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.