PRESUMED INNOCENCE BY JEAN CRUTCHFIELD
Presumed Innocence was an incredibly inspiring book that i found in the library, written in conjunction with the traveling exhibition, Presumed Innocence, organized by guest curator, Jean Crutchfield, the catalog presents the works of 23 artists who demonstrate how childhood has been transformed by mass media, biotechnology and cybernetics. Presumed Innocence reinforces the fact that childhood is a dynamic and open-ended concept. The art contained in it represents a number of different even contradictory attitudes that provide a wide spectrum of societal roles that children are either expected to assume or defiantly act out. It does not attempt to settle disagreement; instead, its choice of art intends to be a forum for analyzing it. Throughout history the antithesis of childhood innocence have been sophistication, decadence, and evil. However, in the late twentieth century new attitudes toward youth have developed that collapse these former polarities. The 23 artists here undermine the presumption of naivete and demonstrate how childhood has been transformed by mass media, biotechnology, and cybernetics. Many works of art included here counter, through deliberate inversion, Disneyesque and edenic views of youth, while others conflate images of children and adults into visual cyborgs.
LARRY CLARK, KIDS 1995
TARO CHIEZO, WAR (PINK IS THE COLOUR OF BLOOD) 1996
MIKE KELLY, AHH...YOUTH! 1991
Kelley’s work did not develop along a purely linear trajectory. Instead, he returned time and again to certain underlying themes—the shapes lurking underneath the carpet, as it were—including repressed memories, disjunctions between selfhood and social structures as well as fault lines between the sacred and the profane. The work Kelley produced throughout his life was marked by his extraordinary powers of critical reflection, relentless self-examination, and a creative—and surprising—repurposing of ideas and materials.
INEZ VAN LAMSWEERDE
FASHION INSPIRED BY TOYS AND CHILDHOOD
Moschino S/S 2015 Barbie Collection
Moschino spring 2015
Viktor & Rolf A/W 1999
The "russian doll" collection presented by the dutch duo's haute couture collection for autumn/winter 1999 is regarded by many as the defining moment when the designers gained the reputation for being two of the most innovative talents and established viktor and rolf as two of fashion's most provocative showmen. inspired by matryoshka dolls, that beloved icon of russian culture, viktor and rolf took the idea and built a collection based on the theme of layering. casting model maggie rizer for her unobtrusive and pure doll-like beauty, the show opened with rizer standing on a rotating pedestal dressed in an unassuming burlap slip dress with frayed edges that resembled more like a potato sack than a couture dress. without the obvious grandeur that is usually attached to a couture show no one was to expect that magic that would eventually unfold. after each complete rotation of the pedestal, viktor and rolf would re-emerge from the darkness to add another layer on top of the dress. the new one more beautiful and more elaborately embroidered than the last. after the seventh and final layer was added, a massive coat with a sculpted rose made out of the same burlap that opened the show sprawling across the front, rizer was covered in approximately seventy kilograms of beautiful and ornate creations. this collection struck such a chord because it displayed in essence the true nature of haute couture. the sublime beauty in the process of making hand made garments. how every hidden boning, every seam, each panel of cloth and everyone of the thousands of beads embroidered onto the fabric is just one part of the complete, resplendent picture.
Comme Des Garcons S/S 2012
We saw pristine white frocks in all shapes and sizes—long-sleeved duchess-satin shifts, cage-frame skirts, and cocoon-like enclosures with heavy floral appliques. These, of course, were all delivered with Rei’s trademark tailoring and mastery of volume and craft. A noticeable detail injected by the designer was the immobility or complete absence of hands, thanks to the addition of large bows or gigantic sleeves that almost sweep the floor. This seemed to send a symbolic message of bound helplessness, together with the practically fully-covered lace headpieces worn by every model. Despite the seemingly lofty shapes that stepped on the runway, though, the new CDG collection had many-a-viewer pining away for a white lace t-shirt and embellished cape of their own.
