Layer of oil painting
FACE OFF:The extraordinary 3D sculptures of people's heads made from recycled goods.
Each layer is generally one of a number of parallel layers that lie one upon another, laid down by natural processes. They may extend over hundreds of thousands of square kilometers of the Earth's surface. Strata are typically seen as bands of different colored or differently structured material exposed in cliffs, road cuts, quarries, and river banks. Individual bands may vary in thickness from a few millimeters to a kilometer or more. Each band represents a specific mode of deposition: river silt, beach sand, coal swamp, sand dune, lava bed, etc.
If you dissect the flesh of obese people, many cellulites are stacked to form a solid fat layer, which folds into a fat belly.
Polytheism is the worship of or belief in multiple deities, which are usually assembled into a pantheon of godsand goddesses, along with their own religions and rituals. In most religions which accept polytheism, the different gods and goddesses are representations of forces of nature or ancestral principles, and can be viewed either as autonomous or as aspects or emanations of a creator God or transcendental absolute principle , which manifests immanently in nature. Most of the polytheistic deities of ancient religions, with the notable exceptions of the Ancient Egyptian and Hindu deities, were conceived as having physical bodies.
Polytheism is a type of theism. Within theism, it contrasts with monotheism, the belief in a singular God, in most cases transcendent. Polytheists do not always worship all the gods equally, but they can be henotheists, specializing in the worship of one particular deity. Other polytheists can be kathenotheists, worshiping different deities at different times.
Polytheism was the typical form of religion during the Bronze Age and Iron Age up to the Axial Age and the development of Abrahamic religions, the latter of which enforced strict monotheism. It is well documented in historical religions of Classical antiquity, especially ancient Greek religion and ancient Roman religion, and after the decline of Greco-Roman polytheism in tribal religions such as Germanic paganism or Slavic paganism.
Important polytheistic religions practiced today include Chinese traditional religion, Hinduism, Japanese Shinto, and various neopagan faiths
Comme Des Garcons Autumn/Winter 2012 Ready-To-Wear Collection
Microscopic observations of neoprene
A condom is a sheath-shaped barrier device used during sexual intercourse to reduce the probability of pregnancy or a sexually transmitted infection.here are both male and female condoms.With proper use—and use at every act of intercourse—women whose partners use male condoms experience a 2% per-year pregnancy rate.
Condoms are widely recommended for the prevention of sexually transmitted infections.
when there is no air
When I put water in a condom2
When i drop the condom
Tracey Emin- Mybed
My Bed is a work by the English artist Tracey Emin. First created in 1998, it was exhibited at the Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize.It consisted of her bed with bedroom objects in an abject state, and gained much media attention. Although it did not win the prize, its notoriety has persisted
The idea for My Bed was inspired by a sexual yet depressive phase in the artist's life when she had remained in bed for several days without eating or drinking anything but alcohol When she looked at the vile, repulsive mess that had accumulated in her room, she suddenly realised what she had created. Emin ardently defended My Bed against critics who treated it as a farce and claimed that anyone could exhibit an unmade bed. To these claims the artist retorted, "Well, they didn't, did they? No one had ever done that before."
Illumination. Light Pyramid Sculpture | ClaviOn Unlimited - Fine Art by Chris Clavio
Different properties gather together to form coexistence, love and protect each other. Such a key words like protect and love need to have sex with someone, and a structure has emerged to express the fact that other things are gathered together to form a mass and form of class hierarchy.
