BIBIOGRAPHY

DEWEY,J. (2005) Art as Experience. New York: The Penguin Group.

KNECHTEL,J. (2007) Trash. China: Alphabet City Media, Inc.

VERGINE,L. (2007) When Trash Becomes Art: Trash rubbish mongo. Italy: Skira Editore S.p.A.

JOHNSTONE,S. (2008) The Everyday, Documents of Contemporary Art. Whitechapel and The MIT Press: London and Cambridge, Massachusetts.
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BOWLES,M & ISAAC,C. (2009) Digital Textile Design. London: Laurence King.


DAMHORST,M-L & MILLER-SPILLMAN,K & MICHELMAN,S. (2005) The Meanings of Dress: Second Edition. USA: Fairchild Publications.

WALKER,J.A. (2001)  Art in the Age of the Mass Media: Third Edition. London: Pluto Press

HOFFMAN,J & JONAS,J. (2005) Perform. London: Thames and Hudson

WITTS,N & HUXLEY,M. (2002) The twentieth century performance reader. London and New York: Routledge



BIAL,H. (2007) The Performance Studies Reader: Second Edition. London: Routledge

STERN,R. (2003) Against Fashion: Clothing as Art, 1850-1930. Cambridge, Massachusetts: The MIT Press

GOLDBERG,R. (1998) Performance: Live Art since the 60's. London: Thames and Hudson

MALCOLM,B. (2002) Fashion as Communication: Second Edition. London: Routledge

LURIE,A. (1992) The Language of Clothes. London:Bloomsbury

BANCROFT,A. (2012) Fashion and Psychoanalysis: Styling the Self. London: I B Tauris

BARNES,R & EICHER,J. (1993) Dress and Gender: Making and Meaning. Oxford & New York: Berg

PAULINS,V & HILLERY,J. (2009) Ethics in the Fashion Industry. New York: Fairchild

BERMAN,M. (1983) All That is Solid Melts into Air: The Experience of Modernity. London: Verso

MINK, D. (2011) Fashion out of order: Disruption as a Principle. Stuttgart: Arnoldsche

GRANT,L. (2009) The Thoughtful Dresser. London: Virago

MARK, L. (2005) Ecstasy: In and About Altered States. Cambridge, Massachusetts: The MIT Press

CRAIK, J. (1994) The Face of Fashion: Cultural Studies in Fashion. London and New York: Routledge

KUCHLER, S. & MILLER, D. (2005) Clothing as Material Culture. Oxford: Berg Publishers Limited

ROWLEY, S. (1999) Reinventing Textiles, Vol 1. Tradition and Innovation. Winchester: Telos

HEMMINGS, J. (2012) The Textiles Reader. Oxford, Berg.

ADAMSON, G. (2009) The Craft Reader. Oxford: Berg

RIDGWELL, J. (2009) Sustainable Textile Design. London: Ridgwell Press

PERRA, D.P (2010) Low Cost Design. Milan: Silvana Editoriale Spa

MCGOVERN, U. (2008) Lost Crafts: Rediscovering Traditional Skills. Edinburgh: Chambers
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Magazines-


- MILLER, L. (2013) Cloth and Memory 2, Textile Forum, September Copy, p 20-21
- LAUE, D. (2013) The 15th Techtextil Fair and Texprocess, Textile Forum, September Copy, p 42-43
-LAUE, D. (2013) We Are All Fetishists, Textile Forum, September Copy, p 14-15

KIDRON, C. (2012) Breaching the wall of traumatic silence: Holocaust survivor and descendant person-object relations and the material transmission of the genocidal past, Journal of Material Culture, Volume 17 March, p 4-21

HAERPER, S. (2012) 'I'm glad she has her glasses on. That really makes the difference', Grave goods in English and American death rituals, Journal of Material Culture, Volume 17 March, p 43-59

Embroidery: The textile art magazine, November/December 2013, Volume 64

Drapers Magazine: For all the fashion business, November 9 2013

Anonymous (2013) Understanding sustainable design, Textiles, 2013 No.3, p19-20

GILBERT, H. (2013) Trapped by Tatriiz: Bedoin Handicrafts and Marginalization in South Sinai, Textile : The journey of cloth and culture, Volume 11 Issue 2, p 130-139

GILL, A.A. (2013) The Perfect Fit, The Sunday Times Magazine, November 17 2013, p 83-85

Article in journal:

  Bennett, D. (1989) Consuming Popular Culture, Design No. 45, Autumn, pp 7-25.

