Design Book PATCHWORK BODIES Jessica Ranaldi
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Table of Content
Concept 04 Synopsis 07 Research & Development 08 Initial Research 10
Photographic Pastings
Mixed Media Feminist Body Art
Costume One 18 Research Development
Costume Two 22
Research
Development
Costume Three 28
Research
Development
Costume Four 32 Research Development
Costume Five 38
Research
Development
Costume Six 42
Research
Development
Final Characters
46
Costume Plates 50
Making Process 64 Set Design 80 Image Glossary 86 Bibliography 87 •3•
Concept We a re a l l p atchwo rk s of th o s e wh o h ave c r e ate d u s , i n s p i r e d u s , h e l p e d u s, to b u i l d . We m u s t c e l eb rate a l l th e d i f f e r e n t p i e c e s o f o u r s e l ve s th a t h ave b e e n stitch e d o n to o u r s to r y th r o ugh o u t o u r l i ve s – j o i n toge th e r i n o rd e r to c o n ti n u e th i s gr ow th , p atc h o n , a p p l i q u e o n. D u ri ng my vi sit s to th e C u t a n d Pa s te: 4 0 0 Ye a rs o f C o l l a ge , I wa s l a rge l y i n sp i re d b y th e R i o t r o o m w ith i n th e exh ib iti o n . C a r o l e e S ch n e e m a n n, Ha n n a h W i l ke a n d A n n egr e t S o l ta u s to o d o u t to m e , th e y we r e th e fo refro n t o f th e Fe m i n i s t B o d y A r t m ove m e n t. In m y e ye s th e y m u s t b e re j o i c e d a n d a ck n owl e d ge d f o r d o i ng s o. Th ey we r e s p r e a d i ng th i s k i n d of a rt a n d l i fe st yl e, l o ng b ef o r e a n yo n e eve n c o n s i d e r e d i t a s t yl e . Th e y h ave b e c o m e th e gr e ate s t i n s p i rati o n s to m e a s a p e r s o n – a n d e v i d e ntl y to th i s c o l l e cti o n of m y wo rk . I h o p e th at th ro ugh h o n o u r i ng th e i r a r t, f u n d a m e nt a l i s m s , a n d exi ste n c e s, we c a n c o m e toge th e r i n c e l eb rati ng o u r s e l ve s a n d i n t u r n, o n e a n o th e r. I h ave th e r ef o r e c h o s e n to b a s e th i s p r o j e ct o n a n exh i b i ti o n of my wo rk, wh i ch w i l l c e l eb rate th e s e a r ti s t s a n d th i s m o ve m e nt. C o n ti n u i ng to stre ngth e n th e c o n f i d e n c e s a n d i n s p i ra ti o n s o f yo u ng a rti st s wi l l a l l o w a r ti s t s of th e n ow to c r e ate th e fo u n d a ti o n s fo r f u t u r e a rti st s. Th ey wi l l go o n to p u sh b o u n d a r i e s ; j u s t a s S ch n e e m a n n, W i l ke a n d S o l t a u d i d . Th e Patc hwo rk B o d i e s exh ib iti o n gi ve s th e o p p o r t u n i t y to sp re a d th e i r p a s s i o n a n d vi ews , a n d to a d d l i ke m i n d e d c r e a ti ve s to th i s eve r-gro wi ng p atc hwo rk b l a n ke t.
