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| Mary Cassatt The Fitting ca. 1890-91 drypoint and color aquatint National Gallery of Australia, Canberra |
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| Georges Lepape Laquelle? (Robe de soirée de Paul Poiret) ca. 1912 lithograph and pochoir Cooper Hewitt, Smithsonian Design Museum |
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| Georges Lepape Dieu! Qu'il fait froid . . . (Manteau d'hiver de Paul Poiret) ca. 1913 lithograph and pochoir Cooper Hewitt, Smithsonian Design Museum |
-1913-lithograph-and-pochoir-(fashion-plate)-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Maurice Taquoy L'Entr'Acte (Robe de soir de Worth) 1913 lithograph and pochoir Cooper Hewitt, Smithsonian Design Museum |
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| Dagobert Peche Fashion Illustration - Woman in Garden 1914 hand-colored woodcut Cooper Hewitt, Smithsonian Design Museum |
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| Man Ray Peggy Guggenheim wearing Paul Poiret 1924 gelatin silver print National Portrait Gallery, Washington DC |
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| Georges Barbier L'Air 1925 lineblock and pochoir Cooper Hewitt, Smithsonian Design Museum |
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| Cecil Beaton Ruth Ford modeling Satin Cape ca. 1930-40 gelatin silver print Hirshhorn Museum, Washington DC |
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| Charles James Fashion Studies 1962 drawing Chrysler Museum of Art, Norfolk, Virginia |
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| Charles James Fashion Study 1962 drawing Chrysler Museum of Art, Norfolk, Virginia |
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| Boris Chaliapin Rudi Gernreich 1967 gouache and graphite on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| David Bailey Penelope Tree for British Vogue 1968 gelatin silver print Victoria & Albert Museum, London |
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| Arthur Leipzig Pauline Trigère creating a Garment 1968 gelatin-silver-print- National Portrait Gallery, Washington DC |
-1970-ORIG-needlepont-on-canvas-(commissioned-by-Time-magazine)-National-Portrait-Gallery-Washington-DC.jpg) |
| Judy McGuggart John Fairchild, editor of Women's Wear Daily 1970 needlepoint on canvas (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Ann Weir Study of a Dress 1984 drawing National Gallery of Australia, Canberra |
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| Zoe Leonard Geoffrey Beene Fashion Show 1990 gelatin silver print Whitney Museum of American Art, New York |
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| Margaret Strickland Easter Dress 2007 inkjet print Smithsonian American Art Museum, Washington DC |
Sandpiper
The roaring alongside he takes for granted,
and that every so often the world is bound to shake.
He runs, he runs to the south, finical, awkward,
in a state of controlled panic, a student of Blake.
The beach hisses like fat. On his left, a sheet
of interrupting water comes and goes
and glazes over his dark and brittle feet.
He runs, he runs straight through it, watching his toes.
– Watching, rather, the spaces of sand between them,
where (no detail too small) the Atlantic drains
rapidly backwards and downwards. As he runs,
he stares at the dragging grains.
The world is a mist. And then the world is
minute and vast and clear. The tide
is higher or lower. He couldn't tell you which.
His beak is focussed, he is preoccupied,
looking for something, something, something.
Poor bird, he is obsessed!
The millions of grains are black, white, tan, and gray,
mixed with quartz grains, rose and amethyst.
– Elizabeth Bishop (1962)