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0 0 0 0 0 0 0 0 0 0 acknowledgements I would like to acknowledge the contribution of Associate Professor, Dr. Welby Ings, as my primary supervisor, particularly for his valuable guidance and help with sharpening of my ideas throughout the development and final resolution of this project. I would also like to thank Yvonne Stewart (Senior Lecturer in Fashion Design) as my secondary supervisor for her continued help, support and guidance. I am thankful to Ms Annah Pickering (Manager, N.Z.P.C., Auckland) for her valuable time and suggestions. Many thanks to Raechelle Bass for her support and the modelling of my work. I would also like to thank Lisa Williams for proof reading, Karen Yeung for her photography and “Cut Above” students Kym and Luana for their advice and assistance with makeup. I would also like to thank K.T. Ho (Senior lecturer, School Art and Design) for his assistance in printing. Finally, I would like to express my gratitude to the many other supporters of this research for their direct and indirect assistance. 4 4
0 0 0 0 0 0 0 0 0 0 dedication I would like to dedicate this thesis to my spiritual Guru, Shri Shirdi Sai Baba and my parents. 5 5
Page 2 and 3: This exegesis is submitted to Auckl
Page 6 and 7: 0 0 0 0 0 0 0 0 0 0 abstract This p
Page 8 and 9: o o o o o o o o o o o o o o o o o o
Page 10 and 11: The British Empire failed to unders
Page 12 and 13: attempts are made to hide prostitut
Page 14 and 15: design of the exegesis In the follo
Page 18 and 19: continuously behind barred windows
Page 20 and 21: For the young girls, the physical s
Page 22 and 23: artwork Fig. 1:3 The hand-knitted b
Page 26 and 27: 28 clients to them. The girls will
Page 28 and 29: Fig. 2:2 Sex workers caught by poli
Page 30 and 31: artwork Fig. 2:3 A woman struggles
Page 34 and 35: earing her husband’s children bri
Page 36 and 37: artwork Fig. 3:2 A woman struggling
Page 38 and 39: shuts the wearer out. A woman donni
Page 42 and 43: cultural practice. This spiritual d
Page 44 and 45: Varanasi at the same time as the Na
Page 46 and 47: artwork Fig. 4:4 A sex worker showi
Page 48 and 49: Thus, this artwork may be understoo
Page 50 and 51: Fig. 5:1 A sex worker revealing han
Page 52 and 53: an NGO and for dinner to our center
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artwork Fig. 5:4 Demise: integrated
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The fabric is only sufficient to co
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o o o o o o o o o o o o o o o o o o
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knowledge and a subjective approach
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sketching, draping and fitting In r
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What was important about this appro
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I began by searching the flea marke
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I conducted another experiment in o
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sketching, draping, fitting and sub
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Fig. 7:1 The exhibition display. (p
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Fig. 7:3 The exhibition display. (p
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Menon, M. (1999). Twilight zone for
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