Text ofthe artist who called out a museum by scrubbing the floor for hours(Co Create)
Well choose the main idea of this article. And for sure, the art work of the artist, she’s intelligent, very sensible and determined, avant garde and also social, right in the bone. Iam saying this; just because I really feel interest in those topics, and it is somehow strange how the structure inside “some”a lot “ museum’s don’t change a bit, and this after so many years..
- The programme’s change/ the exhibition’s change, but unfortunately not the way how the workers interact with themselves & with visitors. Iam taking my final thesis in Museology, and what Iam seeing now, is that inside exhist a big gap between all the different teams that work inside, they’re not connected.. Exhist the pyramid system working like in our society, few on the top taking decisions, and in the other side, at the bottom a lot of people doing their best to keep everything’s fine. Ticket store/ Shop/ Caffeteria/ gardeners, surveillance, maintenance..
How can we invert the procedures?
Doing something.. Like she did.
Meet the artist who called out a museum by scrubbing the floor for hours(Co Create)
Definition of Victorian Torture Scold's (Co Create)
As my co create project, we got the object from museum which is "Clan Me" and l have done the definition of our group ideas of this object, we want to create a object which is a headpiece and we think "Clean Me" is some house wife in history in Britain, they could not speak and they always do house work without any rest, they don't have any freedom, hence basic on this conception l decided to do the research of victorian Torture Scold's Bridle.
Resembling an iron muzzle, the Scold’s bridle was a device originating in the 16th century that aimed to humiliate and cause great pain to the wearer. Women were often forced to endure it as a punishment for immodest, rude and transgressive behaviour. A metal bit would press down on the wearer's tongue and prevent them from eating and talking.
England, Wales and Scotland
First recorded in Scotland in 1567, the branks were also used in England, where it may not have been formally legalized as a punishment. The kirk-sessions and barony courts in Scotland inflicted the contraption mostly on female transgressors and women considered to be rude or nags or common scolds.
Branking (in Scotland and the North of England)was designed as a mirror punishment for shrews or scolds; women of the lower classes whose speech was deemed "riotous" or "troublesome";— often women suspected of witchcraft — by preventing such "gossips or scolds" from speaking. This also gives it its other name 'The Gossip's Bridle'
It was also used as corporal punishment for other offences, notably on female workhouse inmates. The person to be punished was placed in a public place for additional humiliation and sometimes beaten.[8] The Lanark Burgh Records record a typical example of the punishment being used, " Iff evir the said Elizabeth salbe fund scolding or railling… scho salbe sett upone the trone in the brankis and be banishit the toun thaireftir" (1653 Lanark B. Rec. 151).
Though primarily used on women, the Burgh Records of Scotland's major towns reveal that the branks were at times used on men as well: "Patrick Pratt sall sit … bound to the croce of this burgh, in the brankis lockit" (1591 Aberd. B Rec. II. 71) / "He shall be put in the branks be the space of xxiiij houres thairafter" (1559 (c 1650) Dundee B. Laws 19. )
When the branks was placed on the "gossiper's" head, they could be led through town to show that they had committed an offence or scolded too often. This was intended to humiliate them into "repenting" their "riotous" actions. A spike inside the gag prevented any talking since any movement of the mouth could cause a severe piercing of the tongue. When wearing the device, it was impossible for the person either to eat or speak. Other branks included an adjustable gag with a sharp edge, causing any movement of the mouth to result in laceration of the tongue.
In Scotland, branks could also be permanently displayed in public by attaching them, for example, to the town cross, tron or tolbooth. Then, the ritual humiliation would take place, with the miscreant on public show. Displaying the branks in public was intended to remind the populace of the consequences of any rash action or slander. Whether the person was paraded or simply taken to the point of punishment, the process of humiliation and expected repentance was the same. Time spent in the bridle was normally allocated by the kirk session, in Scotland, or a local magistrate.
Quaker women were sometimes punished with the branks for preaching their doctrine in public places.
Jougs were similar in their purpose as a pillory, but did not restrain the sufferer from speaking. They were generally used in both England and Scotland in the 16th and 17th centuries.
