Artist Maryanne Coutts has an unusual ritual: to draw what she is wearing each day.
Every day for the past five years Ms Coutts has drawn her outfit and reflected upon her day and the result is a fascinating exhibition that tracks seasons, styles, emotions and artistic genres.
“I love clothes, and I love that there are websites where people take a photo of what they are wearing and post it. It’s a sort of creative activity based on something we do every day, so I thought about drawing my outfits and making an artwork out of that. This exhibition is based very loosely on that,” she said.
Ms Coutts’ exhibition Dress Code: The First Five Years opens at Federation University’s Post Office Gallery on May 24 featuring hundreds of her fashionable artworks.
It’s somewhat of a homecoming for Ms Coutts who achieved a PhD at Federation University in 1999 and regularly visits friends in town on trips from her home in Sydney where she is currently the head of drawing at the National Art School.
“Dress Code is a project which attempts to harness the ways that the days continue to follow each other, one after the other; unstoppable,” she said.
“It is a journal of what I wear each day – not in a ‘realistic’ or documentary way – but a fluid emotional extension of the creative activity of getting dressed in the morning. Each morning; every morning.”
Over those five years her practice and focus has changed, with the artist at times setting herself monthly challenges including socks, miniatures, clothes from newspapers, and quilts.
“I don’t know exactly how it started. I thought I’ll do this for a certain amount of time, and once I’d done it for that time it turned in to something else and it just kept rolling,” Ms Coutts said.
“Now it’s become five years and I’m thinking about what to do with it for the next five years.”
Some of her works feature extra items like tickets or bits of “stuff” stuck on to the clothes, others are a little more abstract such as socks that reflect the weather.
“You can’t always tell the style, but they are pretty loose and the focus tends to change – so one month I drew my socks, after I had been to India and did a workshop on miniature painting I did everything in miniature, one month I made a quilt, one year I made an animation that changed every day, and another time I drew people’s clothes from newspapers.
Denmark will have a new kind of “speed dating” beginning on May 15. Top fashion brands will be meeting with experts in sustainable business from across the world to exchange innovative ideas at the Copenhagen Fashion Summit. The summit’s program is packed with different topics, but among them is one close to my heart—transparency in the garment industry.
Transparency in supply chains –that is, revealing exactly where a company’s products are made and by whom—is really important. It allows worker representatives to better protect factory workers from abuse that can endanger their jobs, health, and even their lives. And it assures the people who buy the products, like me, that the people who made the products can easily find out which brands they produce for—a critical piece of information needed to escalate complaints about labor abuses.
Garment workers—mostly women across the world—work in factories producing clothing for big-name brands. One of the brands whose jeans I wear every other day, Levi Strauss, is among those that produces a list of names of factories and their precise locations. It sounds like an obvious thing to do, but apparently not in the world of fashion. Multiple brands, including Mango and Urban Outfitters, whose dresses hang in my wardrobe, don’t disclose key information about their supply chains.
A growing number of conscious consumers like me are keen to know where precisely--and under what conditions—our clothes were made. At the very least, publishing the names and locations of factories builds more faith in the brands we like. It demonstrates a brand’s willingness to share key information with workers and advocates about their manufacturing sites, making it easier for workers to get in touch with relevant brands when they experience labor abuses. Hiding this information makes it harder for workers to reach out to brands when needed.
Three weeks ago Bangladesh marked the fifth anniversary of the Rana Plaza collapse, which killed more than 1,000 workers and injured many others. Soon after the disaster, labor advocates had to scramble to figure out which brands the workers were producing in the five garment factories in the building.
Top brands that have shown their commitment to supply chain transparency will be at the Copenhagen summit. These include Nike, H&M, C&A, G-Star Raw, and Levi Strauss, which have fully aligned with the Transparency Pledge, a threshold minimum standard of supply chain transparency in the apparel sector developed by nine non-governmental organizations and global unions.
But many other companies have declined to follow this example. Voluntarism has its limits. The EU Parliament recognized this in 2017 and called for binding due diligence obligations, but to date, no such proposal from the European Commission has followed.
Individual countries should take the initiative, and this is where Denmark should step in. Members of parliament should introduce legislation to ensure that apparel companies doing business there follow some basic degree of transparency and also conduct rigorous human rights checks.
Such legislation should draw on good features from various countries’ laws --for instance, the UK’s Modern Slavery Act and France’s “duty of vigilance” law. Countries like the Netherlands, Australia, and Canada are also considering legislation to govern corporations’ human rights responsibilities for their global supply chains.
Until Denmark develops legislation to help level the playing field for businesses, the Danish partnership for sustainable and responsible fashion and textile sector, led by apparel associations, should take a strong stand on the side of industry good practices. The partnership should make supply chain transparency a key goal that its member-companies should achieve before 2020.Read more at:prom dresses uk | long prom dresses uk
Bohemia, he is defined as a hippie culture scholars and the yuppie hybrids, all kinds of fashion magazines in recent years, the international fashion conference, to be able to see it, it's heat has been reduced.
What is Bohemia? Bohemia is a part of the western region of Czechoslovakia, part of the austro-hungarian empire, and is a gathering place for gypsies walking around the world. There is a vague definition of the bohemians: the bohemians are the gypsy, or the ichigans, including the decadent intellectuals.
To walk the world in a wandering way, not to believe in god, to make a living through the skills of the vagabonds, and to be good at "astrology" and "good luck".
In the 1960s, Bohemia was a potent weapon of the hippies' challenge to the middle class, and its behavior was characterized by a purely manual confrontation with industrial production.
Today "Bohemia" has become a symbol of vagrancy, freedom, Bohemia, decadence... , in the field of clothing is the retained some nomads characteristic style, with bright-coloured decorative and fetching eyeball straightforward thick fabrics, accessories, in particular, more is given priority to with winding of beads, tassel necklaces.
پنجشنبه 6 اردیبهشت 1397
نویسنده: Randall Farris
چهارشنبه 5 اردیبهشت 1397
نویسنده: Randall Farris
سه شنبه 4 اردیبهشت 1397
نویسنده: Randall Farris