In 1946 Marcel Boussac, a successful entrepreneur known as the richest man in France, invited Dior to design for Philippe et Gaston, a Paris fashion house launched in 1925.Dior refused, wishing to make a fresh start under his own name rather than reviving an old brand. On 8 December 1946, with Boussac's backing, Dior founded his fashion house. The actual name of the line of his first collection, presented on 12 February 1947, was Corolle (literally the botanical term corolla or circlet of flower petals in English), but the phrase New Look was coined for it by Carmel Snow, the editor-in-chief of Harper's Bazaar. Dior's designs were more voluptuous than the boxy, fabric-conserving shapes of the recent World War II styles, influenced by the rations on fabric.He was a master at creating shapes and silhouettes; Dior is quoted as saying "I have designed flower women." His look employed fabrics lined predominantly with percale, boned, bustier-style bodices, hip padding, wasp-waisted corsets and petticoats that made his dresses flare out from the waist, giving his models a very curvaceous form.
Initially, women protested because his designs covered up their legs, which they had been unused to because of the previous limitations on fabric. There was also some backlash to Dior's designs due to the amount of fabrics used in a single dress or suit. During one photo shoot in a Paris market, the models were attacked by female vendors over this profligacy, but opposition ceased as the wartime shortages ended. The "New Look" revolutionized women's dress and reestablished Parisas the centre of the fashion world after World War II.
A corset is a garment worn to hold and train the torso into a desired shape, traditionally a smaller waist or larger bottom, for aesthetic or medical purposes (either for the duration of wearing it or with a more lasting effect). Both men and women are known to wear corsets, though this item was for many years an integral part of women's wardrobes.
Since the late 20th century, the fashion industry has borrowed the term "corset" to refer to tops which, to varying degrees, mimic the look of traditional corsets without acting as them. While these modern corsets and corset tops often feature lacing or boning, and generally imitate an historical style of corsets, they have very little, if any, effect on the shape of the wearer's body. Genuine corsets are usually made by a corsetmaker and are frequently fitted to the individual wearer.
Andy Warhol by Richard Avedon 1987. Here Warhol shows off the scars
Aside from fashion and medical uses, corsets are also used in sexual fetishism, most notably in BDSM activities. In BDSM, a submissive may be required to wear a corset, which would be laced very tightly and restrict the wearer to some degree. A dominant may also wear a corset, often black, but for entirely different reasons, such as aesthetics. A specially designed corset, in which the breasts and vulva are exposed, can be worn during vanilla sex or BDSM activities.
BDSM is a variety of often erotic practices or roleplaying involving bondage, discipline, dominance and submission, sadomasochism, and other related interpersonal dynamics. Given the wide range of practices, some of which may be engaged in by people who do not consider themselves as practicing BDSM, inclusion in the BDSM community or subculture is usually dependent upon self-identification and shared experience.
Acrylic bent by yarn
Dovima dress by Christian Dior, Grand Palais, Paris, August 1955.
Triparite Unity, 1947 (grand prize for sculpture at first São Paulo Bienal, 1951). Max Bill
Christian Dior dinner dress and coat (1953)
David Bowie- Glam rock look
"Small moments of happiness occurred many times while working with David,"
recalls Yacco Takahashi, a Harajuku pioneer and Japan's first fashion stylist, who first met the artist in 1972 and introduced him to Kansai Yamamoto, the designer responsible for some of his most famous looks.
Fiona Campbell-Walter wears a gown by Christian Dior in a 1951 photo by Henry Clarke
‘Your’ Project: Day 2 – Your Data
Reiko Sudo, textile length, “Stratus” from the “Cloud” series (silk organdy; hand-applied starch-resist and salt-shrink.)
paper roll, embroidery,chemical lace technique 2002.
One Hundred and Eight Installation-Nils Völker
Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.
The Embroidered Secrets of Maurizio Anzeri
Korean traditional hair
hiroshimatsumoto: july162016 by Hiroshi Matsumoto
Objects are not just objects sometimes. The poetic of common challenges the audience. You can be surprised, you can get emotional, angry, astonished, just looking at a filled room, without knowing why. Often the meaning of it is a visual mystery. Beds, pillows, clothes, suitcases, threads, shoes, when they move in an environment, handled by an artist, they develop their own stories. Sometimes the artist is a part of this story, engaged in the installation. Sometimes the artist is just behind this story.