Image
Designer Research
Brand Research
Mad Spirit (Co Create)
Artist Research(Handmade)
Artist Research（Handmade）
Yuki Matsueda（Handmade）
Gypsy Sport (Brand Research Celebrating Archway)
Chinese brand research
The research of V&A unveils new staff uniforms designed by Christopher Raeburn (Celebrating Archway)
l found a very interesting and helpful research which is the V&A unveils new staff uniforms designed by Christopher Raeburn. This research can help me to build my project and my designs. l could learn the skills of designing uniform from the designer Christopher Raeburn, his designs are quite fashionable and creative. For example, he doesn't follow the traditional way to design clothing, his pattern on garments are very dynamic and always catch people's eyes, after l saw his artworks l felt more clear to design uniform in a creative way. The below is the introduction of the V&A new staff uniforms of Christopher Raeburn.
Published: December 20, 2017 Author: Tristram Hunt
It’s been a fantastically busy and exciting year at the V&A; the Museum’s immense creativity and reach has continued to flourish and grow. The wealth of remarkable ideas and objects found here at the V&A are embedded across everything we do. From our architecture, exhibitions and events, to our publications, retail and digital media, each element is an important part of our story.
The V&A’s staff are integral to our purpose, and front of house staff are at the heart of this communication. Our superb Visitor Experience teams bring our brand to life – and in an exciting development – we are delighted to have worked with award-winning British fashion designer Christopher Raeburn on brilliant, new uniforms for our gallery assistants, retail staff and volunteers. These garments and accessories are colourful, practical and adaptable, whilst connecting with our foundational purpose in inspiring contemporary designers. Christopher focused on iconic objects from the V&A’s collections – from Japanese netsuke and a 1970s Spacehopper, to Bernini sculpture and an 1870s rocking horse – to design a print from their silhouettes. Importantly, Raeburn’s ethos of responsible design has also ensured that certified recycled and organic materials were used throughout. Our new uniforms ingeniously reflect the V&A’s distinctive spirit of creativity and imagination.
V&A staff in the new uniforms with designer Christopher Raeburn © Victoria and Albert Museum, London / Christopher Raeburn. Photo: Shaun James Cox
V&A staff in the new uniforms with designer Christopher Raeburn © Victoria and Albert Museum, London / Christopher Raeburn. Photo: Shaun James Cox
V&A: You are probably now the designer with the most pieces in the Victoria and Albert Museum, but do you have work in the collection as well as on the gallery assistants?
Christopher Raeburn: It’s been a real honour to design a uniform for the V&A staff. We’re also really proud to announce that we’ll be exhibiting a look from our iconic REMADE Silk Map collection at the V&A’s ‘Fashioned from Nature’ exhibition early next year.
Detail of new V&A uniform, designed by Christopher Raeburn. © Victoria and Albert Museum, London
V&A: How did you go about designing the new uniform?
CR: The first thing we did was to sit down with the team and have a discussion; we felt it was really important to understand their needs – and their working environment over the seasons.
We worked closely with the V&A as we developed the collection and many feedback sessions to refine the uniform. We also felt using a vibrant colour palette was important but, ultimately, we wanted to draw as much inspiration from the museum’s collection as possible; especially through the print itselft, and the iconic objects from the Museum that feature within it.
Christopher Raeburn’s moodboard for the new V&A staff uniforms
V&A: How important is it to design to specific needs?
CR: Considered design is the core of what we do. Understanding what everyone needs to do the best job they can – from the front-of-house teams to the volunteers – was a vital part of the design process.
V&A: Did you have any concerns when you started working on the project? Did they change over time?
CR: The opportunity to responsibly design uniforms for such an incredible institution comes with an obligation to do things properly and in a considered way!
One of the challenges was around the fluctuation in temperature in the galleries. We needed to develop a carefully considered layering system to work across a range of temperatures and reflect the needs of different staff throughout the Museum.
V&A: You place a strong emphasis on sustainable fashion – are any of the pieces for the V&A uniform made from recycled or upcycled material?
CR: Yes, all pieces have been designed and developed responsibly with a focus on certified recycled and organic materials throughout.
Detail of new V&A uniform, designed by Christopher Raeburn. © Victoria and Albert Museum, London
V&A: How did you choose the textiles that make up the garments?