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Synopsis Patchwo rk B o d i e s a i m s to i n tr u d e th e vi ewe r s m i n d , th r o ugh l a rge d i r e ct s c u l p t u re s st a ri ng yo u i n th e f a c e, i n te ra c ti ve a rt wo rk s , a n d i m m e r s i ve p e rfo rm e rs e ngagi ng w ith th e a u d i e n c e. Th e exh i b i ti o n w i l l i nva d e th e i r p e rs o n a l sp a c e, i n a s i m i l a r m o ti ve a s th e n egati v i t y a n d l i m i t a ti o n s , th at a re fo rc e d u p o n m a n y f e m a l e s th r o ugh o u t th e wo rl d – t u r n i ng s u ch d e stru cti ve c o n n o tati o n s i n to th o s e of r ef o r m a ti o n a n d s e l f a p p re ci ati o n . Th e Bl a ck B ox ro o m p l ays a c o n ti n u a l vi s c e ra l m o ve m e nt p r o j e cti o n of S ch n e e m a n n ’s B o d y C o l l age. Th e j u xta p o s iti o n o f th r e e p r o j e cto r s m e rgi ng th e f i l m s toge th e r, c re ate s a n i m m e rs i ve s u rr o u n d e d exp e ri e n c e fo r th e vi ewe r. It a i m s to c e l eb rate S c h n e e m a n n’s v i s i o n a n d a l l o w o th e r s to re -l i ve h e r a rt i n p e r s o n . Th e exh ib iti o n a l s o i n c l u d e s a n i n te ra c ti ve wa l l , u p o n wh i ch, th e a u d i e n c e a re e n c o u rage d to w r ite o r s c r ib b l e, exp r e s s i ng th e m s e l ve s i n a n y way th ey w i sh , u s i ng c o l o u r e d m a rke r s – i n th e s t yl e o f S ch n e e m a n n ’s p e r f o r m a n c e a r t p i e c e Up to a n d I n cl u d i ng H e r L i m i t s ( 1973-76). Ha n n a h Wi l ke ch o s e c h ew i ng gu m a s th e m e d i u m to c r e a te m a ny o f h e r fe m a l e ge n it a l i a s c u l p tu r e s . Sh e u s e d gu m a s it wa s a r e p r e s e nt a ti o n o f fe m a l e s b e i ng sh e we d u p , s p at o u t a n d r e p l a c e d w i th a n e w p i e c e o f gu m . Patchwo rk B o d i e s f e atu r e s m y ow n i n te r p r e tati o n s o f W i l l ke ’s d e l i c a te , ye t p o l iti c a l ch ew i ng gu m s c u l p tu r e s , u s i ng l i q u i d l a tex. Da n c e rs c o st u m e d i n p i e c e s wh i c h r e p r e s e n t wo rk s by S ch n e e m a n n, Wi l ke a n d S o l t a u, e mb o d y th e s p i r it of e a c h p i e c e a n d e a ch a r ti s t , th ro ugh i m m e rsi ve p e r f o r m a n c e a r t. Th e d a n c e r s w i l l e m b o d y th e s p i r i t s o r th e a rt wo rk s th r o ugh i n te r p r e ti ve d a n c e, th e y w i l l e n c o u ra ge th e a u d i e n c e to j o i n th e m a n d ga i n th e m o s t f r o m th e e ve nt. Th e i nte ra cti o n of th e d a n c e rs to wa r d s th e a u d i e n c e, a l l ows th e p a r ti ci p a nt s to d e l ve i nto th e wo rl d o f fe m i n i s t b o d y a r t, a n d ta ke th at exp e r i e n c e a wa y w i th th e m i n to th e o u te r wo rl d .
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“I never thought I was shocking” Carolee Schneemann (2014)
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9A •9•
Initial Research
Cut and Paste: 400 Years of Collage Scottish National Gallery of Modern Art 2019
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11A • 11 •
Photographic Pasting
The techniques used in these pieces have a crafty nature to them. I can visualise how they could be transferred to prints and patchwork designs, retaining the nude colour palette featured throughout the works. PERSONAL • MEMORIES • PATCHES
VINTAGE • BODY ART • SCR APBO OK
12B
12A • 12 •
PINK • SUG GESTIVE • LIPS
BODIES • UNCOMFORTABLE • ANOTOMICAL
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13C 13B 13A
13D
Mixed Media Feminist Boday Art
SYMBOLIC • REBELLIOUS • DELICATE 14A
POWERFUL • BODY ART • BEAUTIFUL
14B • 14 •
MOTION • FREEING • CAPTIVATING
15B
These particular artworks resonate with me and with one another. They represent feminist body-art, as well as powerful women breaking free of imposed boundaries. They were rebellious in their time and continue to be, today.
PATCHWORK • BODY ART • CONNECTIONS
15A
15C • 15 •
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“Living is much more consuming than I ever thought it would be.” Carolee Schneemann (2014)
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Costume One Research
18A
18B
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Costume One takes inspiration largely from Carolee Schneemann and her performance artwork, Up to and Including Her Limits, 1973-76. I took notions of freedom of expression, the decade of the piece, captured motion, the harness and the crayon scribbles.
HARNESS • LINES • BODY
SCARF • VINTAGE • FLARED
ILLUSTR ATIVE • DARING • BELTED 19D
1970’S STYLE • SHAPE • BUTTON-DOWN
WIRED • NARR ATIVE • MOTION
TIES • ASYMETRICAL • LAYERS
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19F
19E
19C 19B 19A
Costume One
Design Development
WIRED HEM AND NECK TIE TO CAPTURE MOVEMENT
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Costume Two Research
22A
Costume Two is based on Carolee Schneemann and her motion film, Body Collage, 1968. I looked at Free Love, 1960s Lingerie, greyscale illustration and gluelike textiles.
