Overalls - Complex Document(s): a Never-ending Artistic Research Process

I want to show that a pair of overalls can be a document in many senses, and thus demonstrate that the complementary relationship between materiality, sociality and conceptuality is a very complex relationship. I will use an artistic approach to show the complex relationship and make an exposition of verbal text and images, consisting of 4 parts: 1. Origin of overalls A short history of overalls - denim pants first with suspenders and later with bibs. They go back to the 18th century, were mass-produced by Levi Strauss and Lee and became popular work garment and later for leisure and fashion for both men and women. 2. "Broken in" overalls A document of use and often hard work, shown in faded denim. They can be used for generations, with overalls handed over from father to sons or daughters 3. Mending overalls A document of repairing overalls by mending and patching, documenting traditions for mending clothes 4. Overalls as wearable art A document of art shown by the visible mending and patches making overalls into pieces of art work 5. Document theory Overalls - a showcase of the complexity of the complementary relationship between materiality, sociality and conceptuality

The Suitable Fabric for Thai Art Folding of Banana Leaves on Clothing

Thailand has a uniquely long-standing tradition of arts and crafts. Thai art folding of banana leaves, probably the best-known such as food wrappers and precious handicrafts has been practiced to make colorful decorations for festivals. As time passed, roles of using parts of banana have been reduced but there has been an attempt to help conserve it only some art and craftsmanship. This research will study and analyze about Thai art folding of banana leaves, the folding technic from art and design, product and fashion for diversity of folding. Furthermore, Fabric is the key of this research to know the type of fabric suitable for folding. Thus, the experiment and practice show the fabric qualification by selected 9 properties included 1. Good stability 2. Good draping 3. Heat resistance 4. Smoothness 5. Balance 6. Wrinkle 7. Stretch 8. Strong 9. Soft with the wearable fabric are 1. Natural Fabric 1.1) Cotton 1.2) Linen 1.3) Muslin 1.4) Jute 1.5) Ramie 2.Man-made fabric 2.1) Polyester 2.2) Nylon 2.3) Organza 2.4) Satin 3. Blended Fabric 3.1) Cotton Spandex 3.2) Linen Viscose. The result is Polyester, Cotton Spandex and Linen Viscose respectively suitable for folding. In conclusion, the purpose of this research compiles the theory, technique, and method of Thai art folding of banana leaves. Moreover, the many types of folding technique from Thai art folding of banana leaves for clothing construction that can be a guideline and modified in the next stage for designers who interested in craftsmanship, culture, and tradition. Then, to create the guideline from the Thai art folding of banana leaves. Finally, the wearable art by using the clothing construction guideline from the Thai art folding of banana leaves.

“Traje: um objeto de arte?”: Pietro Maria Bardi, o wearable art e o museu fora dos limites

Neste artigo analiso a importância da exposição Traje: um objeto de arte? realizada no Museu de Arte de São Paulo em 1987, como parte do projeto de integração entre arte e moda, que foi defendido por Pietro Maria Bardi, diretor do Museu na época. AbstractThis article analyzes the importance of the exhibition Dress: an object of art? held in the São Paulo Art Museum in 1987, as part of the project of integration between art and fashion proposed by Pietro Maria Bardi, then director of the Museum at that year. ResumenEn este artículo analizo la importancia de la exposición Traje: un objeto de arte? que se realizó en el Museo de Arte de São Paulo en 1987, como parte del proyecto de integración entre arte y moda, que fue defendido por Pietro Maria Bardi, director del Museo en la época.

The Use and Reuse of Rock Art Designs in Contemporary Jewellery and Wearable Art

This chapter considers the role of rock art imagery in jewellery and popular culture materials. Our goal is to address the motivations of contemporary jewellery artists as they engage with cave paintings, petroglyphs, and other rock art. Several jewellers were interviewed and their work analysed. There is a range of responses to producing rock art–inspired jewellery from straightforward appropriation to culturally sensitive interpretation and translation. This research highlights the importance of understanding the context and content of jewellery artists’ responses to rock art as well as their motives. Using four case studies, the authors interrogate authenticity, appropriation, and ethical engagement. The responses led to the development of an analytical framework and an exploration of issues of appropriation.