Monday 28 February 2011
Chloe Colchester - The New Textiles
Colchester discusses Carolyn Corben and how she worked outside of the conservative idiom of couture, embroidered a telling commentary on it. On the reverse of a shirt machine-embroidered with various currencies she stitched the words “Greed is virtuous”.
La Pittura – Rose Garrard
Fall – Patrice Hughes
Poches Pleines by Genevieve Dupeux
Stella 1 Clare Zeister
Colchester states that "Dress is an integral part of the way we view ourselves and project our personality, taste or mood on a certain day".
Caroline Broadhead comments on clothing and the way in which it is perceived. She is interested in the intimate aspects of clothing the idea that they have been shaped not just by fashion but by someone’s life.
“Clothing holds a visual memory of a person and it is this closeness to a human being that i am interested in”. In her series of skeleton clothe she uses the seams to create three dimensional line drawings which express emotional states, movement, gesture, aspirations and dilemmas.
Otto von busch – online article www.fashionplay.org, upcycling fashion, upfashioning craftsmanship
A common phenomenon over the past 20 years is reusing old garments into new creations. The raw material is augmented into an object of higher status than the original. (Eg, Margiela).
First explored by Austrian group Wochen klausur. Makes links with dada practices, duchamp’s wheel and urinal. Raises the status of everyday object into icon. “Art for arts sake”.
Refers to Barbara Vinken – a shortcut to a unique object, as the fabric is distinctively heterogenous
La Pittura – Rose Garrard
Fall – Patrice Hughes
Poches Pleines by Genevieve Dupeux
Stella 1 Clare Zeister
Colchester states that "Dress is an integral part of the way we view ourselves and project our personality, taste or mood on a certain day".
Caroline Broadhead comments on clothing and the way in which it is perceived. She is interested in the intimate aspects of clothing the idea that they have been shaped not just by fashion but by someone’s life.
“Clothing holds a visual memory of a person and it is this closeness to a human being that i am interested in”. In her series of skeleton clothe she uses the seams to create three dimensional line drawings which express emotional states, movement, gesture, aspirations and dilemmas.
Otto von busch – online article www.fashionplay.org, upcycling fashion, upfashioning craftsmanship
A common phenomenon over the past 20 years is reusing old garments into new creations. The raw material is augmented into an object of higher status than the original. (Eg, Margiela).
First explored by Austrian group Wochen klausur. Makes links with dada practices, duchamp’s wheel and urinal. Raises the status of everyday object into icon. “Art for arts sake”.
Refers to Barbara Vinken – a shortcut to a unique object, as the fabric is distinctively heterogenous
Saturday 26 February 2011
Dress and Deconstruction
Dress and Clothing/Deconstruction
Rapture: Art’s seduction by fashion, Chris Townsend, Thames and Hudson London
Jacque Derrida – Writing and Difference “In repetition or playful return, how could the ghostly centre not call to us?
Chris Townsend quotes p62 Jacque Derrida – Fors
Subjective interiority – the hidden structural condition of being – is called to the surface and made obvious as a particular effect upon which both body and soul, which is is otherwise effaced by our attention to surface appearances.
Combining the Latin foris (outside) with the French for interieur (inner heart) the idea of the fors permits an imagination of surface where the two seeming opposing terms are constitutive of each other.
Deconstruction theory and practice, Christopher Norris
Page 19 chapter 2 derrida – deconstruction in its most rigorous form acts a s a constant reminder of the ways in which language deflects or complicates the philosophers project. A bove all, deconstruction works to undo these ideas – according to Derrida, the ruling illusion on western metaphysics – that reasons can somehow dispense with language and arrive at a pure, self authenticating truth or method.
Page 45 – Derrida 1973 – Although spoken language is a highly complex structure, always containing in fact an indicative stratum, which as we shall see is confined within its limits. Norris later states that the idea of consciousness can be fully authentic only when its workings express the present activity of a human subject. Expression as the breath or soul of meaning and language as the mere physical body which it comes to animate.
Rapture: Art’s seduction by fashion, Chris Townsend, Thames and Hudson London
Jacque Derrida – Writing and Difference “In repetition or playful return, how could the ghostly centre not call to us?
Chris Townsend quotes p62 Jacque Derrida – Fors
Subjective interiority – the hidden structural condition of being – is called to the surface and made obvious as a particular effect upon which both body and soul, which is is otherwise effaced by our attention to surface appearances.
