By assimilating the form of a dress to embellish upon the notion of 'Man' and his articulation of war, the destructive effect of battle disseminates throughout the text. Establishing the image as an artefact of cultural significance does not remove the notion of it being a product equated for by 'Man''s maleable control over the subversion of death. A symbolic placement of war (from the waist down) permeating within the dress (effeminate) formulates for the imaginary order an empowered display of 'Man''s control over the iconography of war.
With this in mind, it is possible to interpret 'Man' as the designer of life and death, considering himself to be walking in the footsteps of God, toying with a palette of bodies. In this process the living are killed and reborn, forever in circulatory patterns set on a transparent repeat by 'Man', all for the controlled benefits of those few claiming to be Rulers of the 'People'. The choice is abstained and dialects excavated in 'Man''s self-proclaimed truth of the 'People''s freedom, striking order into their minds with a golden helm of power bestowed upon the tips of their paintbrushes.
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