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3D STRUCTURES • WIRED • ORGANIC
LIQUID SHEERS • LINGERIE • GLUE-LIKE
VINTAGE • 1960’S • FEMININE 23D
DARING • FREE LOVE • MOVEMENT
TEXTURE • ILLUSTR ATIVE • SHINE
SHEERS • CONE CUP • PINKS
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23F
23E
23C 23B 23A
Costume Two
Design Development
WIRED TISSUE-LIKE STRIPS TO REPRESENT PAPIER M ACHE
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“I become my art, my art becomes me.” Hannah Wilke (1975)
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Costume Three Research
28A
28B
Costume Three represents Hannah Wilke in her later stages of life, tough yet gentile, like leather, and like her moulded One-Fold Hannah Manna ceramic sculptures. This costume takes power dressing from the 1980s and organic shapes from Wilke herself and her sculptures.
28C • 28 •
VINTAGE • LEATHER • SHAPE
1980’S • SHOULDER PADS • OVERSIZED
MOULD • SCULPTED • BODY 29D
ART • EXPRESSION • NATUR AL
WAISTLINE • 1980’S • POWER SUIT
SKIN • ORGANIC • FOLDS
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29F
29E
29C 29B 29A
Costume Three
Design Development
LEATHER NATUR AL FOLDS SET INTO SLEEVE HEADS
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Costume Four Research
32A
32B
32C
32D
Costume Four is inspired by Hannah Wilke’s defiance against societies objectification to freedom of the female form, as well as her artwork, S.O.S. and the time it was created, 1975.
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32F
33B 33A
BELL-BOTTOM • VINTAGE • SILHOUETTE
STUDS • TEXTURE • FLARED
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33F
33E
33C
1970’S STYLE • LEATHER • FLARED
SUG GESTIVE • TEXTUE • FABRIC M ANIPULATION
33D
WAITSCOAT • OVERSIZED COLLAR • TAILORED
SKIN • LATEX • SHAPE
Costume Four
Design Development
LATEX AND TULLE MERGED TO GETHER • EMBELLISHMENTS • EMBROIDERED TULLE TROUSERS
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APPLIQUE AND HAND EMBROIDERY
IN STYLE OF S .O. S .
LIQUID LATEX MOULDS • 35 •
“As if a spider web, I sewn my own self-portrait.” Annegret Soltau (2011)
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Costume Five Research
38A
Costume Five represents Anngegret Soltau in the beginnings of her rebellion towards societies constraints, through her works Ties and Self, 1975-76. As well as the rebellion of the punk style during this time.
38B • 38 •
38C
STRINGS • TEXTURE• DISTRESSED 39C
CORSET • MONO CHROME • VINTAGE
PUNK • CULTURE• BODY
FISH-NET • PROVO CATIVE • CONSTR AINED
STYLING • BODICE • T-SHIRT 39B 39A
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39E
39D
Costume Five
Design Development
LEATHER SKIN-LIKE BOOTS • STRINGS WR APPED TIGHT • WIRES EXTENDING OUT
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Costume Six Research
42B
42A
Costume Six takes inspiration from Soltau and her stitched collages, in particular Motherhood, 197786, and the silhouette of the 80s. The costume follows the notion that we are all patchworks of those around us. We must build one another.