Combining the Latin foris (outside) with the French for interieur (inner heart) the idea of the fors permits an imagination of surface where the two seeming opposing terms are constitutive of each other.
Deconstruction theory and practice, Christopher Norris
Page 19 chapter 2 derrida – deconstruction in its most rigorous form acts a s a constant reminder of the ways in which language deflects or complicates the philosophers project. A bove all, deconstruction works to undo these ideas – according to Derrida, the ruling illusion on western metaphysics – that reasons can somehow dispense with language and arrive at a pure, self authenticating truth or method.
Page 45 – Derrida 1973 – Although spoken language is a highly complex structure, always containing in fact an indicative stratum, which as we shall see is confined within its limits. Norris later states that the idea of consciousness can be fully authentic only when its workings express the present activity of a human subject. Expression as the breath or soul of meaning and language as the mere physical body which it comes to animate.
Tuesday 22 February 2011
Definitions of a Seamstress/Dressmaker
A dressmaker is a person who makes custom clothing for women, such as dresses, blouses, and evening gowns. Also called a mantua-maker (historically) or a modiste.
• Dressmaker as an adjective denotes clothing made in the style of a dressmaker, frequently in the term dressmaker details which includes ruffles, frills, ribbon or braid trim. Dressmaker in this sense is contrasted to tailored and has fallen out of use since the rise of casual wear in the mid-twentieth century.
• Mantua-maker, in the eighteenth century a maker of mantuas, or in general a dressmaker.
• Modiste, a maker of fashionable clothing and accessories, with the implication that the articles made reflect the current Paris fashions.
• Sewing professional is the most general term for those who make their living by sewing, teaching, writing about sewing, or retailing sewing supplies. She or he may work out of her home, a studio, or retail shop, and may work part-time or full-time. She or he may be any or all or the following sub-specialities:
• A custom clothier makes custom garments one at a time, to order, to meet an individual customer's needs and preferences.
• A custom dressmaker specializes in women's custom apparel, including day dresses, careerwear, suits, evening or bridal wear, sportswear, or lingerie.
• A tailor makes custom menswear-style jackets and the skirts or trousers that go with them, for men or women.
• An alterations specialist or alterationist adjusts the fit of completed garments, usually ready-to-wear, or restyles them. Note that while all tailors can do alterations, by no means can all alterationists do tailoring.
• Designers choose combinations of line, proportion, color, and texture for intended garments. They may have no sewing or patternmaking skills, and may only sketch or conceptualize garments.
• Patternmakers flat draft the shapes and sizes of the numerous pieces of a garment by hand using paper and measuring tools or by computer using AutoCAD based software, or by draping muslin on a dressform.
• A wardrobe coěnsultant or fashion advisor recommends styles and colors for a client.
• A seamstress is someone who sews seams, or in other words, a machine operator in a factory who may not have the skills to make garments from scratch or to fit them on a real body. This term is not a synonym for dressmaker. Prior to the Industrial Revolution, a seamstress did handsewing, especially under the putting-out system. Older variants are seamster and sempstress.
• Sewist is a relatively new term, combining the words "sew" and "artist", to describe someone who creates sewn works of art, which can include clothing or other items made with sewn elements.
• Dressmaker as an adjective denotes clothing made in the style of a dressmaker, frequently in the term dressmaker details which includes ruffles, frills, ribbon or braid trim. Dressmaker in this sense is contrasted to tailored and has fallen out of use since the rise of casual wear in the mid-twentieth century.
• Mantua-maker, in the eighteenth century a maker of mantuas, or in general a dressmaker.
• Modiste, a maker of fashionable clothing and accessories, with the implication that the articles made reflect the current Paris fashions.
• Sewing professional is the most general term for those who make their living by sewing, teaching, writing about sewing, or retailing sewing supplies. She or he may work out of her home, a studio, or retail shop, and may work part-time or full-time. She or he may be any or all or the following sub-specialities:
• A custom clothier makes custom garments one at a time, to order, to meet an individual customer's needs and preferences.
• A custom dressmaker specializes in women's custom apparel, including day dresses, careerwear, suits, evening or bridal wear, sportswear, or lingerie.
• A tailor makes custom menswear-style jackets and the skirts or trousers that go with them, for men or women.
