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Conclusion: Common threads
Get PDFOrdinary clothes have extraordinary stories. In contrast to academic and curatorial focus on the spectacular and the luxurious, Everyday Fashion makes the case that your grandmother's wardrobe is an archive as interesting and important as any museum store. From the moment we wake and get dressed in the morning until we get undressed again in the evening, fashion is a central medium through which we experience the world and negotiate our place within it. Because of this, the ways that supposedly 'ordinary' and 'everyday' fashion objects have been designed, manufactured, worn, cared for, and remembered matters deeply to our historical understanding.
Beginning at 1550 – the start of an era during which the word 'fashion' came to mean stylistic change rather than the act of making – each chapter explores the definition of everyday fashion and how this has changed over time, demonstrating innovative methodologies for researching the everyday. The variety and significance of everyday fashion cultures are further highlighted by a series of illustrated object biographies written by Britain's leading fashion curators, showcasing the rich diversity of everyday fashion in British museum collections. Collectively, this volume scratches below the glossy surface of fashion to expose the mechanics of fashion business, the hidden world of the workroom and the diversity and role of makers; and the experiences of consuming, wearing, and caring for ordinary clothes in the United Kingdom from the 16th century to the present day. In doing so it challenges readers to rethink how fashion systems evolve and to reassess the boundaries between fashion and dress scholarship
Determination of Lipstick Authenticity Parameters
No full textCounterfeit medicine and cosmetics are available on the market despite the joint effort of corporations, e-commerce platforms, and the regulatory authorities to “fight the fakes”. This could be due to the lack of quick and reliable analytical methods for identifying counterfeit products. Techniques that perform physicochemical characterisations are the most reliable way to detect counterfeit cosmetics. However, this is costly and time-consuming therefore a more efficient approach to determine counterfeit cosmetics is beneficial. The aim of the study was to show how physical characterisation parameters such as hardness and yield stress could be used as a tool to authenticate stick-based products
Lucy Orta. Traces: Stories of Migration
No full textLucy Orta Traces: Stories of Migration will offer an insight into the diversity of first and second-generation migration histories woven into the landscape of east London. Led by international artist and researcher Lucy Orta, in partnership with London College of Fashion’s Making for Change as part of The Portal Centre for Social Impact, the participants of the Traces: Stories of Migration workshops came together to share textile knowledge, follow the threads of community migration in the context of the East End rag trade, and celebrate east London’s history of clothing and textile industry. As the culmination of a 2-year project involving over 80 residents across Newham and Tower Hamlets, the installation is a collective tapestry of lived experiences.
The walls of the Nunnery Gallery reveal two distinct artistic responses that celebrate the collaboration. A ‘Portrait Gallery’ by Lucy Orta: a frieze of 40 large format canvases depicting the makers involved in the workshops recalls motifs from their migration stories. ‘Story Cloths’ made by each maker depict their physical or metaphorical journeys using a range of dexterous textile craft techniques.
The exhibition is curated by Camilla Palestra, Centre for Sustainable Fashion (UAL)
Using Feedback Dialogue in Personal Tutorials to Support International Student Attainment
Get PDFThis three-year pedagogical action research (PedAR) project sought a novel approach to addressing the Home/ International attainment gap on a diverse undergraduate business course in a UK Arts University.
Using mixed methods this project investigated student and tutor conceptions of feedback and determined how a personal tutoring scheme could be used to support students’ use of feedback to enhance their attainment. An initial reconnaissance phase preceded the implementation of an intervention named Personal Academic Tutorials (PATs). The first cycle involved one course with subsequent cycles widening the scope across the business school to 8 undergraduate and 11 postgraduate courses seeking validation for the intervention.
Through an iterative design of PedAR, the largely qualitative datasets evidenced that both curriculum and personal relationships are important in motivating student use of feedback. Large cohort sizes and their impact on time were found to present a barrier to relationship development between students and tutors which was seen to particularly impact international students and hinder the development of their academic cultural competences including their feedback literacy. In the context of a modularised business course where subject relationships are fragmented this provides an additional relational challenge.