Craig Green S/S 2015
The frames in his new collection trailing banners, the bannermen leading "a mass exodus toward the brink of abandon," according to the press release. Following the show, Green himself cryptically dubbed this catwalk exodus "a silent protest." He would say no more, preferring to maintain a sense of mystery. But one prime possibility was that his collection was a repudiation of crass repetitive materialism and an endeavor to create a new community in fashion. At the same time, there was such vulnerability, such melancholy (Wim Mertens' "Struggle for Pleasure" was the soundtrack), that one was compelled to acknowledge the impossibility of such a vision. Green seemed to agree. As for the garments themselves, there was, for the first time, a focus on the clothing rather than the cloth. There were two silhouettes: exploded, skirt-like volumes that were defined by strings that tied fluttering layers around arms and legs, and body-conscious jersey wraps with significant cutouts. Warrior, priest, sacrificial lamb…all of these came to mind. In Green's effort to expand the idea of what clothes can convey, he comes close to Rei Kawakubo. But another maverick sensibility also insinuated itself. Vivienne Westwood called her epochal Seditionaries collections Clothes for Heroes. That's what we saw on Green's catwalk. That's what the audience was responding to. The Cult of Craig is about to explode.
Daisy Collingridge BA Collection
created shapes inspired my quilts there were massively flamboyant and represented some of her childhood dreams.
The draping and construction of the garments looks pretty complicated. What kind of techniques did you use?
I probably shouldn’t admit to this, but I didn’t really have patterns. All 6 looks were made up as I went along. There was some planning; I had tried and tested the construction technique… The trouble with quilting, is that it completely changes the characteristic of the fabric. I struggled to find any fabric that was suitable to toile in. In the end I made the shapes in wadding, then backed the wadding with the lining fabric before draping the outer fabric on the top. Then I pinned all the layers together in a cozy sandwich, before finally quilting the whole darn thing.
What were your references?
My main reference was the children’s book ‘Were the Wild things are’ written by Maurice Sendak.
Read the full interview with Daisy here
FILMS AND NOVELS
'Today you are you! That is truer then true! There is no one alive that is youer than you!'
'Unless someone like you cares a whole awful lot, nothing is going to get better. It's not.'
'I've heard there are troubles of more than one kind; some come from ahead and some come from behind. But I've brought a big bat. I'm all ready, you see; now my troubles are going to have troubles with me!'
'You're never too old, too wacky, too wild, to pick up a book and read to a child.'
'Adults are just outdated children.'
Where the Wild Things Are
This story of only 338 words focuses on a young boy named Max who, after dressing in his wolf costume, wreaks such havoc through his household that he is sent to bed without his supper. Max's bedroom undergoes a mysterious transformation into a jungle environment, and he winds up sailing to an island inhabited by malicious beasts known as the "Wild Things." After successfully intimidating the creatures, Max is hailed as the king of the Wild Things and enjoys a playful romp with his subjects; however, he decides to return home, to the Wild Things' dismay. After arriving in his bedroom, Max discovers a hot supper waiting for him.
The 1995 movie ‘Kids’ directed my Larry Clark, I found it incredible interesting to watch these teenagers try to be adults as they go about their day in New York City. Although, they think that they are living the life and everything in their little bubble of a world is just how it is meant to be, but as the film develops you being to see each characters life fall apart before they do, and the way in which they handle certain situation is not adult at all but instead incredibly immature and at times rather cringe. This film, really took me back to how I, and most teenagers must have acted in those ‘in-between’ years of our lives, and how it must have looked to all those adults watching us do it.
The Perks of Being a Wallflower
The Perks of Being a Wallflower has always been my favorite novel and the film thankfully did the book justice due to the fact that Stephen Chbosky himself wrote the screenplay.
This novel changed me in so many ways and I get a different insight into it every time I re read it. I first read this book when I was sixteen years old, so naturally I was in the prime of my teen angst thinking the whole world was against me, and that no matter how hard I tried I just couldn’t seem to fit in. This novel beautifully covers the day to day issues of being a teenager as well as the more serious issues that are involved in the protagonists Charlie’s life; and although these issues are constantly there Chbosky approaches them in a lighthearted way that makes you fall in love with all the characters more and more as you turn each page.
Re reading this book for this project allowed me to transport back into how I felt when first reading it, and now, three years on how much my life and opinions have changed.
This film is a modernised version of Larry Clark's 1995 film Kids it shows the serious issues of adulthood forced onto a group of teenagers as it portrays the choices that they make and the repercussions of those choices.
l It was directed by Menhaj Huda and written by Noel Clarke, who also stars in the film and directed the sequel, Adulthood. The majority of the characters in the film generally behave in a violent and lawless manner. They are portrayed as being reckless and antisocial young people who commit crimes such as petty theft and serious violence. The film also showcases how the characters engage in recreational drug taking and some sexual behaviour.
