Escolar Documentos
Profissional Documentos
Cultura Documentos
I NT RO DUCT I O N
4
R e a s s e s s in g t h e
fa s h ion o b j e c T. . .
12 A N N E FA R R E N
Changing perspectives:
AN Interdisciplinary
Fashion Approach
E M I LY W I LLS
18
ROOM 1
SL I PPAGES BE T W EE N
V I S UAL M E R C HA N D I S I N G
AND EXHIBITION
24 D I SPLAY
ROOM 2
T HE T R A N SF O R M AT I VE
P O T E N T I AL O F
O BJE C T D ES I G N 30
ROOM 3
C LO T H A N D T HE
36 ABSE N T B O DY
SPECIAL THANKS
SP O N S O R S
4 5
INTROD U C T I O N
3 ROOMS: Object Design + the Body is an 3 ROOMS: Object Design + the Body examines
exhibition that showcases the creative outcomes both new forms of fashion as object and the
from a collaborative project involving curators, transformative potential of fashion exhibition.
lecturers and students from Australia and Inspired by the presentation of Beyond
Singapore. The project asked students from Garment as part of the 2010 Perth Fashion
Curtin University, Perth, and LASALLE College Festival it extends contemporary investigations
of the Arts, Singapore, to consider fashion as a to re-examine of the fashion object through
form of Object Design with reference to the body, exhibition. This exciting showcase of emerging
rather than redesigning existing clothing made practice is spread across three galleries, with
exclusively to be worn as garment. The project a selection of student outcomes responding
engaged contributors in interdisciplinary research to three Australian designer case studies from
and practice to encourage new ways of designing Beyond Garment: Alister Yiap, Jocelyn Tan and
and making fashion. Elizabeth Delfs. Each of these selected designers
Using the body as site, a space for reflection, examine the changing role of fashion, and how
researching new materials and techniques for fashion can move beyond the context of garment
construction, engaging in new methods of to challenge not only how object can be considered
investigation, and exploring inter-disciplinary fashion, but also how the presentation of objects,
approaches help to move fashion away from and the interaction of audiences with these objects
its existing ties with garment, production and can facilitate new fashion concepts.
business to evolve new notions of what fashion is,
and can be.
Co-curators
Anne Farren & Emily Wills
Reassessing the As fashion is being presented internationally in galleries, museums, and in public spaces as
much as on the runway, it also gains the potential to have a greater impact conceptually that
is also reflected on itself, and on people, bodies, identities, ethics, aesthetics, and notions of
fa s h i o n o b j e c t beauty the very stuff, in fact, that fashion is really made of.1
Hazel Clark
As we move into the twenty first century, fashion Young designer/makers represented in the
is being redefined by conceptual thinking, exhibition reveal through their work , a respect
a reassessment of the nature of the fashion for the fine art of crafting a form. They reflect
object and through a re-examination of the a re-engagement with the traditions founded in
modes of presentation of the fashion object. the Art and Crafts Movement studio practices
The exhibition has emerged as a key component established by William Morris in the late 1800s
in the presentation of the fashion object and is in response to the industrial revolution and the
providing a new perspective on both conventional loss of respect for aesthetics and appreciation
and new forms of practice. It provides an of the hand made object. Designer fashion and
opportunity for us to reassess the nature of works the concept of couture emerged during the same
that emerge from a broader consideration of the period, however, has evolved into an international
relationship between garment, accessory and industry driven by profit and a market hungry for
the body. The exhibition is an opportunity to cheap fast fashion and conspicuous consumption.
contemplate these objects with greater focus I suggest that the contemporary rush towards
on concept, materials, form and structure to mass market commodification has resulted
examine the aesthetics of the object away from in a reactionary re-engagement with the craft
the distraction of issues of the body or wearer. of making and the emergence of a new haute
While the absence of the body is argued by couture being formulated by a generation of
some fashion theorists to be inappropriate for designers who want to redefine the relationship
fashion exhibition, 3 ROOMS presents a case between design and making.