CR: The materials were very much chosen in line with our company ethos. Everything we do as a business is underpinned by the three ‘Rs’: Remade, Reduced and Recycled. From using recycled materials for the outerwear, to organic cottons for the jersey.
V&A: Would you wear it yourself?
CR: Absolutely! A lot of the pieces have been refined from classic Raeburn designs such as the mesh bomber jacket and rainproof parka. It’s been a real honour to develop those pieces further to meet the needs of the V&A.
V&A staff in the new uniforms with designer Christopher Raeburn © Victoria and Albert Museum, London / Christopher Raeburn. Photo: Shaun James Cox
Coat Research
Technical Research
Yohji Yamamoto (Artist Research Co Create)
Yohji Yamamoto is my favorite designer, l did a lot research about him before, the reason of why l like him because l really appreciate his spirit, he is always black and l also black and his spirit is that black is modest and arrogant at the same time. Black is lazy and easy-But above all black says this: " l don't bother you-don't bother me." hence l decide make our object style in black.
Yamamoto debuted in Paris in 1981. In an interview with the New York Times in 1983, Yamamoto said of his designs, "'I think that my men's clothes look as good on women as my women's clothing […] When I started designing, I wanted to make men's clothes for women."[7] More recently he has expounded: “When I started making clothes for my line Y’s in 1977, all I wanted was for women to wear men’s clothes. I jumped on the idea of designing coats for women. It meant something to me – the idea of a coat guarding and hiding a woman’s body. I wanted to protect the woman’s body from something – maybe from men’s eyes or a cold wind.”[8]
His commercially successful main line, Yohji Yamamoto (women/men) and Y's, are especially popular in Tokyo. These two lines are also available at his flagship stores in Paris and Antwerp, and at high-end department stores worldwide. Other principal lines include Pour Homme, Costume d'Homme, and the diffusion line Coming Soon. Yohji Yamamoto Inc. reported in 2007 that the sales of Yamamoto's two main lines average above $100 million annually.
Yamamoto is known for an avant-garde spirit in his clothing, frequently creating designs far removed from current trends. His signature oversized silhouettes often feature drapery in varying textures. Yohji' collections are predominately made in black, a colour which Yamamoto has described as “modest and arrogant at the same time. Black is lazy and easy - but mysterious. But above all black says this: "I don’t bother you - don’t bother me".
Yamamoto's work has also become familiar to consumers through his collaborations with other fashion brands, including Adidas(Y-3), Hermès, Mikimoto and Mandarina Duck; and with artists of different genres, such as Tina Turner, Sir Elton John, Placebo, Takeshi Kitano, Daniel Barenboim, Pina Bausch and Heiner Müller.
Yohji Yamamoto was invited to curate the second issue of A MAGAZINE curated by in 2005, following Martin Margiela.
Poor decisions by finance managers pushed the brand into debts of more than 65 million US dollars in 2009, which angered Yamamoto and led to a company restructuring from 2009 to 2010. The private equity firm Integral Corp was identified as the Japanese company who will restructure the Yohji Yamamoto Inc and by November 2010 the company was out of debt and avoiding the risk of bankruptcy.
Yohji has expressed a deep love for designing clothing, going so far as to say he 'cannot imagine [himself] retired'.
Mental patient robes research(Co Create)
Some of our inspirations of our object are from the mental patient robes, because our object is a headpiece and and it hook the person's mouth, but how can we add fashion design on our object? l came up with the patient robes based on our object, because our object is a metal item that obstructs basic freedoms of the wear hence l did the mental patient robe research
Scholars of insanity and its historical antecedents have paid very little attention to personal and institutional clothing. Such dress, distributed to patients in mental institutions, has always been inscribed with the conflicting narratives of the period in which it was made and worn. The language of civil and medical authority is more evident than personal choice in the shape and address of the attire. This article examines clothing worn by patients in three Devon mental hospitals during the century before 1960. We consider the ways in which institutional clothing formed part of a hospital regimen of overt control, as well as suiting considerations of economy and employment that figured in these institutions.
One of the prized exhibits in Heidelberg University Museum is an odd-looking linen jacket dating from about 1895. It belonged to Agnes Richter (1844–1918), a mental patient who, diagnosed with dementia praecox, spent twenty-five years of her life in a Saxony mental institution. Skilled as a seamstress, Richter remade the apparel issued to her upon admission, stitching it to fit her slender figure. She also painstakingly embroidered personal details across the face of the garment, offering a visual testament to her life story.