Chiharu Shiota, Berlin-based artist and performer, exhibits worldwide her touching art. Born in Japan, she’s been trained during the late 90’s by Marina Abramovic in a German art school. The Orient, the German rigor and the guidance of one of the greatest contemporary artist have created an unique mix. Shiota’s art is humble, yet majestic.
She’s part of her art, but separated from it moving away from the structures she actualizes.
In your artistic production you’ve been moving from a focus on the body to a focus on the space and the ambient. What triggered this?
I think I am doing both, in the beginning of my artistic career and now. Both are important subjects of my work and I am still switching between the two of them, so I can’t make out a turning point.
You are a Japan born artist, living now in Europe (Berlin). Here in Europe we often take for granted that the Oriental culture is more spiritual than ours. As you’ve been experiencing both, what’s your opinion? Do you reckon your roots have been influencing what you do?
I don’t know whether Oriental culture is more spiritual, I think this depends more on the person. Living abroad helps me to see myself clearer and see my own identity, because I am different. In Japan, I don’t differ as much from other people and this makes it harder to see myself.
When you have a bowl of salt water and the water dries up, and the salt crystalizes. The crystals have always been there, but you couldn’t see them in the liquid. Living abroad helps me seeing the crystals.
From a spectator’s point of view, seems like it takes a lot of time to assemble an installation and fill a room. Did it become a ritual for you?
With every installation it is great to see it grow and being realized. I prefer not to build models and visualize an idea before the set up but to make it reality during the set up. This is the same for any installations, may it be with windows or beds or threads.
Setting up the thread installations takes up an especially large amount of time but it is like meditation. The weaving of the thread can also be seen as an indicator of the current mind set – when I’m troubled the thread tangles up more irregularly and I make more knots. When I’m in a balanced mood, the weavings are more regular.
Final textiles of gourment
‘Your’ Project: Day 3 – Your Interpretation
In April 1857 the women's magazine Corriere delle dame announced the arrival of the jacket (a shortened version of the morning coat with shorter jacket skirts), a style that would go on to become an essential item for both men's and women's wardrobes. The Adam Magazine stated in its July 1935 issue "The jacket, a type of coat that is neither tailcoat nor redingote, will be the general fashion in a single-breasted version with skirts that do not reach the knee." Adam went onto say how the jacket "barely covers the buttocks and is shaped like a sack."
The jacket seems to have originated during the Middle Ages or early Renaissance as the jerkin, a more fitted version of the older short tunic worn by working-class men. By the early eighteenth century, the jacket became standard working dress for those employed both in agriculture as well as by servants in urban settings.
From the late 1830s, fitted single-breasted lounge jackets (as opposed to more loosely cut jackets of the previous century), with darts beneath the arms, small revers, and waisted pockets became popular with middle-class men, with a double-breasted version appearing about 1862 (which would later become known as the reefer jacket). At that time the single-breasted Norfolk jacket, which buttoned high to the neck, became very fashionable, particularly for country sporting activities.
Dismentle the jacket
layored of fabrics
The process of building the framework of the structure
Hyeres (1993) -csm library
On graduating from the arnhem academy of arts and design in 1992,when they were still in their early twenties, Victor and Rolf moved to paris to launch a career in fashion design.their first project is made in a tiny apartment ,and literallt filled the entire space. - Extreme silhouetts and multiple layers,which concealed and disfigures the wearer's body .
Oversized with emphasis on shoulder line
Practitioner Project - Chopova Lowena
Flappers were a generation of young Western women in the 1920s who wore short skirts, bobbed their hair, listened to jazz, and flaunted their disdain for what was then considered acceptable behavior. Flappers were seen as brash for wearing excessive makeup, drinking, treating sex in a casual manner, smoking, driving automobiles, and otherwise flouting social and sexual norms.Flappers had their origins in the liberal period of the Roaring Twenties, the social, political turbulence and increased transatlantic cultural exchange that followed the end of World War I, as well as the export of American jazz culture to Europe.