for the exhibition to provide the viewer with the The broad use of the term fashion and the
opportunity to explore a new dialogue between dynamic nature of the industry has resulted in
viewer, object and maker. much debate and confusion regarding the validity
Anne School of art AND DESIGN
Farren Curtin University 3 ROOMS: Object Design + the Body reveals of the fashion exhibition. As a consequence of
a new relationship between object and maker. the historic and popular media profile of fashion,
8 9
Fig 2
there is a general perception that it is defined by re-evaluate our reading of the fashion object.
function and commercial imperatives. However The immediate connection that we have to
this is a limited perspective of contemporary the fashion object is born out of the intimacy
fashion practice. While function might still of the relationship we have with the worn
inform the fashion object, it is no longer seen object. Viewing the object evokes a sensory
as a defining characteristic by a new generation understanding of the materials and forms of
of young designers who develop fashion that fashion. We have learnt what it means to wear
Fig 1
an object of dress and have also been trained
through the retail experience of viewing these
forms in the visual merchandising environment
to know how to read and translate these objects
into a real and very tangible experience. This
knowledge and personal engagement with the
fashion object is what heightens its appeal above
other forms in the gallery environment. Even
when not being worn we know and understand
the experience of the wearer; in the gallery
contemplating these objects we can project
and imagine our personal experiences onto the
object. The gallery installation presents a new
perspective, an opportunity to contemplate
the aesthetics of the fashion object away from
function and commercial imperatives that
surround these forms in a retail environment.
3 ROOMS: Object Design + the Body
was developed as a response to the exhibition
Beyond Garment (2010) with designers Jocelyn
Tan, Alistair Yiap and artist Elizabeth Delfs who
presented work in Beyond Garment, invited
defies function.2 Having a commercial end is as the key exhibitors in 3 ROOMS. These
not essential to the concept of design,3 which three young creatives were selected because
presents a challenge this as this is a defining they represent a genre of makers who are re-
characteristic for fashion. In the preface to examining the nature of the fashion object
Fashion Classics from Carlyle to Barthes, and its presentation. For example, Jocelyn Tan
Michael Carter 4 refers to fashion as being in explores the boundary between accessory and
a state that is constantly metamorphosing. garment. Her work questions the function,
Fashion is in fact defined as a state of change. configuration and wearing of the object and
Over the past twenty years it has morphed challenges the definition of these forms: is it
significantly as a result of its adoption of a bag is it a neck piece is it a garment;
conceptual investigations and the emergence establishing ambiguity and illustrating the
of an interdisciplinary approach. These shifts potential for slippages in the definition of
are blurring the boundaries between practices object through orientation on the body. In the
and changing perceptions of fashion. As a presentation of her work, Tan actively engages
consequence we are seeing fashion presented in the development of a site specific installation Fig 1 Elizabeth Delfs Fig 2 Celene Bridge
within art, design and commercial environments, space for her work. She designs a space reflective Revolutions series Goblin
with the exhibition becoming a more familiar of a merchandising environment, one which on Tuile and synthetic Hand carved balsa
spunbonded fabric forms headdress
context for us to view the fashion object. first sight, visitors could enter and interact with Photographer: Photographer:
The 3 ROOMS exhibition investigates the the objects, trying them on and experimenting Greg Woodward Celene Bridge
capacity of exhibition installation or display to with the determination of their function. In the
10 11
Fig 3
exhibition-gallery context this is not usually a to commonly found hardware; materials are
possibility, creating a tension for the viewer who applied to the creation of jewellery inspired
feels invited to touch but cannot. Tans work forms that sit elegantly against the skin or move
explores the tensions and conflicts between dramatically away from the body, extending the
merchandising and exhibition experience silhouette of the wearer. It is as though these
of the fashion object. Trained in jewellery objects act not only as a frame to display the
design, Alister Yiap questions the nature and body but also enable that wearer to activate
conventions of this form of fashion accessory. these shapes in such a way that their body
His innovative use of materials extends from decorates the form.5 Elizabeth Delfs presents
the conventional application of precious metals us with ambiguous anthropomorphic figures
that reflect the absence of body. Delfs intricately
Fig 4
manipulated textile forms provide a new
experience in beauty relating to fashion and
design with a delicate sense of equipoise.6 Her
forms are often suspended in intimate groupings
which are gently animated by the movement of
air as audiences move around and amongst the
figures, creating a tangible dialogue between
object and viewer.