• An alterations specialist or alterationist adjusts the fit of completed garments, usually ready-to-wear, or restyles them. Note that while all tailors can do alterations, by no means can all alterationists do tailoring.
• Designers choose combinations of line, proportion, color, and texture for intended garments. They may have no sewing or patternmaking skills, and may only sketch or conceptualize garments.
• Patternmakers flat draft the shapes and sizes of the numerous pieces of a garment by hand using paper and measuring tools or by computer using AutoCAD based software, or by draping muslin on a dressform.
• A wardrobe coěnsultant or fashion advisor recommends styles and colors for a client.
• A seamstress is someone who sews seams, or in other words, a machine operator in a factory who may not have the skills to make garments from scratch or to fit them on a real body. This term is not a synonym for dressmaker. Prior to the Industrial Revolution, a seamstress did handsewing, especially under the putting-out system. Older variants are seamster and sempstress.
• Sewist is a relatively new term, combining the words "sew" and "artist", to describe someone who creates sewn works of art, which can include clothing or other items made with sewn elements.
Monday 21 February 2011
Paper on the Nature of Deconstruction
The Loscialpo paper explores the theme of Deconstruction in relation to fashion and how it has evolved from the 1960s into present day. Minimalism played a key role in the 80s in pushing this idea further with Fine Artists and designers creating a more Minimalist aesthetic through their work. Examples of this would be Rei Kawakubo and Issey Miyake.
http://www.inter-disciplinary.net/critical-issues/ethos/fashion/project-archives/1st/session-1-fashion-theory-for-the-21st-century/
This paper uses Margiela and Kawakubo as contemporary examples which demonstrate the idea of destruction in their work by breaking down the idea of garment construction.
Comme De Garcons 1983
http://032c.com/2001/on-the-nature-of-destruction/
http://www.inter-disciplinary.net/critical-issues/ethos/fashion/project-archives/1st/session-1-fashion-theory-for-the-21st-century/
This paper uses Margiela and Kawakubo as contemporary examples which demonstrate the idea of destruction in their work by breaking down the idea of garment construction.
Comme De Garcons 1983
http://032c.com/2001/on-the-nature-of-destruction/
Chelsy Walker
Chelsy Walker's work explores her own personal history and the impact of this within contmeporary art. She has a drive to explore her own family history, exploring this themes through a variety of different media. Much of her work takes the form of installations.
Seeds of the Family 2005
Detail
Seeds of the Family 2005
DetailEllie Harvey
Ellie Harvey created a series of works titled "Dislocation". They are a set of photographs of empty buildings which included images of garments as seen below. Through my research, I want to evoke this idea of the erosion of time and try to display this through the archive I am creating in fabric.
http://ellieharvey.com/home.html
http://ellieharvey.com/home.html
Thursday 17 February 2011
Hans Peter Feldman
All the Clothes of a Woman 1973-2002
Hans Peter Feldman's work is based in the collecting of found materials such as photographs, magazines, texts and objects. He creates installation work in which he orders and re-orders work to re-contextualise them for today's audience.
http://www.303gallery.com/artists/hans-peter_feldmann/index.php?exhid=73&p=images
Roy Arden's paper on Feldmann's work:
www.royarden.com
Wednesday 16 February 2011
Sunday 13 February 2011
Designs from the Archive
These studies are based on inital ideas from the family archive. They stems mainly from Annie's Victorian dress from the 1880s which showed large leg o mutton sleeves and tight fitting corset with panels of pleats and ribbon. I also wanted to incorporate the image of my Grandmother's pleated school uniform to reflect both of the family members.
Thursday 10 February 2011
Steve Klein
Examples of Steve Klein's work, I am inspired by the using of layering in the images, creating a Victorian style with a modern twist. He uses details such as lace panels to evoke the 19th century, but creates new modern shapes through styling and unpicking the garments.
Tuesday 8 February 2011
Photoshop Experiments
These images were examples of my first experiments with Photoshop. I scanned the original images and wanted to create layers with two images and manipulate opacity so that the photograph underneath was partially exposed. This links with the idea of creating my own archive of material which allows the viewer to look at a range of layers within the work and become intrigued by the images they view.
Monday 7 February 2011
Sunday 6 February 2011
Curating Knowledge - Nicholas Donovan
Nicholas's work is based in the experience rather than a finished artwork.
Notion of Relational Aesthetics is an important part of his research inquiry.
Works: Comrade Coffee and The Life and Times of Virgil.