Petting became more common than in the Victorian era. "Petting parties", where petting ("making out" or foreplay) was the main attraction, became popular. This was typical on college campuses, where young people "spent a great deal of unsupervised time in mixed company".
an upmarket magazine that featured articles on pop culture, advice on fashion, and even articles on helping readers channel their inner celebrity.In the 1950s, Life magazine depicted petting parties as "that famed and shocking institution of the '20s", and commenting on the 'Kinsey Report', said that they have been "very much with us ever since". In the Kinsey Report of 1950, there was an indicated increase in premarital intercourse for the generation of the 1920s. Kinsey found that of women born before 1900, 14 percent acknowledged premarital sex before the age of 25, while those born after 1900 were two and a half times more likely (36 percent) to have premarital intercourse and experience an orgasm
Billie Dove and pearls
Hayv Kahraman, Five Court Compoud, 2013, Oil on wood, 121 x 172 in
Nobuyoshi Araki, Bondage, 1979
Nobuyoshi Araki, Tokyo Novelle, 1995
These works seem to change form depending on the line of sight, making them interactive for viewers.
wrinkle, is a fold, ridge or crease in the skin or on fabric. Skin wrinkles typically appear as a result of aging processes such as glycation, habitual sleeping positions, loss of body mass, or temporarily, as the result of prolonged immersion in water. Age wrinkling in the skin is promoted by habitual facial expressions, aging, sun damage, smoking, poor hydration, and various other factors.
Face section drawing
picture that i drawing.
Expressing the depression of the fats as a drawing
Neoprene or polychloroprene is a family of synthetic rubbers that are produced by polymerization of chloroprene. Neoprene exhibits good chemical stability and maintains flexibility over a wide temperature range. Neoprene is sold either as solid rubber or in latex form, and is used in a wide variety of applications, such as laptop sleeves, orthopedic braces (wrist, knee, etc.), electrical insulation, liquid and sheet applied elastomeric membranes or flashings, and automotive fan belts
Neoprene resists degradation more than natural or synthetic rubber. This relative inertness makes it well suited for demanding applications such as gaskets, hoses, and corrosion-resistant coatings.It can be used as a base for adhesives, noise isolation in power transformer installations, and as padding in external metal cases to protect the contents while allowing a snug fit. It resists burning better than exclusively hydrocarbon based rubbers, resulting in its appearance in weather stripping for fire doors and in combat related attire such as gloves and face masks. Because of its tolerance of extreme conditions, neoprene is used to line landfills. Neoprene's burn point is around 260°C (500°F). Neoprene foam is also used in many applications. Neoprene foam can be produced in either closed-cell or open-cell form. The closed-cell form is waterproof, less compressible and more expensive. The open-cell form can be breathable.
Neoprene is commonly used as a material for fly fishing waders, as it provides excellent insulation against cold. Neoprene waders are usually about 5 mm thick, and in the medium price range as compared to cheaper materials such as nylon and rubber. However, neoprene is less expensive than breathable fabrics. A foamed neoprene containing gas cells is used as an insulation material, most notably in wetsuits. Foamed neoprene is also used in other insulation and shock-protection applications. In its native state, neoprene is a very pliable rubber-like material, with no better insulating properties than rubber or other solid plastics. For diving and exposure protection applications, neoprene is manufactured by foaming the plastic with nitrogen gas, for the insulation properties of the tiny enclosed and separated gas bubbles . The foam cells thus created also make the material quite buoyant, and the diver must compensate for this by wearing weights. Thick wet suits made at the extreme end of their cold water protection are usually made of 7 mm thick neoprene. Since foam neoprene contains gas pockets, the material compresses under water pressure, getting thinner at greater depths; a 7 mm neoprene wet suit offers much less exposure protection under 100 feet of water than at the surface. A recent advance in neoprene for wet suits is the "super-flex" variety, which mixes spandex into the neoprene for greater flexibility.