Websites- ADD DATES  LAST VIEWED

http://www.wired.com/thisdayintech/2011/01/0124first-us-canned-beer/

http://www.wrap.org.uk/content/time-unlock-value-household-textile-waste-says-wrap

Blurred Lines, Androgyny and Creativity by Scott Barry Kaufman, Sept 1 , 2013 http://blogs.scientificamerican.com/beautiful-minds/2013/09/01/blurred-lines-androgyny-and-creativity/


Lauren Cochrane, The Guardian, Friday 20th September, 2013,
http://www.theguardian.com/fashion/2013/sep/20/how-to-androgynous-fashion

http://www.doiselles.com.br

Rebecca Sales, 4th August 2013,
http://www.dailymail.co.uk/news/article-2384376/Maximum-security-prisoners-Brazilian-jail-knitting-create-designs-high-end-fashion-label.html

http://www.sustainable-fashion.com/tag/fashion/

Stretch Identity to fit: the many faces of nikki s. lee
http://cielvariablearchives.org/en/component/content/article/393-stretching-identity-to-fit-the-many-faces-of-nikki-s-lee.html

http://www.jimarendt.com/JimArendt.com/About_Me.html VIEWED 23rd nov

Gilbert and George: the odd couple, Wednesday 24 June 2009

http://www.theguardian.com/artanddesign/2009/jun/24/gilbert-george-white-cube

28th November
nick cave
http://www.fastcodesign.com/1665221/nick-caves-sound-suits-stunning-wearable-art-for-modern-witch-doctors#2
http://www.juxtapoz.com/current/nick-caves-soundsuits
http://artery.wbur.org/2013/03/04/nick-cave-soundsuits-peabody-essex

19th December
http://www.theguardian.com/music/2010/apr/17/grace-jones-interview

28th December
http://www.123inspiration.com/wilder-mann-by-charles-freger-costumes-of-still-practiced-pagan-rituals-of-europe/european-pagan-rituals-wilder-mann-charles-freger-16/

http://ngm.nationalgeographic.com/2013/04/europes-wild-men/shea-text



http://www.thebalde.net/edukia.php?uuid=1122&img=721&lang=en


FILM

matthew berney the cremaster cycle


TALKS

Wayne Hemmingway, November 19,2013

FINAL CREATIVE RESPONSE - journey and construction

 Progression from Sketch to Final Piece

 Original Sketch

Machete of Final Piece

• This helped me think about the construction of the individual 'lumps'. 
• For this I used 2 circles of fabric, sewn together. This created quite a 2D shape, which isn't what I was envisioning. 

Construction Sketches 

• In my writing side of the module, I've touched on how recycling materials is so important.
• I do need to purchase the fabric from scratch for the result to look polished.
• At first I researched using a recycled material to stuff the balls. The options were shredded cardboard or biodegradable void fill kernels.
• This could have looked lumpy, and the cardboard may have been too heavy. The structure needs to look heavy, but be quite light to allow the wearer to be comfortable while being photographed.
• The ideal filler would be traditional cushion stuffing.

• So I thought about ways I could recycle in other ways.
• The obvious connection is that the balls, being padded, resemble cushions. So by adding a detachable strap, they can become cushions after their former life as a sculpture.
• The burdens become a comfort and a support. Encouraging them to be thought of in a positive way to counteract the negativity of the initial 'burdening'.

Making the shape of the 'balls' rounder is simplified by panels. Similar to a rugby ball, but with circular ends. I will experiment on a small scale how many panels are best. The larger the ball, the more panels that will be needed.

 The painted patterns will sit better on a cylindrical shape. 

• 
  

Final Creative Response

CREATIVE RESPONSE

By looking at artists instead of fashion designers I've learnt a lot more about how the body can be covered to reflect a meaning or a feeling. I know now that I don't want to create a traditional item of clothing for my creative response to the project, but more of a wearable sculpture.

I started thinking about how I could make clothing that explores showing personality in a visual way

Although clothes are apparently a method of expressing our personalities and feelings,

women often take it as their role to stay strong and resolute at all times

A great deal of women use clothes alongside make-up to put on a cheerful face and conceal any stress they may be facing.

Being dressed in heavy weighted clothing would contort the body into physically showing the strain they’re under.

I was inspired by my mum who like many other women, keeps any negative emotions hidden.

Each sack will be weighted, and printed with a pattern that links to clothing from a certain time or event in my mums life.

The weighted balls are a visual representation of feeling emotionally dragged down.

Combining performance with clothing will hopefully lead to a better understanding of clothing and it’s possibilities.

A Short Story that relates well  - Harrison Bergeron by Kurt Vonnegut

PATTERNS FOR EACH OF THE SEGMENTS

The patterns are representative of clothing my mother found most memorable about each of the burdens.