This study confirms the reported endurance of student and tutor conceptualisations of feedback as product and the reported challenges of feedback uptake. It also supports the understanding of feedback as an interaction between practices, context and individuals. This study demonstrates that the personal tutor can play an important role in the feedback ecosystem. Recommendations are made for the crafting of SMART feedback ecosystem processes that are adapted to discipline, prior educational experience and year of study
Locating Exhibition Design as a means of marketing architectural modernism in inter-war Britain
Get PDFThroughout the interwar period many dialects of modernist visual languages were developed and all of them are important to our understanding of how people approached and negotiated modernity, often mediated by the technologies of photography, film, and design. Of particular relevance to this account is the discourse that emphasised seeing, or, in other words, the visual. The negotiation of modernity through the visual, and people’s own senses of being ‘modern’, was to become one of the key features characterising the exhibition designs of the architect Oliver Hill (1887-1968).
Taking Hill’s designs for the Exhibition of British Industrial Art in Relation to the Home at the Dorland Hall in 1933 as a starting point this paper seeks to investigate Hill’s commitment to the education of the consumer. Exhibition designs such as at the Dorland Hall proved a perfect vehicle for Hill’s educational imperatives in educating the consumer in good design. The success of this exhibition not only shows that consumers felt connected with what was on display but it also highlights the exhibition’s usefulness in the fight against apathy in matters of good design. Indeed, designs for the exhibition, as this paper will highlight, showed how various ideas on design reform were in play and how exhibition design formed a navigational tool for both the visitor and for the exhibitor.
Through a close reading of this exhibition design this paper seeks to highlight how Hill fully embraced fashionability, both in terms of market consumerism and in the power that fashion had in improving taste and standards in design during that time
CRAFT: Activating Pedagogy for Ceramic Education Futures
Get PDFThe project report submitted to British Council at the project end.
-General Information: General information about the project, Inactive Organisations within Project Activities
-Context: this section resumes some general information about your project
-Project Summary: this section summarises your project and the organisations involved as partners
-Description of the Project: in this section, you are asked to give information about the objectives and topics addressed by your project
-Project Management
-Implementation: this section asks for information about all the stages of the project: implementation of main activities including practical arrangements, participants' profile, impact, dissemination of the results and future plans
-Follow-up
-Budget: this section gives a detailed overview of the final amount of the EU grant you request; Annexes: additional documents that are mandatory for the completion of the repor
Marginalia (When did you start having those feelings? She wrote)
No full textArtists Sharon Young and Sharon Kivland will read from their recent books Ms B and Abécédaire respectively. They will perform a new collaborative text, one that originated in the margins while reading each other’s work. Considering looking, autofiction, hysteria, and the figure of the father, they return to Freud, in the spirit of image, language, and desire. On International Women’s Day these readings entwine art and psychoanalysis, revisiting Freud’s question ‘what does a woman want?’. Drawing on the hysterical structure of identification with other women, these artists act out an identification with and through each other and their works
Self-Sabotage Workshop: a starting point to unravel sabotaging of instruments as a design practice
Get PDFWithin the music improvisation and jazz scenes, playing a wrong note may be seen as a source of creativity and novelty, where an initially undesired factor (the mistaken note) invites the musician to leverage their skills to transform it into new musical material. How does this idea, however, translate into more experimental scenes like NIME, where control and virtuosity are not necessarily the performance’s aims? Moreover, within NIME communities the addition of randomness or constraints to musical instruments is often an intended aesthetic decision rather than a source of mistakes. To explore this contrast, we invited four NIME practitioners to participate in the Self-Sabotage Workshop, where each practitioner had to build their own sabotaging elements for their musical instruments and to give a short demonstration with them. We gathered participants’ impressions of self-sabotating in a focus group, inquiring about control and musicality, and also the strategies they developed for coping with the self-sabotaged instruments. We discuss the emergent ideas of planned and unplanned sabotaging, and we propose a starting point towards the idea of self-sabotaging as a continuous design and musical process where designers/musicians try to overcome barriers that they impose upon themselves
Dead Deferral (VI)
No full textPresented in the solo exhibition Gross Motor Skills. Referencing logistics and its history as a term for the activity of organizing, equipping, and moving troops, the exhibition offers an ambivalent terrain through which we can circulate ourselves amidst other sausage-bodies, fragmented architectures, and the sundries of a poorly-equipped mobile military corps. Gross Motor Skills gleefully confronts the increasing use of artificial intelligence to advance logistics across supply chains, data analysis, moving people, and more. Even as our intersubjectivities dissipate into quantifiable data-byte-bites, laboring bodies still need to eat