Text
Making Plaster Casts (Handmade)
Making Plaster Casts
Plaster cast reproductions are ubiquitous in today’s art schools, ateliers and academies. While it is well-known that casts come from molds which were originally taken from ancient and classical sculptures, did you ever wonder how plaster casts were made and who makes them? This article, by my friend Andrea Felice, will help answer those questions. Note that Andrea’s first language is Italian. English, in Italy, uses the spelling ‘mould’, whereas in America we use ‘mold’.
Thinking Like an Mould Maker
The production of plaster casts has ancient origins and is closely connected to the techniques of sculpture. The modern manufacturing of casts is not different from the old methods but the use of modern materials has adapted itself to the ancient technique. Plaster is an economical material, easy to use and very durable. For these and other reasons it is the best material for the making of casts and has been since ancient times.
What exactly is a plaster cast?
Technically, a cast represents a mechanical transfer of a sculpture from one material to another. This transition is done through a direct imprint on the original sculpture. This imprint is called a mould.
From the very beginning of the study of sculpture, be it Greek, Roman, Medieval or Renaissance, artists and scholars needed to stand in front of the original work. Unfortunately, very few were able to reach the great museums or visit the richest collections or archaeological areas around the world. Plaster casts, serving as ‘dignified substitutes’, could replace the original work in museums, academies or schools of art. The plaster cast is a clone, faithfully reproduced, that spreads any architectural or sculptural work in perfect likeness and in minute detail. Casts do not intend to take honors from the original sculpture but, on the contrary, exalt its importance and magnificence, enhancing its beauty and diffusing it with great respect for the memory of the original
In the museums that preserve the original, the plaster cast offers itself as a replacement during the absence of the original for exhibition or restoration. The replacement helps to maintain the visual integrity of the old gallery. Thus, it is rather important to recognize and remember the undeniable artistic value that is contained in it as a ‘legitimate son’, especially for ancient casts.
To make a mould
The making of a mould is a very complex process, but we can say that it basically consists of various parts that, when fit together, make up the negative volume of the statue.
The mould maker is a craftsman who deeply knows the very complex work which is needed to produce a cast. Initially, the mould’s subject needs to be carefully studied in order for the maker to determine the most effective way to divide the sculpture. A correct division corresponds to a correct conformation of the mould. It should allow for easy removal from the original sculpture without damaging the sculpture or the mould pieces. Those pieces should also be able to be easily combined into one for the eventual making of the cast.
First, he makes an impression (the mould) with a rigid material, from the original and very delicate sculpture. The mould is made from 3 or 4 layers of silicone rubber. Before the silicone can be applied, it is necessary to apply both a removable, protective coating on the marble surface as well as a releasing agent. Without the slightest damage to the thin marble or bronze original, he pulls off the heavy mould which is composed of many parts (pieces).
A plaster shape, fitted with a solid wood frame, will be used to contain the well wedged, flexible and soft imprint of silicone inside the mould.
The execution of this process can take several days, and in the case of very large sculptures, the work of many people. Considering the eventual size of the mould and the weight of the original marble, a mould maker never works alone. One of the most difficult moulds that I ever made was one of the Laocoön group at the Vatican Museums.
There are different kinds of moulds that can be made depending upon their eventual use. Generally today the cast of an ancient statue is made with a silicon rubber mould. Although the traditional technique is still perfectly respected, the silicone rubber has eased the work of the mould maker and greatly improved the quality and definition of the resulting casts.
Speed in art is not an added value!
While new technologies present digital 3D scans as new systems of reproduction, they cannot replace the quality of a cast made with traditional techniques. The production of mechanical copies and the widespread “fever” for digital 3d acquisitions applied to sculpture reproduction has become very popular in recent years, often in a forced way, even when a work of this type isn’t required. Unfortunately, the quest to speed up all activities permeates every field of our twenty-first century culture.
Making quick and easy a work that otherwise would require a long process, especially through the hands of highly skilled workers, is only a vain shortcut that does not lead to any valuable destination. However, an authentic plaster cast is made only from a direct mould off of the original, with traditional materials and skills. Precisely because of this, we consider the cast to be a work of art in its own right. All other reproduction methods result in poor copies and nothing more.