I decided not to use these patterns after contemplating how the balls would relate to the audience. The sculpture had become less personal and I was aiming for more general effect and the patterns would complicate this.

Rachel Quimerez

Rachel Quimerez

Inverno Collection 2013

Rachel Guimerez is a Brazilian Fashion Designer, specialising in knitted garments. For her latest collection, ‘Inverno’, she is using solely recycled materials. 

‘In the point of view of the planet, throwing waste away isn’t possible, because nothing will leave here, until the day NASA provides us with a rocket... We decided not to buy anything else when we realised that we had it all’, [Rachel Guimerez, 2013]

She saved ‘anything that is left over’ from her production line from the last eight collections and four years of work. This amounted to ‘almost one ton of wool, cotton, silk, polyamide and acrylic, and all types of fibres’. 500g of one of these materials is what is necessary to make one piece. Instead, they had bundles of 300g, 200g, and even less. Her and her team needed to ‘separate colours, divide textures, put the tones together and start’. This means that each piece has to be individually designed and is completely unique. ‘This is a reasonable and creative way to use resources’

What Guimerez is doing would not have been out of place 100 years ago. Sewers would use every scrap of their clothes making materials. Any amounts of material too small to form part of a new garment would be used to patch or mend. In the modern age clothes aren’t made, they’re bought from shops and so the consumer has no control over the wastage of the garment they’re buying. This means they wont have a matched piece of material to patch a jumper if they make a hole. Taking it to a seamstress and paying for the repairs or alteration would normally cost more than buying a new jumper, and so logically it makes sense to bin the old and buy the new.

The continuous wastage we now face as a world is why designers like Guimerez are so important in the development of fashion. In this money motivated continent, designers like Guimerez get people excited about craft and making things for free. 

Flor de Lotus 

One way of cutting down environmentally unfriendly out-sourcing is to find a more financially viable production plan within the country. Although seemingly improbable, Rachel Guimerez found a solution. And ‘so with this will of creating fashion that goes beyond tendencies, beyond disposability, that brings cultural and emotional elements, ‘Doiselles’ developed the ‘Flor de Lotus’ project’ [Guimerez, 2012]. The project involved Guimerez training 18 prisoners at Brazils’ ‘Arisvaldo de Campos Pires’ maximum security prison. She’d teach them intricate knitting and crochet techniques to produce garments sold under her clothing brand Doiselles.

The initiative ‘is a chance for prisoners to earn money while serving time’. In addition, for every three days worked, one day is taken off the workers release date. Initially to some, the thought of wearing a garment hand crafted by a murderer may spur repulsion, but there are massive benefits to the scheme. ‘The project gives prisoners confidence, and skills they can use in the outside world... the project boosts prisoners’ chances of finding a job when their sentences are up’ [Celio Tavares, former prison inmate]. Most of the prisoners at the jail have ‘spent more time in than out’ [Celio Tavares], finding no escape from the cycle of crime. Giving the prisoners skills, savings and job potential, significantly deters them from returning to a life of crime that was awaiting them before. They are now ‘capable of changing their lives, as soon as they conquer their freedom’, [Andrea Andries, 2012]

In less developed countries in which production is often relocated to, employees are ‘frequently paid by the piece’ and homework that’s given to employees is ‘difficult to monitor’. This results in rushed work and a bad quality outcome. The alternative, are garments that are quality checked, from prisoners that are paid per day. If a customer doesn’t support the cause, they must surely still support that the cause takes trade away from factories that ‘frequently involves child labour’. 

The project of course, is on a small scale and relies on compliant and enthusiastic volunteers. It doesn’t offer a full term solution to discouraging ‘sweatshops’ but it does encourage change. Offering unique hand-crafted clothing usually means customers will be more likely to spend more, to cherish and keep the garment. This hopefully resulting in less waste, then less consumption.  

WEEK FIVE - Nick Cave and Femke Agema and Charles Freger

Emotional and physical experiences that clothing can give.
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NICK CAVE

Nick Cave is an american textile sculptor, dancer and performance artist. His project 'Sound Suits' is the creation of wearable garments that focus on sound, flow and visuals when worn during movement. He uses only 'found' objects to create his work - twigs, fur, buttons etc- so they're incredibly resourceful and environmentally friendly. I think this gives them much more intrigue and history.

The first suit, made of twigs was inspired by the brutal beating of Rodney King in Los Angeles, 1992. He made the suit to represent armour. "To be heard you have to speak louder", and so he decided to base his sculptures on sound. Cave uses video to exhibit his pieces because they are made to be moved. The costumes static on mannequins seem out of place.

