WHAT IS THE DEFINITION OF A DRESSED BODY AND WHEN IS SOMETHING WORN?

THIS WORK EXPLORES RESTRICTIONS IN TODAYS EMBODIED PRACTICE OF DRESSING, RESTRICTION THAT AFFECTS US WITHIN THREE LAYERS; 

THE RULES OF THE CLASSIC TEMPLATES FOR GARMENT CONSTRUCTION - ABSTRACTING THE BODY BY STRAIGHT LINES AND SQUARES, THE USE OF CLOTHES TO SHAPE THE HUMAN FIGURE AND IDENTITY, AND THIRDLY IN OUR SOCIALLY ESTABLISHED STRUCTURES OF DRESS.

WITHIN THESE LAYERS WE HAVE FOUND RULES FOR HOW TO CREATE, WHAT TO WEAR AND WHEN TO WEAR IT. 

THE INVESTIGATION IS PERFORMED THROUGH A BODILY PRACTICE WHERE THE BODY IS USED AS A TOOL TO EXPERIENCE. BY WORKING DIRECTLY ON THE NAKED BODY THE AIM IS TO FIND A CLOSEST RELATIONSHIP BETWEEN TEXTILE AND SKIN TO REPLACE TRADITIONAL RULES WITH THE FEEL AND INTUITION OF THE PERFORMING BODY.

A METHOD OF SHAPING GARMENTS FROM THE LINES OF ROUNDNESS IS THEREFORE APPLIED. BY SHAPING THROUGH THE NATURAL CURVE OF THE BODY INSTEAD OF FORCING STRAIGHT LINES AND SQUARES UPON IT THE WAY OF WEARING IS ALSO AFFECTED. WHEN WORKING THIS WAY THE EMPHASIS IS PUT ON THESE LINES OF THE BODY, SO WHEN WEARING THIS EMPHASIS COMES NOT FROM RESTRICTION BUT FROM IMPORTANCE. YOU FEEL THE IMPORTANCE OF YOUR HIPS SINCE THEY CARRY THE WEIGHT AND BALANCES THE MATERIAL. IT IS FROM YOUR HIPS THE MOVEMENT AND SHAPE OF THE GARMENT ORIGINATES. YOUR BODY UNDERNEATH ARE ACCENTUATED - NOT HIDDEN AND THE HIERARCHY OF ON TOP & UNDERNEATH IS SUBTLY REVERSED.

6 M OF FABRIC, TRANSFORMED BY THE ROUNDNESS OF A HIP - NUDE, WHILE DRESSED IN BODYLINES.