Competitive swimming wetsuits are made of the most expanded foam; they have to be very flexible to allow the swimmer unrestricted movement. The downside is that they are quite fragile.
Microscopic observations of neoprene material
Experiments on whether condoms are coexistence, neoprene, maintenance, love, and protection
when i blew the condom
When I put water in a condom
when i holding condom
What is love ? Does love need protection?
When I received this project for the first time, I thought of coexistence and protection, but when there was love, the word "coexistence" and "protection" were maintained. If condoms reach the limit through this experiment it will burst,also love does not have eternal sustainability is also a reality. Why do we bend the standards of love From all, as we begin to discover contradictions of love, I once again think of what the word has
The process of accumulating one height sense
drawing of final result
Christian Dior 1951
- 1946: The House of Dior is founded on December 16 at 30 Avenue Montaigne in Paris. The current house of Dior celebrates 1947 as the establishing year.
- 1947: The House of Dior launched its first spring/summer collection, The New Look, at their headquater salon. The New Look line collection would go on to become revolutionary, influencing other designers and the fashion industry or many years.
- 1947: The founding of Christian Dior parfumes and the first Dior perfume is launched, Miss Dior. Pierre Cardin was made head of the Dior workshop until 1950.
- FUN FACT: The Miss Dior parfume, Miss Dior was named after Catherine Dior, Christian Dior’s sister.
- 1948: The New York City Christian Dior parfume branch is opened. A ready-to-wear house is also opened in New York City at the corner of 5th Avenue and 57th street.
- 1949: The Diorama fragrance is launched.
- FUN FACT: By this year the New Look line made a profit of 12.7 million dollars.
- 1950: Jaques Rouët devised a plan that allowed the Christian Dior name to be visible on a number of luxury items. The first luxury goods to have the Christian Dior name was neckties and quickly moved on to hosiery, furs, handbags, jewelry and scarves. Christian Dior was the exclusive designer for Marlene Dietrich’s for Alfred Hitchcock film Stage Fight.
- 1951: Dior released hid first book, Je Suis Couturier (I am a Couturier).
- 1952: Christina Dior Models Limited was created in London.
- 1953: The Christian Dior shoe line is launched with the help of Roger Vivier. By the end of 1953 the Dior company was firmly planted in Mexico, Cuba, Canada, and Italy.
- 1954: The first Dior boutique was established at 9 Counduit Street. A fashion show was held at the Blemhein Palace in honour of Princess Margaret and the Duchess of Marlborough.
- 1955: Dior opened the Grande Boutique between Avenue Montaigne and Rue François ler. 1955 also marked the release of the first Dior lipstick.
- 1956: The house of Dior celebrates its 10th anniversary and by this time had sold 100,000 garments. This was the year that actress Ava Gardner had 14 Dior dresses made for the film The Little Hut.
The most common and well-known use of corsets is to slim the body and make it conform to a fashionable silhouette. For women, this most frequently emphasizes a curvy figure by reducing the waist and thereby exaggerating the bust and hips. However, in some periods, corsets have been worn to achieve a tubular straight-up-and-down shape, which involved minimizing the bust and hips.
An "overbust corset" encloses the torso, extending from just under the arms toward the hips. An "underbust corset" begins just under the breasts and extends down toward the hips. A "longline corset" – either overbust or underbust – extends past the iliac crest, or the hip bone. A longline corset is ideal for those who want increased stability, have longer torsos, or want to smooth out their hips. A "standard" length corset will stop short of the iliac crest and is ideal for those who want increased flexibility or have a shorter torso. Some corsets, in very rare instances, reach the knees. A shorter kind of corset that covers the waist area (from low on the ribs to just above the hips), is called a waist cincher. A corset may also include garters to hold up stockings; alternatively, a separate garter belt may be worn for that. (This was in the days before pantyhose or tights.)