They inject fun, spontaneity and excitement into clothing.

I admire his use of old objects. Working with found materials takes a lot more initiative and skill than using new material. He has to "have a large volume" of the materials he plans to use, so sourcing the right material in a large quantity alone will be a struggle. The suits optimise everything I've been writing about within my research project. I think his work ethic comes from being brought up on hand-me-downs. It teaches you to not waste, and to be resourceful.

"It's the materials that provide impulse for me"
I can relate to this. The reason i'm so interested in fashion is because of my collections of second hand clothing that grew from my hand-me-downs. I couldn't bear to throw any of them away even when elastic had broken, and when my mum had taken my old clothes to use as cleaning rags I'd be upset. I didn't like material swapping purpose. I felt it should always be decorative and so the purpose of saving these clothes was to find a new use for them.

“It’s the materials that provide that impulse for me,” Cave tells Co.Design. “I may pass a beanie baby for 10 years, and then just one day, whoa, I’m vibing with something.” Cave, who runs the fashion department at the School of the Art Institute of Chicago, also has to take quantity into account. “I have to have a large volume of what I need to use.”To hold the pieces together, he uses different types of knotting techniques that function as a webbing infrastructure. And a lot of the suits--like the ones made of rugs or twigs--also have armatures underneath them, mostly made of fabricated metal, to give it the necessary volume. And on top of that, he uses draping techniques for embellishment and added volume. “For the most part we’re building three-dimensional cloth,” Cave continues. “The combination of that in addition to the apparatus underneath creates an unusual thing that opens up ideas associated with architecture, or as a body as a carrier or shell. [http://www.fastcodesign.com/1665221/nick-caves-sound-suits-stunning-wearable-art-for-modern-witch-doctors#2]

'Pretty much anything is material for Cave’s Soundsuits. The 54-year-old artist and Alvin Ailey-trained dancer has been foraging, recycling and repurposing since he was a kid.
“I was always a maker,” he said. “I would always make things with my hands.”
Cave grew up in Fulton, Mo. As one of eight boys, he even redesigned his hand-me-downs.
“I would cut the sleeves off, or add something to the surface,” he said. “So it was thinking about, how does one establish one’s identity being raised in a sort of lower-middle-class family, and not having much but realizing that the surplus around me was enough to keep my interest.”
Cave loves to incorporate the piles of stuff he finds in nature, on the street, or at antique flea markets. “What’s powerful about that is that you know you can make something out of nothing,” he said. '

So, like many other successful creatives he came from background of hand-me-downs and having to make-do.

This encourages the imagination to work overtime and see beauty and potential in seemingly ordinary objects.

http://artery.wbur.org/2013/03/04/nick-cave-soundsuits-peabody-essex

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FEMKE AGEMA

'The only limit is your imagination'

 'I think the world of fashion is already so fast. I like to dive in a theme or concept, so it works for me to work this way.'

Femke Agema combines art and fashion. She uses her more abstract pieces to draw attention to the ready-to-wear pieces.

Nigliktok (inuit word for “cold,” created as she says “for the inevitable snowpocalypse.”)

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Elders 

"Femke Agema’s Spring Summer 2013 collection, is her vision of the world springing into life after winter. It’s inspired by the simple joy we feel in being let loose into the wild to play in an environ-ment overflowing with possibilities. A world where you make treehouses, huts and rafts from whatever you can get your hands on. A world made to be explored, bursting with colours and textures, where the only limit is your imagination." http://thisispaper.com/Femke-Agema-S-S-2013

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Can you introduce yourself ? Tell us more about you and the beginning of the brand.My name is Femke Agema, and I am running a fashion label called Femke Agema. I started making collections in 2010, before that I was working as a freelance designer/artist. I was doing art projects, but at the same time I was making wearable clothes to sell. And at one point I missed to think in collections, I mean I missed telling a story with my clothes. So I decided to combine the two: wearable (and sellable) clothes and experimental objects.    [http://ligature.ch/2013/06/femke-agema-interview/]

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RELATED ARTIST- CHARLES FREGER

The photographer Freger captures other cultures unusual dress, in 'tribal' Europe.

This opens our eyes to the expressive dress that are still prominent in the present day.

ITALY - Schnappviecher (snapping beast) on Shrove Tuesday

AUSTRIA - Every five years the men of Telfs collect lichen to create Wilder Mann, or Wild Man, costumes for the town’s Carnival festival. Tradition dictates that they nibble on a piece of this lichen before the festivities.

FRANCE - Spring festivals in the Pyrenees feature local men playing the role of bears awakening from hibernation.