Pouring the Cast
As when making the mould, the making of the cast positive must be done while respecting strict rules in order for the result to be considered a professional work. Once the mould’s pieces are put together, he pours liquid plaster inside the empty void – the impression of the mould. Once the liquid plaster hardens, the result will be a cast. The first layer of plaster is poured into the completed mould, very accurately, and spread around with a long-haired brush. The brush is needed because it assures that the plaster gets into all of the mould’s recesses. The result of this brushing will be seen as the exterior skin of the cast when it is finished. Next, more layers of plaster are applied, along with reinforcing materials such as hemp and other fittings of iron or wood. In the past, the casts were made very heavy and divided into big sections. The reason was that only a very basic armature was inserted and the division into pieces allowed for easier transport.
Details on the surface of the plaster cast are very important elements. The fidelity of all the particulars of the surface, in reference to the original sculpture, determines the real objective and economic value of the plaster cast. Many people, when visiting a cast collection, notice some casts which have small, raised lines on the gypsum surface. Those thin lines, which may appear unsightly, are an element which determines the quality of the cast. In fact, those signs produced by pieces of the mould, were not removed nor touched up by the mould maker. This helps to guarantee the fidelity of the cast to the original work. The mould maker, leaving all the signs intact, ensures his good work. Today, the use of silicone rubber has eliminated all those marks on the cast surface and also resulted in more accurate details on the plaster.
The Use of Plaster Casts Today
Plaster casts have today, as in the past, a wide range of uses in museums, historic houses and academies or schools of art. Depending upon the destination, the cast will have different requirements. Casts for scientific use in museums require the most detailed surface and can often be made in alternative materials such as resins. These are often used in the restoration of a sculpture when pieces of the original marble are missing. In that case, the integration of the cast piece(s) into the original marble is of prime concern.
Usually, in historic mansions, interior decoration, or in collections of antiquities, historic casts are used more often. If the collection also has more modern reproductions, the patina of these must have the same characteristics and apparent beauty that the other, older casts may have.
An extensive use of plaster casts is done in academies, art schools or art classes. They are used as a reference in the teaching of painting, charcoal drawing and in the Sight-Size technique. The perfect, warm white color of the plaster offers the right combination of highlight, halftone and shadow that we call chiaroscuro. One of the most famous drawing courses, the Bargue-Gérôme Drawing Course, is based precisely on the exercise of accurately depicting plaster casts in order to learn how to separate light from shadow in a three-dimensional figure.
It also is curious to note that art academies often use plaster casts for drawing reference that appear divided in unusual ways when compared to the original sculptures. Many drawings depict famous masterpieces in strange divisions or in apparently meaningless sections. Casts of Michelangelo’s David are often portioned in this way. There isn’t a particular reason for this, as related to the sculpture represented, or to the drawing technique. Rather, it is simply a single portion of a reference cast that was once composed of many pieces.
Cast Making as a Traditional Craft
As do all craftsmen of historical and cultural significance, the mould maker is also in a class of craftsmen that is disappearing. The apprenticeship is generally very long and apprentices are not skilled enough to execute an entire mould of a sculpture before five years or more of practice. However, the workshop today as in the past, employs many workers who work in tandem in order to produce a greater whole.
During the work of casting, some results can be achieved only and exclusively with a specific tool and skill set. Only that specific material allows you to create that unique effect. Only in a specific way can you do that thing. Being a craftsman is a mental condition that one achieves only through years of dedicated training. There are few traditional plaster casting workshops still in business today. Their skills need to be preserved, so that the artistic value of the original sculpture, and the cast of it, will not be altered or changed in any way.
Andrea Felice was born in Rome in 1970 and raised in the old art workshop where his father, a skilled mould maker, took him every summer. His attendance at art foundries, workshops and studios of famous artists such as Giacomo Manzù, Cy Twombly, Jeff Koons, and Igor Mitoraj, has helped to stimulate his passion for sculpture and the craft of art. He lives in Rome where he works in his studio on plaster casting and mould making.