Lord of the Files
In Lord of the Flies, British schoolboys are stranded on a tropical island. In an attempt to recreate the culture they left behind, they elect Ralph to lead, with the intellectual Piggy as counselor. But Jack wants to lead, too, and one-by-one, he lures the boys from civility and reason to the savage survivalism of primeval hunters. In Lord of the Flies, William Golding gives us a glimpse of the savagery that underlies even the most civilized human beings.
The major theme of Lord of the Flies is that humans are essentially barbaric if not downright evil. The stranded boys begin by establishing a society similar to the one they left behind in England, but soon their society has degenerated into rival clans ruled by fear and violence; before the book is over, three boys have been killed.
The novel is an allegory, which is a story in which characters, settings, and events stand for things larger than themselves. For example, the island represents the world; Ralph and Jack symbolize different approaches to leadership.
William Golding wrote Lord of the Flies following World War II, during which the Nazis exterminated six million Jews and the United States dropped two atomic bombs on Japan. In this context, the novel's profound pessimism is understandable.
BROKEN TOYS AND MORE ARTISTS
The Belgian-born, Australian-based artist Annette Thas collected thousands of Barbies from second-hand shops and stuck them together to make the giant doll wave. Thas said her inspirations for the structure, entered into the Sculpture By The Sea exhibition on Cottesloe Beach, were childhood memories and environmental concerns.
MICHAEL WOLF'S REAL TOY STORY
Approximately 75% of the world's toys are "Made in China" so it's no wonder that there are so many factory workers assembling, stuffing, and painting a myriad of toys. Despite logically being aware that millions of toys require an innumerable amount of laborers, one isn't fully aware of this concept until it is seen. It is also intriguing to see the deconstructed figures being worked on by an assembly line of diligent hands. The series exposes the viewer to row after row of anonymous faces, but it's effective enough just to see that there are actual people behind the knickknacks rather than a succession of robotic machines. Interspersed within the wide shots of the factory are intimate portraits of laborers, giving even more of a human feel to the series. Though Wolf's project is, at times, depressing, especially when you think about all the hard work these people put into their livelihood everyday without much acknowledgement, it is also eye-opening and insightful. It is through the photographer's journalistic eye and his decision to share their faces and work environment that they are finally given some much deserved recognition.
ADULT VS CHILDREN
MATERIALS,CLOTHING, TEXTURES, PATTERNS
Although it is occasionally used in men and women's fashion, towelling is a very common example of the fabric used within children's clothing design. The soft fabric often comes in bright colours as seen above and is used for a lot of different children's garments, from nightwear to jumpers.
Is seen as a sexual fabric normally used in women's lingerie or nightwear. Because of this, it is rarely seen on children's clothing's. In my eyes it is a highly adult fabric.
Nude Coloured Tights
This material is usually seen as quite an adult fabric, the sheer and nude colour is something that if put onto a child would be seen as inappropriate and has a tendency to be sexualised.
Gingham is a type of simple, woven cotton or linen cloth. Originally it had a regular bright coloured stripe but later appeared as a check or plaid pattern. The colours are commonly blue/white or red/white. This cool, breathable textile varies from medium to light-weight and can range from a very small, checked pattern to very large checks. In India, the gamucha is a gingham towel used to dry the body. In Indonesia it symbolises the battle between good and evil. The contrasting colours represent this relationship. In Japan the pattern also has spiritual symbolism. The fabric was used to wrap around statues when a child had died. Japan still produces 100% cotton gingham today – more than can be said for most other countries.
Tomoko Nakamichi makes it all look very straightforward. 'Cut and join flat pieces of fabric to assemble into a three-dimensional garment,' she instructs, simply enough. 'You can create a garment by cutting, moving and reassembling the pieces of a pattern, just like the pieces of a puzzle.' When you see her instructions to make a dress with gathered hole, I was tempted to make that pattern and cut into the finest cotton money can buy and get sewing. but instead I started off with a fitted dress pattern and slash into to in sunray lines, opened out the pattern, drew a smooth line for the hole and a new sideseam, accommodating all the extra fabric, and ta-da! There I had your very own pattern for a dress with gathered hole.
I don't think I am quite ready to attempt the dress with an otishiana - a drop hole which can connect underneath a skirt to another otishiana to make a tunnel big enough to keep your pet guinea pig, but I am finding it difficult to resist making the knot dress with a gorgeously plump and elegant bow tied high at the waist.
Pattern Magic comes with instructions on how to make your one dressmaking block - you just have to photocopy the pattern at 200% for a full sized version - and if you are the kind of person who has endless patience and a love of trigonometry, you will be in heaven and your wardrobe will, literally, be given a whole new dimension.