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DISTURBING • BARE • SCULPTED
1980’S • SHOULDER PADS • POWER
1980’S SUIT • FLESHY • STITCHES 43D
OVERSIZED • SILHOUETTE • MODERNISED
TEXTILE • VELVET • TONAL
SKIN • PATCHWORK • VINTAGE
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43F
43E
43C 43B 43A
Costume Six
Design Development
BASE FABRIC WITH PATCHES OF BODIES STITCHED ON TOP
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Final Line-Up Front
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Final Line-Up Back
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Costume One
Harness Hotpants Front
Harness Hotpants Back
Full Look Front
Carolee Schneemann Up to and Including Her Limits 1973-76
Wire-hemmed Dress Front
Wire-hemmed Dress Back • 50 •
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Costume Two
Full Look Back
Full Look Front
Carolee Schneemann Body Collage 1967
Organza Dress Front
Head Scarf
Illustrated Bra Front
Illustrated Bra Back
Illustrated Garter Front
Illustrated Garter Back • 52 •
Organza Dress Back
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Costume Three
Side Sleeve Detail
Full Look Front
Full Look Back
Hannah Wilke Hannah Manna 1985-86
Leather Jacket Front
Leather Jacket Back Leather Trousers Front • 54 •
Leather Trousers Back
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Costume Four
Full Look Front
Hannah Wilke
Full Look Back
S.O.S 1974
Latex Dress Back
Tulle Trousers Back
Latex Dress Front
Tulle Trousers Front • 56 •
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Costume Five
Wire Mask Back
Wire Mask Front
Full Look With Wires Front
Full Look With Wires Back
Annegret Soltau Ties 1975-76
Pleather Boot Covers Front
Crop Jersey Top Front
Side
Pleather Boot Covers Back
Crop Jersey Top Back
Pleather Gloves
Denim Romper Front
Denim Romper Back • 58 •
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Costume Six
Full Look Front
Full Look Back
Annegret Soltau Motherhood 1977-86
Full Look Front
Patchwork Jacket Back
Patchwork Trousers Back
Patchwork Jacket Back
Patchwork Trousers Front • 60 •
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Making Process Costume Four Toiles
I achieved the silhouette desired in toile form, using mainly tulle fabric. My next step would have been to begin creating the final costume, using a combination of fine nude tulle and slightly transparent natural sheet latex - printed on using a Gocco screen.
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DRESS TOO PETITE
DESIRED SHAPE SKETCHED
SLEEVE TOP MUST BE PUFFIER
NEW ASYMETRIC LENGTH • MORE LIKE ILLUSTR ATION
LEGS FAR TO O NARROW
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Making Process Costume Four Latex Materialisation FINAL LATEX DEVELOPMENT • READY FOR M ANUFACTORING
SECTION FOR CUFFS
Originally, I planned to create my own sheet latex using liquid latex, marbled with inks. The randomised sheets and ability to immerse tulle fabrics, mini sculptures and sequins seemed ideal for my project. However, upon making into a sleeve, I decided that this created a slightly grotesque feel, rather than delicate. I therefore experimented with Gocco printing onto sheet latex, upon the surface of which, I planned to glue embellishments.
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SUBMERGED EMBROIDERY SA MPLES
SURFACE IS TOO UNEVEN
LIQUID LATEX CREATED BULKY, UNPLEASANT SLEEVE
TO O THICK
LATEX THICKENER SHRUNK • 67 •
DA M AGED G O CCO SCREEN
Making Process Costume Four Embellishment
Handmade polymer clay beads in the style of Hannah Wilke’s OneFold Gestural Ceramic sculptures. Photographed pre-cooking.
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EMBROIDERY DESIGN TO BE USED IN BOTTOMS OF FLARED TULLE TROUSERS • 69 •
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Making Process Costume Six Toiles
I re-toiled the jacket a number of times to get the correct fit. There were common issues of bagginess and pointed shoulders.
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MIX OF WADDING, SHOULDER PADS AND FELT
COLLAR MUST COME TOWARDS FRONT
SHOULDERS TO O POINTED
STUFFED WITH WADDING FOR STRUCTURE
SHOULDERS TOO WIDE • JACKET TO O LONG
TROUSERS LEGS TOO WIDE
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Making Process Costume Six
Bleach and Dye Painting Fabric was bleached, rinsed and dried, prior to dye painting with four various pigment colours.
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Making Process Costume Six
Finals Constructions
The arms and remaining straight leg still needed tacked into folds at the ends. Other than this I feel the expected shape was achieved.
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I transformed the pleats in thr fronts of the trousers into darts, for a cleaner look. I am pleased with the end result, however of course wish there had been time to finish the costume fully.
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Making Process Costume Six Final Garments
I achieved the dye results anticipated on the Velvet jacket and was ready to begin patching upon the surface, with digitally printed sections of fabric. The matching trousers still required dying. I have sketched over these images to represent the stitching and beading that would have been embellished upon the final surface.