Since 1998 he has also been the mould maker and marble restorer at the Vatican Museums, where he has made casts of the most famous ancient sculptures like the Laocoön and the Augustus of Prima Porta. Andrea has also done restorations of sculptures like the Perseus by Antonio Canova.
In 2009 he founded FeliceCalchi – Plaster Casts & Sculptures. His company has a large collection of casts with an ever increasing catalog. It is an internationally recognized cast manufacturer. The casts, produced by FeliceCalchi, are now widespread in the most important museums and art academies all over the world. Felice’s working philosophy involves the preservation of the ancient technique of moulding and casting, using only traditional materials to produce plaster casts of very fine quality.
Andrea has a great article here about purchasing plaster casts.
The research of Tesco uniforms (Celebrating Archway)
As my location of "Celebrating Archway" is in Tesco hence l decided to design the uniform of Tesco. Before l start my designs l did the research of Tesco uniforms and there are some questions in my mind such as how the uniform varies from one department to the other. For example, those on the checkouts or customer service desk. Is it mandatory for them to wear what they are given? Or could someone working at the customer service desk wear what the others at the checkouts are wearing? What kind of fabrics are the uniforms made of? What pattern and color are on their uniforms?
After l went to Tesco and asked staffs there, l got the answers to my questions.
Yes, on the checkout's staffs are given and must wear a shirt/blouse with navy provided trousers/skirt and fleece. On the customer service desk (CSD) staffs are then given a blazer to wear and a tie for men, this must be used instead of the fleece which they get with the checkouts uniform. On the Tech Support Team staff are given a different shirt to wear with a tie (men only) and blazer. For the fabrics of their uniforms, some uniforms are pure cotton and some of them are terylene. The color of Tesco uniforms are main in blue and the word"TESCO" is on the back of uniforms. What's more, their uniforms are recycling and easy to wash therefore l'd like to make my designs in this way.
A whiff of life on Mars? Scientists close to solving mystery of the red planet(Handmade)
l chose the topic from the newspaper is the life in universe and the title is"A whiff of life on Mars? Scientists close to solving mystery of the red planet". Therefore l researched this new on Internet to know more about the details.
Scientists edge closer to solving mystery of life on Mars as probe searches for gasses linked to living organisms
It is one of the solar system's great mysteries, but proof of life on Mars could be just months away after a probe began searching for gasses linked to living organisms.
The 3.5-tonne spacecraft launched in March 2016 was part of a joint venture between the European Space Agency and the Russian-based Roscosmos.
The Trace Gas Orbiter (TGO), part of the ExoMars mission, then spent a year orbiting the Red Planet and last week sent out sensors to try and determine the origins of the methane gas in the atmosphere.
After completing more then 1,000 loops scientists hope it will be able to solve one of the great Martian mysteries - why methane, a possible signature of life, is being released on the planet.
Although it could take a year to compile all the data, scientists hope in the next few months they will get vital clues as to whether the gasses that have been detected on Earth's closest neighbour in recent years are geological in origin or were produced by living organisms.
Håkan Svedhem, the orbiter’s project scientist, said: “We will start our science mission in just a couple of weeks and are extremely excited about what the first measurements will reveal.
“We have the sensitivity to detect rare gases in minute proportions, with the potential to discover if Mars is still active today – biologically or geologically speaking.”
Although not one of the primary gases in Earth's atmosphere, methane is one of the most plentiful organic compounds on the planet and makes up the majority of natural gas.
It gets released whenever fossil fuels are extracted from the ground and is also produced through man-made methods such as livestock farming and landfill sites.
Pia Mitschdoerfer, Trace Gas Orbiter mission manager, said: “This is a major milestone for our ExoMars programme, and a fantastic achievement for Europe.
“We have reached this orbit for the first time through aerobraking and with the heaviest orbiter ever sent to the Red Planet, ready to start searching for signs of life from orbit.”
Astronomers have found traces of methane on the Red Planet on several previous missions, including in 2004, when Europe’s Mars Express orbiter detected levels of methane in the atmosphere, then ten years later, Nasa’s Curiosity rover recorded the presence of the gas on the surface.
The artist research of Walter Van Beirendonck (Celebrating Archway)
In order to get more inspiration and learn more design skills then l did the research of one of my favorite designer who is Walter Van Beirendonck, his designs are always surprising and personalized fresh freedom, bold exaggerated, colorful, fully shows that the majority of his imagination and extraordinary wisdom. Therefore, l can create my own creative designs based on Walter Van Beirendonck's ideology.