Tan, Yiap and Delfs were presented as case
studies for student exhibitors in the preparation
of their proposals for this exhibition. The
resulting exhibition is an exciting dialogue of
ideas surrounding investigations into Object,
Design and the Body carried out by a new
generation of makers working with concepts
and ideas that reflect on the dynamic and
metamorphosing nature of the fashion object.
REFERENCES ENDNOTE
Changing perspectives: The process of designing, of making a meaning in the world, leaves tangible and intangible
traces a linguistic utterance, an image, a space, an object, a structure. As the design narrative
draws to a momentary close, the world has been transformed, perhaps only in a small way or
AN Interdisciplinary perhaps a larger way. The redesigned is returned to the world, and this return leaves a legacy
of transformation. The redesigned joins the repertoire of available designs and so provides
Fashion Approach openings for new design narratives.1
Cope, B. & Kalantzis, M.
Design is the ability to synthesise our personal invention. 2 The 3 ROOMS: Object Design + the
experiences and interpretation of the world, to Body project and exhibition draws upon existing
find relationships between what came before us, knowledge and methods of research to integrate
and what we imagine the future to be. When we specialist craftsmanship that push the disciplinary
design, we aim to create responses that tell the boundaries of fashion, textile and product design,
story of our personal observations, those which challenging contributors to change their
similarly resonate with our collective experiences perspective of fashion as a form of object design.
of the world. Design is the process of modification Contributing artists Alister Yiap, Jocelyn Tan and
and adaptation, a catalyst for change whereby Elizabeth Delfs are interdisciplinary creatives
successful design works between disciplines to whose conceptual thinking and creative outcomes
find new connections, new relationships between cannot be defined by one area of study. Yiaps work
seemingly diverse disciplines. Our intention, our sits between jewelry, fashion and object design.
hope, is that these tangible and intangible records Off the body, his sculptural forms blur the boundary
of personal narrative will remain in future histories between design and sculpture, object and
to be interpreted and reinterpreted through the accessory. Tan has an interdisciplinary education
process of continued transformation. The ability background in fashion, textiles, product and
to collaborate, to exchange knowledge and skills furniture design, evidenced through her
across disciplines is evidenced through new ideas multifaceted outcomes. Delfs refers to herself as
and discoveries that facilitate the cross-pollination an interdisciplinary artist ensuring her work is
of Art and Science, Design and New Media, perceived without pre-connotations of textiles
Physics and Music. or fashion.
Fashion innovation responds to design issues, Interdisciplinary study and approach are
finding new methods of integrating technology critical because they explore the creation of what
EMILY FACULTY OF DESIGN
and communicating meanings that expand the Shanken refers to as boundary objects 3 capable
WILLS Lasalle College of the arts
language of art, design, engineering and science, of transcending the limits of any one discipline.
and that open up new vistas of creativity and Much of contemporary fashion appears to be
14 15
Fig 1
Fig 5
REFERENCES ENDNOTE
1
Cope, B. & Kalantzis, 3
Ryan, Z. (2012) Cope & Kalantzis: 203-234.
M. (2011) Design in Fashioning the Object: Shanken: 417.
Principle and Practice: Bless, Boudicca, Sandra Ryan: 12-14.
A reconsideration of Backlund. The Art Shanken: 418.
the terms of design Institute of Chicago, Yale Pink:142.
engagement. The Design University Press: New
Journal, Volume 14, Issue Haven, USA.
1. Berg: UK.
4
Shanken, A. (2005)
2
Shanken, A. (2005) Artists in Industry
Artists in Industry and the Academy:
and the Academy: Collaborative Research,
Collaborative Research, Interdisciplinary
Interdisciplinary Scholarship and
Scholarship and the Creation and
the Creation and Interpretation of Hybrid
Interpretation of Hybrid Forms. Leonardo, Volume
Forms. Leonardo, Volume 38, Number 5. MIT Press:
38, Number 5. MIT Press: USA.