Traditionally, a corset supports the visible dress and spreads the pressure from large dresses, such as the crinoline and bustle. At times, a corset cover is used to protect outer clothes from the corset and to smooth the lines of the corset. The original corset cover was worn under the corset to provide a layer between it and the body. Corsets were not worn next to the skin, possibly due to difficulties with laundering these items during the 19th century, as they had steel boning and metal eyelets that would rust. The corset cover was generally in the form of a light chemise, made from cotton lawn or silk. Modern corset wearers may wear corset liners for many of the same reasons. Those who lace their corsets tightly use the liners to prevent burn on their skin from the laces.
People with spinal problems, such as scoliosis, or with internal injuries, may be fitted with a form of corset to immobilize and protect the torso. Artist Andy Warholwas shot in 1968 and never fully recovered; he wore a corset for the rest of his life.
VICTOR&ROLF (DETAIL CUT)
I took pictures of tightening
Vintage Miss Dior (1947)
Miss Dior was released in 1947 on the heels of Dior’s innovative New Look collection, which took women out of the boxy, broad-shouldered power suits and drapery of the ‘40s and into an era of slim shouldered, fitted waists above voluminous skirts, sleekly and flirtatiously emphasizing the contours of women’s bodies. According to Christian Dior himself, the collection was designed for “flower-like women,” and the New Look can be seen as a hoped-for return to the halcyon life of delicacy and traditional femininity after a prolonged period of coarseness and even strife, when women had to “man up” and fend for themselves during the Second World War.
female body- curvy
Models posing in samples from the new Christian Dior collection, Paris, 1957, photo by Loomis Deane
Yves Klein, Blue Venus. 1962. (Musée d’art moderne et d’art contemporain, Nice, France)
the optical effect retained the brilliance of the pigment which, when suspended in linseed oil, tended to become dull. Klein later deposited a Soleau envelope or this recipe to maintain the "authenticity of the pure idea." This colour, reminiscent of the lapis lazuli used to paint the Madonna's robes in medieval paintings, was to become known as International Klein Blue . The paintings were attached to poles placed 20 cm away from the walls to increase their spatial ambiguities.
Eyal Gever, Collisions: Bus vs Pillar, 2011/ 2012, Mixed media, 35 x 30 x 94 cm
Textiles of our objects
Reiko Sudo, renowned "weaver of new ideas," is co-founder, current CEO and design director of Nuno Corporation of Tokyo, universally recognized as one of the world’s most innovative textile companies. Nuno takes the techniques, materials and aesthetics of traditional textiles and reinterprets them with cutting-edge technologies.
Sudo and her design team, together with the company’s skilled weavers and dyers, have greatly broadened the parameters of contemporary design in the industry, experimenting with an eclectic array of materials, ranging from silk, cotton and polyester to hand-made paper and aluminum, and finishing methods that include salt-shrinking, rust-dyeing and caustic burning. The results are distinctive, intriguing and indisputably remarkable.
Atelier Manferdini: SCI-Arc March II Program. EMBROIDERY: TOPOLOGY AND KNOT THEORY. 2006
Atelier Manferdini: laser cut dress
Nils Völker-bits and pieces
Exhibited at and produced by
NOME Gallery Berlin (Germany).
The exhibition runs until 15/4/2016
The installation consists out of 108 so-called Hoberman spheres hanging in the middle of the exhibition space. The mass-produced children toys are made from countless interconnected colorful plastic levers and can expand itself to a multiple of their size. Each one is moved by a servo motor and individually controlled by a micro-controller thus organic waves appear to move throughout the space although each single plastic ball simply expands and contracts at the right time.
Maurizio Anzeri’s unusual working process brings together found photographs and embroidery. Using portraitsfrom the 1930s and 1940s collected at flea markets, Anzeri overlays abstract designs by sewing intricately patterned threads directly onto the photographic surface. Obscuring part of the photograph he both hides and heightens certain features of the face. His precise juxtapositions transform the discarded image,
Lady Ugolino, synthetic hair, threads, 1999. Alexander McQueen Collection Installation view
Soksokgot, similar to petticoat is shown under the woman's skirt. 18th century.
