FRONT

Elegant and controlled. How I present myself to the world.

minimalist white line art showing duality, half circle solid half circle outline, abstract balance, white on black

THE BACK

Open, soft, and exposed. How I feel when I am alone.

Made byBobr AI
minimalist white line art of an eye, abstract, representing the gaze, vector style, white on black background

SKIN IS THE TRUE SURFACE OF IDENTITY

My skin becomes the real surface of the work, not the fabric. The reflective elements framing the open back demonstrate how identity is rarely just our own—it is constructed by the gaze of others.

Made byBobr AI
minimalist abstract white line art representing liberation or honesty, organic curves breaking through geometric structure, white on black background

PERSONAL MEANING

Carrying more than just clothes: culture, expectations, and memories.

By damaging the perfect velvet surface, I allow something more honest to appear — myself.

Made byBobr AI
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Skin of Identity: Fashion, History, and the Self

Explore Ghazal Shayani's 'Skin of Identity', an artistic deconstruction of the velvet gown inspired by Farah Diba and the tension between power and self.

SKIN OF IDENTITY

The Body Under the Dress

GHAZAL SHAYANI

THE CONCEPT

When I wear this red velvet top and look at myself in the mirror, I don’t only see my body — I see history looking back at me. This work explores the tension between wearing a garment designed for power and the personal reality underneath it.

HISTORICAL MUSE

Farah Diba's Royal Velvet Gown

Represented the image of a powerful woman and a modern nation.

Her body became a surface for projecting beauty, control, and politics.

When I wear a similar velvet dress today, I feel connected to that image, even though I live in a completely different time and place.

CULTURAL REFLECTION

MATERIAL: VELVET

Looks rich and shiny, but absorbs light instead of reflecting it.

Soft, luxurious, yet concealing.

People see the surface, but not what is inside.

REFLECTIVE MATERIALS

I added crystals and reflective materials around the edges of the open back. They are not there to decorate me. They act like broken pieces of a mirror, showing that my identity is shaped by how I am seen, remembered, and judged.

DECONSTRUCTION

By cutting the dress into a top and opening the back, I removed the idea of a royal gown and turned it into something more personal.

Cut the original dress into a top to remove the 'royal' association.

THE FRONT

Elegant and controlled. How I present myself to the world.

THE BACK

Open, soft, and exposed. How I feel when I am alone.

SKIN IS THE TRUE SURFACE OF IDENTITY

My skin becomes the real surface of the work, not the fabric. The reflective elements framing the open back demonstrate how identity is rarely just our own—it is constructed by the gaze of others.

PERSONAL MEANING

Carrying more than just clothes: culture, expectations, and memories.

By damaging the perfect velvet surface, I allow something more honest to appear — myself.

  • artistic-identity
  • fashion-design
  • cultural-history
  • velvet-material
  • conceptual-art
  • deconstruction
  • visual-metaphor