Walter Van Beirendonck (born 4 February 1957 in Brecht, Belgium) is a Belgian fashion designer. He graduated in 1980 from the Royal Arts Academy in Antwerp. Together with Dirk Van Saene, Dries Van Noten, Ann Demeulemeester, Marina Yee(graduated in 1981) and Dirk Bikkembergs (graduated in 1982) they became known as the Antwerp Six when the idea of Belgian fashion seemed like a contradiction in terms.
Since 1983, he issues his own collections. They are inspired by the visual arts, literature, nature and ethnic influences. His unusual color combinations and a strong graphic influence are characteristic for his collections. In 1997, he designed the costumes for the U2 "PopMart Tour". In 1999, he was awarded the honorary title of "Cultural Ambassador of Flanders". In 2001, he curated the 'Fashion 2001 Landed-Geland' project in Antwerp. Next to five large exhibitions, a new magazine was launched: N°A magazine, published by Artimo, now called A MAGAZINE curated by.
Focusing on formal tailoring van Beirendonck presented ultra slim suits varying from neutral tones to bright primary hues.
This season saw Walter van Beirendonck change direction. Leaving behind his casual and carefree approach, the designer went straight down the line. Gone were the hairy chunky models seen for the last few seasons and in were a pack of lean, black boys. The collection entitled 'Hand on Heart' was grounded in the concept of Shamans as the designer took a spiritual turn for the season. Focusing on formal tailoring van Beirendonck presented ultra slim suits varying from neutral tones to bright primary hues. Tribal patterns found their way onto fine wool suits as patchwork and skirts were worn over trousers. Oversized fringed coats rounded up a diverse collection that was apparently disparate in its vision. Walter's shows have previously developed a cult following for their subverted approach to menswear, but this collection just felt - normal.
The research of Tesco (Celebrating Archway)
Tesco was founded in 1919 by Jack Cohen as a group of market stalls. The Tesco name first appeared in 1924, after Cohen purchased a shipment of tea from T. E. Stockwell and combined those initials with the first two letters of his surname, and the first Tesco shop opened in 1931 in Burnt Oak, Barnet His business expanded rapidly, and by 1939 he had over 100 Tesco shops across the country.
Originally a UK grocer, Tesco has diversified geographically since the early 1990s and into areas such as the retailing of books, clothing, electronics, furniture, toys, petrol, software, financial services, telecoms, and internet services. The 1990s saw Tesco reposition itself: it moved from being a down-market high-volume low-cost retailer to one which appeals across many social groups, by offering products ranging from its "Tesco Value" items (launched 1993) to its "Tesco Finest" range. This broadening of its appeal was successful and saw the chain grow from 500 shops in the mid-1990s to 2,500 shops fifteen years later.
Tesco is listed on the London Stock Exchange and is a constituent of the FTSE 100 Index. It had a market capitalization of approximately £18.1 billion as of 22 April 2015, the 28th-largest of any company with a primary listing on the London Stock Exchange.
THE CLAY PROCESS(Handmade)
l’m very interested in making clay arts after l went to the casting workshop. l’m curious about more clay arts hence l did the research of the clay process and l learnt deeply, such as l know l should prepare more clay tools in order to make clay arts better and the research gives me more information than l did by myself.
PREPARE
Preparing the Clay
If you need to reprocess or wedge your clay, you will need to infuse moisture back into it. You are responsible for understanding and practicing the process of wedging.
Types of Clay
2) Bone China- Difficult to work with and used for casting
3) Stoneware- Great for throwing and hand building
4) Porcelain- Whitest clay
5) Dark Stoneware- Red clay mixed with black stain
Wedging Clay
Clay Tools
(2) Ribbon tool for cutting, slicing and shaping
(3) Needle tool to cut clay strips or holes, make designs or place objects
(4) Potters rib for shaping and smoothing
(5) Modeling tool for cutting, smoothing, contouring and decorating
(6) Smooth scraper for shaping and trimming
(7) Sponge
(8) Wire clay cutter for slicing clay or trimming pots and other objects