USA.
Pink, D. (2005) A Whole
5
RO OM 1
Fig 1
Fig 2
Perth based designer and contributing artist in 3 bricolage of product, furniture and fashion is sleek,
ROOMS, Jocelyn Tans installation investigate and contemporary and explores the concept of
the space between garment and accessory and interactive design through suggesting altered ways
the slippages between retail and exhibition display. of making / wearing / using and present the idea
Tans designs encourage the wearer to interact that the wearers role is to define the functions of
with her work, allowing the production of an the products they are experiencing.
exchange market between society and consumable Students responding to Tans designs looked
products. In this way, accessory becomes a at the inter-disciplinary approach to fashion design
process that carries the self beyond adornment. and investigated parallel concepts in retail visual
She asserts that the only permanent theme of merchandising as a means of presenting their
the fashion world is its constant subjection to work within new exhibition formats.
JOCELYN TAN flux and the temporary nature of design. Her
20 21
Fashion behaves like a language an exchange market I want to investigate the space between garment and
between the world, its products and individuals where accessory focusing on the slippages between the two. I
temporary and alteration are permanent themes. believe that fashion is more than just clothes, and that
In this design system, the idea of accessory is presented garments can be created to comment on and express
as more than just adornment; it is an exercise to be particular ideas and values. I have portrayed this through
completed for and beyond the body. Most importantly: the exploration and modernisation of ancestral traditions
these products involve your design input. within my garments. Atanga translates to adorn, embellish
or enhance; in Maori culture cloaks blur the line between
Photographer: Greg Woodward garment and traditional adornments. This is explored
from a modern perspective through embellishment with
Lauren Sims Fig 2 distinct, symbolic feathers and knotting from my own
Micro cultural history of life on the land and sea.
An exploration into the unseen parallel world that Photographer: Cameron Etchells
surrounds us The work of science photographer Steve
Gschmeissner allows us to get a close up view through Acelyn Chuabaazuan
the Scanning Electron Microscope (SEM imager y). Painting Hair
Only through these technologies are we able to view the
contents of our surrounding micro-world close up, an My work explores the displacement of hair, which is used to
environment we know so little about. represent our individuality. Since our hair can be altered
This invisible realm filled with other worldly creatures in many various ways due to its ability to regenerate its
and organisms has greatly influenced the peculiar length, it offers individuals endless opportunities to express
textures and sculptural silhouettes seen throughout this their personalities through it. My work is presented in two
collection. My intention is to create a series of garments unique ways; image and painting.
that directly reference such unrecognizable living
microorganisms, reflecting on my fascination with them.
This collection redefines clothing as having a primary The textiles are transformed to wearable pieces, and the
function to provide protection. Digicraf ted Armour y initial concepts are further portrayed as a type of body
showcases hand -craf ted knitting inspired by the adornment. The installation showcases five garments Fig 6
construction of historical OYoroi Japanese armour. The and their journey from a conceptual ar t space to a
installation of my work poses questions about museum fashion retail space. In response to Jocelyn Tans work,
security systems and uses interactive technology to protect Subconscious Skins investigates the fine lines between
the valuable hand crafted design. retail and exhibition display.
RO OM 2
Fig 1
Perth based designer Alister Yiap is the mastermind material in the hope of exploring new graphics
behind jewelry label, Malachi. To identify the and possibilities for his products. Yiaps talent for
different practices within the discipline of jewelry design manifests itself in harsh lines and geometric
Yiap created a Runway Couture line which explored patterns that create three-dimensional pieces with
the meeting point between between jewelry and the ability to carry form.
garment. Yiaps work has the capacity to represent Selected works that respond to Yiaps jewelry
the transformative potential of object design and examine alternative materials and construction
installation. His work in contemporary wearables methods outside of familiar processes of pattern
aims to harness new potentials for acrylic, a drafting and production methods. These materials
ALI STER Y I AP material that has saturated the jewelry industry.
He attempts to redefine the potential of this
transform the object from fashion to new potential
design narratives.