Tate modern exhibition
“Uncertain Journey” 2016, Blain | Southern, Berlin, Germany"
How long does it take to move from an idea to an installation?
From first idea until the realized installation, it can take up to several years. The ideas need to grow inside me and at some point I know how I would like to realize it.
Installation, spatial design, conceptual art are not easy to read for the audience at a first sight. Do you feel the need of explaining the messages that your art vehicles or you’d rather let your audience free to interpret it?
I think my big scale installations are actually easier to understand and faster to grasp emotionally. I don’t want to deliver a rational message but create an emotional impression. I don’t want to explain my art beforehand.
The audience needs to feel the impact first and I hope that the first impression raises interest and questions. What I see in my art work is not absolute, everybody has his or her own legitimate interpretation.
Your schedule is very tight, you’re exhibiting across the world, sometimes your installations are featured in permanent exhibition, sometimes in temporary ones. Does dismantling an installation have an emotional impact for you?
The dismantling has not a strong impact for me. It’s the course of nature and the art work. More important for me is that the audience stays with an emotional impact from the installation. Like this the installations doesn’t cease to exist and persists in the memory of the people.
This issue of Nasty is centered on the concept ‘Sacred’. Which artwork from your production you instinctively associate to it and why?
I wouldn’t connect one of my art work to the concept of Sacred but more the people’s reactions to it. In this sense it is comparable to religion. In religion, people travel to certain places and see certain objects and they experience strong emotional reactions.
I think those reactions are sacred, but not necessarily the objects. It is similar with my art work. I’ve seen strong emotional reactions to my works, for example with my installation ‘Over the continents’: I asked people to send me their shoes with a little note telling a story about an experience they had with those shoes. Some of them were really strong stories, for example of a person who was in a wheelchair and wanted to try to walk again and bought a pair of shoes for this. In the end, he realized that he would never be able to walk again and sent me his shoes. People who visited the exhibition started to cry when they read this story. It’s the emotions that are sacred.
Development of textiles
visually communicating ideas.
datail of jacket
Skin + Bones: Parallel Practices in Fashion and Architecture : First major museum exhibition devoted to fashion and architecture
Making jacket a new structure
Maison Margiela Spring 2017 Haute Couture
One cause of the change in young women's behavior was World War I which ended in November 1918. The death of large numbers of young men in the war, and the Spanish flu epidemic which struck in 1918 killing between 20–40 million people, inspired in young people a feeling that life is short and could end at any moment. Therefore, young women wanted to spend their youth enjoying their life and freedom rather than just staying at home and waiting for a man to marry them.
Political changes were another cause of the flapper culture. World War I reduced the grip of the class system on both sides of the Atlantic, encouraging different classes to mingle and share their sense of freedom. Women finally won the right to vote in the United States on August 26, 1920. Women wanted to be men's social equals and were faced with the difficult realization of the larger goals of feminism: individuality, full political participation, economic independence, and 'sex rights'. They wanted to be treated like men and go smoking and drinking. In addition, many women had more opportunities in the workplace and had even taken traditionally male jobs such as doctors, lawyers, engineers and pilots.The rise of consumerism also promoted the ideals of "fulfilment and freedom",which encouraged women to think independently about their garments, careers, social activities.
Society changed quickly after World War I. For example, customs, technology, and manufacturing all moved quickly into the 20th century after the interruption of the war.The rise of the automobile was an important factor in flapper culture, as cars meant a woman could come and go as she pleased, travel to speakeasies and other entertainment venues, and use the large vehicles of the day for their popular activity, petting parties.Also, the economic boom allowed more people the time and money to play golf and tennis and to take vacations, which required clothing adapted to these activities; the flapper's slender silhouette was very suitable for movement.