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Set Design
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Image Glossary 9A - Up to and Including Her Limits by Carolee Schneemann (Performance Installation), 1973-76. 11A – Crazy Patchwork by Sarah Eliza Pye (Silk, velvet, cotton, and silk embroidery), 1897. 12A – Tattooed Lady by Peter Blake (Gouache and collage mounted on red paper), 1958. 12B – Folding Scrap-Work Screen by William Macready and Charles Dickens (Four-leaf, folding scrap-work screen), about 1860. 13A – I See What You Mean by Penny Slinger (Photomontage), 1947. 13B – I Hear What You Say by Penny Slinger (Photomontage), 1947. 13C – Read My Lips by Penny Slinger (Photomontage), 1947. 13D – Untitled by Gunter Brus (Mixed media on board mounted on wood), 1965. 14A – Untitled by Hannah Wilke (Two gum sculptures on rice paper), 1976. 14B – S.O. S. Starif ication Object Series by Hannah Wilke (Archival pigment print), 1974. 15A – Body Collage by Carolee Schneemann (16mm motion f ilm), 1967. 15B – Body Collage by Carolee Schneemann (16mm motion f ilm), 1967. 15C – Pregnant and Pregnant II by Annegret Soltau (Gelatin silver prints with thread overstitched), 1978. 18A - Up to and Including Her Limits by Carolee Schneemann (Performance Installation), 1973-76. 18B - Up to and Including Her Limits by Carolee Schneemann (Performance Installation), 1973-76. 19A – Dilara Findikoglu, Ready to wear Spring/Summer 2020. 19B – Dilara Findikoglu, Ready to wear Spring/Summer 2020. 19C – Crushed velvet jacket (Unlabelled Tigermoth) with blouse (Hullabaloo) and pants (Biba London) in NZ Fashion Museum, 1970s. 19D - Dilara Findikoglu, Ready to wear Spring/Summer 2017. 19E – Female Utopia Dilara Findikoglu, Ready to wear Autumn/Winter 2018. 19F – Biba London coat, 1960s. 22A - Dilara Findikoglu, Bridal Collection, 2018. 23A - Dilara Findikoglu, Ready to wear Spring/Summer 2020. 23B - Dilara Findikoglu, Ready to wear Spring/Summer 2017. 23C - Dilara Findikoglu, Ready to wear Autumn/Winter 2018. 23D – Vintage Corset by Simone Perele, Paris, 1960-69. 23E - Dilara Findikoglu, Ready to wear Autumn/Winter 2018. 23F – Woodstock Festival, 1969. 28A - Hannah Wilke and Pink Champagne, 1975. 28B – Untitled One-Fold Gestural Ceramics by Hannah Wilke, 1977-81. 28C - Intra Venus No. 4 by Hannah Wilke (2 cibachrome photographs), 1992-93. 29A – Vintage Leather Suit (Unknown designer), 1980s. 29B – Untitled by Hannah Wilke (Red latex on board), 1970s. 29C – Red Leather Suit (Unknown Designer), 1980s. 29D – Breastplate by Issey Miyake, 1980. 29E – Leather Suit by North Beach, 1980s. 29F - Hannah Wilke and Ponder-r-rosa 4, (White Plains Yellow Rocks), 1975. 32A, B, C, D – S.O. S. by Hannah Wilke (Mastication Box), 1975. 32E – Washed Denim Jacket by Tabalini (1980’s style), 2019. 32F - S.O. S. Starif ication Object Series by Hannah Wilke (Archival pigment print), 1974. 33A – Leather outf it (Unknown designer), 1980s. 33B - Dilara Findikoglu, Ready to wear Spring/Summer 2017. 33C – Textile manipulation sample by Sara Keith. 34D – Outf it (Unknown designer), 1972. 34E – Vintage Suit by Take 6, England, 1970. 34F – Vintage leather suit pattern, 1980s. 38A – Ties by Annegret Soltau, 1975-76. 38B, C – Self by Annegret Soltau, 1975-76. 39A – Moschino (70s punk style) Spring/Summer 2018. 39B – Ralph Lauren (70s punk style) in Vogue 2018. 39C – Punk outf it (Unknown designer). 39D – Dinah Cancer in punk outf it. 39E – Basque (Unknown designer), Great Britain, 1980s. 42A - Textile manipulation sample by Sara Keith. 42B – Bodyopenings by Annegret Soltau (photograph collage with thread), 2011-17. 42C - Motherhood by Annegret Soltau (photograph collage with thread), 1977-86. 43A – Arched Figure by Louise Bourgeois (Sof t sculpture), 1999. 43B – Coat (Unknown designer) Patchwork leather, 1970-75. 43C – Coat (Unknown designer) Large shoulder pads, 1980s. 43D – Vintage dress (Unknown designer), 1980s. 43E – Christian Dior, Couture Fashion Show, Fall 2017. 43F – Lady Gaga wearing Marc Jacobs, 2018. • 86 •
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BE YOU
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