26 27
Fascinated by facets and fashion, my work focuses on My work features paper structures that suggest shapes
identity and individuality, and how one finds oneself and silhouettes of garments. Using the theor y of
through art practice. the historical Elizabethan dress that used the space Fig 2
Photographer: Fhenny
Hu Min Fig 9
Gaea
RO OM 3 Fig 1
Fig 2
Photography:Eva Fernandez
Interdisciplinary artist Elizabeth Delfs investigates sculpture distorts the angles of the body and the
the dialogue between cloth and the absent body. perforations in the material collapse the boundary
Delfs work explores the interaction between the between interior and exterior, exploding the scope
organic and the inorganic and the bodies place of the viewers perspective.
within built environment. The work that she is The exhibited works that respond to Delfs
exhibiting for 3 ROOMS encapsulates the more sculptural forms similarly blur the line between
sensual elements of her vision with ethereal fabrics the conceptual polarities of object /surface,
that are able to vacillate between two-dimensional permanent /ephemeral, gender /genderless,
ELI ZABETH D ELFS shapes and three dimensional sculptures. The sculpture /garment.
32 33
Samuel McCloy Fig 2 Entropy is the tendency of all things to move from a state
I was never here of equilibrium or order to a state of chaos. I see this kind
of shift reflected in the phenomenon that was the Ballet
The project, I was never here, is an examination of the Russes, which in the early part of the 20th century turned
metaphorical walls that a reser ved person will build the world of dance, music, art and fashion on its head. The
around themselves as an emotional barrier. By blurring Ballets Russes introduced a bright and bold explosion
the lines between the body and the space around it, colour, vitality and dynamism replacing the dull, ordered
this installation shows how a person hides aspects of and lifeless forms of the traditional ballet. Manipulation
themselves. This project employs visual illusions to and construction of fabrics create a sense of turbulence
display a human form that is not completely present, and vitality. Forms that have a sense of erratic and
presenting a for tified personality surrounded by random movement. Vivid colours and exuberant shapes
walls that contains their most vulnerable aspects. blending harmoniously, creating garments which are
expressive but also functional. Intense and energetic,
Hannah Steens Fig 3 an expression of vigorous movement. The contours
Concerning the Collective created through seams, pattern and tucking techniques
form diverse shapes which give rise to bizarre textures
Through engagement with the potential of installation, and silhouettes.
this body of work investigates the relationships between
fashion, architecture and art. The installation of object is
a subtle reflection of materiality in fashion, the presence
of space in architecture and installation in ar t. The
organic cloth-like structure combines an unconventional
Fig 3
material, rubber band, with the traditional process of
knitting. The combination of process and material Fig 5
provides links to fashion, architecture and art. The object
Fig 4
resembles a piece of draped cloth forming space between
the folds. The traditional process of knitting is used
to create cloth from the rubber bands. The individual
rubber bands are laced together into a long thread and
then knitted together. Knitted from three different sizes
of rubber band, the object is formed from the singular to
form the collective. Through the repetition and linkage
of the individual elements, this visual organism explores
the ideas of the power of a collective body. The collection
and series of connections between the single rubber
bands form a strong, collective structure. The organic
structure of the rubber cloth investigates the potential for
its application as a material and as an object.
Fig 9
Fig 8
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SPEC I AL THAN KS
N U R H I D AYAH BA K A R
DR CHARLES MEREWETHER
L I O N EL R O U D AU T
Circe Henestrosa
MARIA WALF
VINCENTE DELGADO
AGNES CHONG
RAMESH NARAYANAN
JOLEEN LOH
SUFIAN SAMSIYAR
Reference to the Perth Fashion Festival exhibition Beyond Garment in the development
of 3 ROOMS: Object, Design + the Body is acknowledged and has been approved by
the Perth Fashion Festival.
38
3 R O O M S : O b j e ct, D ES I G N + T HE B O DY
E X H I B I T I O N C U R AT O R S
A N N E FA R R E N
E M I LY W I LLS
ISBN: 978-981-07-4653-7
Design by SUSEJ
Edited by Jessica Anne Rahardjo
Printed in Singapore
(1000 copies)