take clothes for instance BOOK

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AN ILL FIT As I was casting about for subjects to depict this feeling of awkwardness began to emerge as the foundation of my project. I started to focus my attention on other instances where I had felt as uncomfortable as this, and I began to consider this lack of comfort, this state of fragility, of feeling misshapen and not fitting, and of the fear of being exposed or revealed as akin to wearing ill-fitting clothes. This experience shared by all of us, the very clothes on our backs, if pulled out of shape could give us a sense that the shape of our own identities had also been misshapen. OUTSIDE OF A COMFORT ZONE I’d had numerous conversations with acquaintances in the past who’d described situations where they had worn clothes inappropriate for an occasion like a wedding, or for work, and they’d expressed feelings of embarrassment and shame for their bad choice of apparel, particularly whilst in sight of others. At other times they’d recalled the ill fit of the clothing which might have been too short or tight, may have ridden up or dropped down, may even have fallen off. Their bodies may have been pressed into clothing which made them feel misshapen, feeding back to them a distorted sense of themselves, and of how they feared others might scrutinise them. I could also recall numerous occasions when my own clothing had this effect of putting me in an uneasy state of mind. As a consequence this had a destabilising effect on my confidence. It seems that ill-fitting clothing can invoke a high degree of affect. The way people feel about themselves and others, although it’s often subliminal, that it falls under the radar of consciousness, is still nonetheless felt in a deep and visceral way. It places people in a state of dis-ease, a state sometimes so uncomfortable that it feels akin to an illness. The definition of the word sums this up: Dis-ease early 14c., “discomfort, inconvenience,” from Old French desaise “lack, want; discomfort, distress; trouble, misfortune; disease, sickness,” from des- “without, away” (see dis-) + aise “ease” (see ease). Sense of “sickness, illness” in English first recorded late 14c.; the word still sometimes was used in its literal sense early 17c.
CONSTRUCTED IDENTITIES I also considered the societal aspects of clothing and looked at the way in which people are evaluated by what they wear, and status and gender are key elements in peoples’ weighing up one another. These are socially constructed identities reflecting the views of groups and individuals to our respective identities. They are reinforced in the social context through continual re-enactment. CLOTHES AS DEPICTED IN MASS MEDIATION In the 1960s Values and Lifestyles (VALS) models began to be used by advertising and marketing companies to help them identify social and character types in order to persuade people into purchasing commodities on the basis that these products would enhance their personalities. Clothes are often perceived as extensions of a person’s personality or identity. We are encouraged to think this through these mediating messages from advertising and public relations organisations who wish us to think of our brighter better selves tomorrow through purchasing these commodities which will imbue us with a sense of us as our better future selves. The flip side of this is that we are also encouraged to think we are deficient in our present states, lacking the potential that we could have unless we bought these commodities, and thus buying into the idea that clothes might be a palliative to ward of feelings of inadequacy. The manner in which the sale of clothes is mediated in advertising allows for a performative dialogue between the viewer and the clothing they view. There is a complicity in this discourse, but advertising is often subliminal in its persuasiveness and it could be argued that it disables the agency of the viewer when they are subjected to advertising messages. VALS (Values and Lifestyles) models http://www.strategicbusinessinsights.com/vals/ustypes.shtml
Page 1 and 2: take clothes for instance… Notes
Page 3: INTRODUCTION My initial response in
Page 7 and 8: The idea of peoples’ clothes bein
Page 9 and 10: INITIAL PLAN My initial plan to app
Page 11 and 12: EARLY TEST PHOTOGRAPHS
Page 13 and 14: Reflecting on these initial photogr
Page 15 and 16: TESTING, THOUGHTS, CONCEPTS AND PRO
Page 17 and 18: 1 ST PHOTO-SHOOT IMAGES
Page 19 and 20: The photographic process is one whe
Page 21 and 22: NEGOTIATING THE TEMPORAL AND IMMORT
Page 23 and 24: NEGOTIATING THE TEMPORAL AND IMMORT
Page 25 and 26: I had only a rough clue as to the o
Page 27 and 28: OUTCOMES/ARTEFACTS Due to the fluid
Page 29 and 30: The photo-shoot took place in the s
Page 31 and 32: Coal: Gary Clarke Theatre Company T
Page 33 and 34: I came across the work of fashion p
Page 35 and 36: 2 ND PHOTO-SHOOT IMAGES
Page 37 and 38: POST PRODUCTION Following the Photo
Page 39 and 40: POST PRODUCTION IMAGES
Page 45 and 46: VIDEO I TRANSFORMATIONS I also want
Page 47 and 48: VIDEO STILLS
Page 49 and 50: LOCATION AND DISPLAY Late into the
Page 51 and 52: ...summary reflections
Page 53: take clothes for instance… All ma

take clothes for instance BOOK

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