Using written and studio research, the above research question is interrogated through a body of practical work, that evolved into a static exhibition titled Second skin: new knitting at The Ivan Dougherty Gallery, Paddington, New South Wales, Australia, in January/February 2008. This thesis examines knitting as a form of constructed textile in an historical and contemporary context and explores the integral relationship it has with fashion and textiles, as well as questioning the significance of interplay between fashion and art. The primary aim of this research is to explore contemporary knitwear designers working in the high-fashionÂ’ area of design and investigate how they are challenging traditionally established rules and perceptions, and potentially blur the boundaries of what is considered fashion design, into art. While conceptual fashion design has always been a debateable issue among fashion scholars as to whether it can be viewed as fashion, antifashion or possibly art, this thesis examines the influences of modernity and deconstruction in relation to knitting, to establish a conclusion regarding the contemporary position and understanding of knitting in society at present. Through gathering both primary and secondary research nationally and internationally, knitting has been examined in relation to the ways in which contemporary designers working in the realm of knitting are unravelling these traditionally based preconceptions, and analysing what they are accomplishing through the use of mixed media applications, post-knitting treatments, yarn and stitch manipulation, and challenging sculptural form to create a new visual language through artisanal production. The body of work presented explores the concepts established in the written research relative to perception and deconstruction, and provokes questions which challenge the notion of knitting as fashion, art or both. Through hand and machine knitting techniques, Second skin: new knitting examines body scarification in the form of tribal markings, which allows each pieces to transform into a second skin that convey interpretive narratives and visual messages. The predominant medium utilised is 100% Australian wool and in conjunction, incorporates mixed media materials such as silk organza and semi precious stones, and technological processes include laser cutting and etching of Tasmanian oak veneer and leather.
| Identifer | oai:union.ndltd.org:ADTP/186982 |
| Date | January 2008 |
| Creators | Clifton-Cunningham, Alana, Design Studies, College of Fine Arts, UNSW |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | http://unsworks.unsw.edu.au/copyright, http://unsworks.unsw.edu.au/copyright |
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