His conceptual framework refers to the idea of Interdisciplinarity
Practice as Research becomes a analogous working model of the process focused practice, relfecting a consistency in both development and change.
References:
Huizinga's notion of Play (Links to Kevin Egan's discussion in December)
Definition of Inter - territories
Codyfying of Knowledge - Perceptions of knwoedge and the mediation between the disciplines
The Practitioner oscillates between the practice and the research
Links to Robin Nelson's Practice as research
The subjective and intersubjective, relation between subject and object
The Product
The Process
Conceptual Framework
Notion of Relational Aesthetics is an important part of his research inquiry.
Works: Comrade Coffee and The Life and Times of Virgil.
His conceptual framework refers to the idea of Interdisciplinarity
Practice as Research becomes a analogous working model of the process focused practice, relfecting a consistency in both development and change.
References:
Huizinga's notion of Play (Links to Kevin Egan's discussion in December)
Definition of Inter - territories
Codyfying of Knowledge - Perceptions of knwoedge and the mediation between the disciplines
The Practitioner oscillates between the practice and the research
Links to Robin Nelson's Practice as research
The subjective and intersubjective, relation between subject and object
The Product
The Process
Conceptual Framework
1841 Children's Employment Commission
1) EVIDENCE TAKEN BY
Children's Employment Commission
February 1841
"Miss --- has been for several years in the dress-making business...The common hours of business are from 8 a.m. til 11 P.M in the winters; in the summer from 6 or half-past 6 A.M. til 12 at night. During the fashionable season, that is from April til the latter end of July, it frequently happens that the ordinary hours are greatly exceeded; if there is a drawing-room or grand fete, or mourning to be made, it often happens that the work goes on for 20 hours out of the 24, occasionally all night....The general result of the long hours and sedentary occupation is to impair seriously and very frequently to destroy the health of the young women. The digestion especially suffers, and also the lungs: pain to the side is very common, and the hands and feet die away from want of circulation and exercise, "never seeing the outside of the door from Sunday to Sunday." [One cause] is the short time which is allowed by ladies to have their dresses made.
Miss is sure that there are some thousands of young women employed in the business in London and in the country. If one vacancy were to occur now there would be 20 applicants for it. The wages generally are very low...Thinks that no men could endure the work enforced from the dress-makers."
[Source: Hellerstein, Hume & Offen, Victorian Women: A Documentary Accounts of Women's Lives in Nineteenth-Century England, France and the United States, Stanford University Press.]
Children's Employment Commission
February 1841
"Miss --- has been for several years in the dress-making business...The common hours of business are from 8 a.m. til 11 P.M in the winters; in the summer from 6 or half-past 6 A.M. til 12 at night. During the fashionable season, that is from April til the latter end of July, it frequently happens that the ordinary hours are greatly exceeded; if there is a drawing-room or grand fete, or mourning to be made, it often happens that the work goes on for 20 hours out of the 24, occasionally all night....The general result of the long hours and sedentary occupation is to impair seriously and very frequently to destroy the health of the young women. The digestion especially suffers, and also the lungs: pain to the side is very common, and the hands and feet die away from want of circulation and exercise, "never seeing the outside of the door from Sunday to Sunday." [One cause] is the short time which is allowed by ladies to have their dresses made.
Miss is sure that there are some thousands of young women employed in the business in London and in the country. If one vacancy were to occur now there would be 20 applicants for it. The wages generally are very low...Thinks that no men could endure the work enforced from the dress-makers."
[Source: Hellerstein, Hume & Offen, Victorian Women: A Documentary Accounts of Women's Lives in Nineteenth-Century England, France and the United States, Stanford University Press.]
Wednesday 2 February 2011
The Sampler
Heather Belcher created this work in 2008 and is a contemporary take on the historical idea of the sampler. These samplers were usually created to demonstrate an individual's skill within needlework and embroidery.
Tuesday 1 February 2011
Collecting
This image and the one below were found in a glass cabinet in an antique warehouse. The photographs were set into a brown leather wallet, which was very worn and showed signs that it was well loved. The photographs do show a family resemblance and it intrigued me as an object and as a source for my explorations.
This image shows a middle class lady around the turn of the last century. Her clothing offers clues to her status, this is evident through the intricate work on her blouse and the lace cuffs on her dress. The image is quite whimsical, and I would like to explore this quality in my work.
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