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The fabric is only sufficient to cover an arm and one breast. It is as infected as the flesh. The body is unprotected. The open wounds and warts of the roadside prostitute remain a target for continuing infection from the unsanitary environment in which she is forced to live. In addition to this, the gali provides little protection. The worker is evident to the people on the gali and as a result often falls prey to attacks by roadside hooligans. This sense of vulnerability and isolation is embedded in the design by the way that the garment draws attention to nakedness. The work makes no attempt to align itself with traditional values associated with modesty and protection. Modesty has been burned away. We are confronted by the corporal nature of the body. Brutality, complicit neglect, ignorance, entrapment, and manipulation have resulted in demise. conclusion These artworks operate as metaphors for documented conditions in the lal batti. They speak not only through their appearance but also through their structure. They are not euphemisms, but they are a form of translation. They come from a world I know. The accounts woven through these chapters are not sensationalised incidents but part of the fabric of manipulation, entrapment, marginalisation and eventually demise that make up the every day world of the sex worker in the red light districts of Indian cities. They are my voice as an Indian designer. 56 56
o o o o o o o o o o o o o o o o o o part two 57
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This exegesis is submitted to Auckl
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0 0 0 0 0 0 0 0 0 0 acknowledgement
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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
Page 54 and 55: artwork Fig. 5:4 Demise: integrated
Page 60 and 61: knowledge and a subjective approach
Page 62 and 63: sketching, draping and fitting In r
Page 64 and 65: What was important about this appro
Page 66 and 67: I began by searching the flea marke
Page 68 and 69: I conducted another experiment in o
Page 70 and 71: sketching, draping, fitting and sub
Page 72 and 73: Fig. 7:1 The exhibition display. (p
Page 74 and 75: Fig. 7:3 The exhibition display. (p
Page 78: Menon, M. (1999). Twilight zone for
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