WEEK FOUR - Kaarina Kaikkonen and Jim Arendt

This week I wanted to explore the recycling of clothing in less traditional ways. One artist creates a permanent up-cycle of clothes, the other temporarily placing groups of one type of clothing in a formation.

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KAARINA KAIKKONEN

Kaikkonen is a leading Finnish artist who uses simple, everyday objects to create huge installations that reflect the spaces in which they are placed. She is best known for using second hand clothes, often men's shirts.

"Kaarina Kaikkonen uses simple, everyday objects such as second-hand clothing, toilet paper and women’s shoes, to create large-scale installations that articulate the architectural or open space in which her works are sited. She is best known for several major works using hundreds of discarded men’s jackets, which have a highly charged and personal significance for her. Though ambiguous in meaning, her works evoke associations of personal loss, collective memory, and local history."

I can admire the work for exploring the use of unusual materials within sculpture. The sheer size and quantity is impressive and shows how the multiplication of an object can install beauty into something that isn't normally considered that. The problem I have with the work is that I cant help but see wastage, and wonder where the clothes came from, and what's happening to them after.
I can imagine her thought process behind the sculptures. Collectively clothing can be fascinating and attractive, but each individual shirt holds a personal story. I think if there was an ecological side to her sculptures I would be more excited to read into the connotations.

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JIM ARENDT

Arendt is an artist that uses old and worn clothes to create portraits of people he knows. He chooses to represent family members, not as they are now, but how he remembers them.

"Denim was created to be abused, worn out, patched, stained, and burnt through with hot sparks. Its characteristics are mirrored in the individuals I choose to represent." 

His work I find incredibly inspiring. My whole life I've collected old clothes, especially ones that carried a memory or were made from a material I liked. I see them in uses other than clothing but I struggle to cut them up and detach the items from their former purpose. This work has made me think about ways I can now use these hoardings to develop their meaning and use as clothes, but within a 'painting' instead of on a body.

"I use art making as a way to investigate how the division of labor and alienation from work has impacted individual lives. My early engagement with work that was whole and undivided has left me with a persistent feeling that our present economic configuration has disenfranchised most of us from the finest use of our skills." 

I prefer the style of making he's used in the top image. By showing the seams and full pieces of jeans, it's more explanatory of the method he's used and feels most like a finished piece rather than a solitary figure. I've chosen the three images of his I feel are most interesting. The rest were just solitary figures made from jeans, but these three have more of a story within them. He's been more adventurous with composition and content which makes you want to learn more about the characters portrayed.

Yvette and Ainsley

Firecracker/Harper

CREATIVE RESPONSE TO WEEK THREE

Face painting has always been escapism for me. If i've had a tough days work I like to paint a new face on and immerse myself in a new form.

I'm a great fan of make-up and the effects it can have on peoples' personalities, as well as clothing. 

I decided to transform myself into new characters using makeup,  and document how it made me feel. 

I wanted to know how easy it would be to fool myself into thinking I really was this new character.

And if it would affect the way I dressed.

no.1 Drag

• I immediately felt flamboyant.
•  I wanted to show people my face to see their reactions.
• I moved my face slower and held any faces I pulled for a longer amount of time.
• I felt extremely comfortable in my actions. 
• The make-up felt like a mask and I could act like someone else, become someone else, without being accused of being fake or strange.
• I felt ridiculous in the casual clothes I was wearing. I wanted to dress fabulous. I felt I could wear  extravagant clothing but feel a lot more comfortable than usual.
• I chose to use webcam to document this because it allowed me to view myself as the photo was being taken, to insure I looked the best I could.

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No.2 Clown

• I felt fickle and changeable.
• I pulled my hair up into a mop so it could hang around my face. 
• I wanted to pull strange faces and scare.
• I chewed a disclosing tablet to make my tongue go pink, because it seemed right.
• What I was wearing didn't seem to matter. 
• I used an SLR to document this because I preferred to act the character without seeing myself. I could then look at the photos afterwards. I used a shallow focus and different effects. Afterwards I was quite shocked at the pictures.

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No.3 Mutton dressed as Lamb

• I linked 'looking old but pretending to be young' with a drunken feeling.
• The wrinkles made me feel uncomfortable but pretending to be drunk felt similar to being drunk, and boosted my confidence.
• I picked silly items of clothing from my wardrobes and tried them on, but didn't want to show anyone.
• I used the glare protecter (created the ring) to take pictures. It felt like I was distancing myself from the pictures by viewing them through a tunnel.
• Looking back at the pictures was uncomfortable, I looked ridiculous  in a lot of them and the makeup looked out of place.