A prize-winning return to university study

Bookmark and Share

 

Thinking of studying as a mature student? Wendy Fraser, a finalist studying BA (hons) History of Art and Design shares her experiences and celebrates her recent success.

Wendy Fraser and Andrew Davidson, Celebration Event

Figure 1 Wendy Fraser and Andrew Davidson, Celebration Event, University of Brighton Grand Parade. Photograph: Philanthropy Department.

In December, I was honoured to receive the Khadija Saye Visual Culture Breakthrough Award 2016/17 for my performance in the second year of my History of Art and Design degree. Khadija Saye, in whose name the award is presented, was a young photographer from London whose work was included in the Diaspora Pavilion at the 57th Venice Biennale in 2017. Tragically, Saye died along with her mother in the Grenfell Tower fire, in the twentieth-floor flat that she also used as her photographic studio.

I am thrilled to have received the award, which is validation for the decision I made to come back to university as a mature student. I wrestled with different ideas of what to embark on next in my life, flip-flopping between a business plan or further education. My first experience at university was embarking on a degree in English Literature and History of Art at Edinburgh University when I was 19. At the time, I regretted the choice of Edinburgh as a University and English Lit as my subject but rather than make changes I left at the end of the first year. Retail jobs led to a career in fashion and giftware wholesale as an Account Manager with trade shows and twice-yearly travel to the Far East, which was creative and fun but ultimately intellectually unfulfilling. After the births of my daughters I juggled lots of part-time jobs to fit in with them – selling on Ebay, baking cakes for cafés, a sales role for a Childrenswear brand and supper club hostess.

I knew that I had not reached my academic potential and it would become a regret if I did not act upon it. The degree programme has exceeded my expectations and I have really appreciated learning about so many different aspects of visual and material culture. It has been a joy to have a legitimate reason to visit so many galleries and museums, rather than just as entertainment. My confidence in my subject has grown incrementally, helped in part by my volunteering roles at Charleston and at the Brighton Museum and Art Gallery, which we were encouraged to do in first year. Amazingly being a ‘mature’ student hasn’t made me feel awkward and my fellow students have been really inspiring – I have learned a lot from them and really enjoy their company.

The Khadija Saye Visual Culture Breakthrough Award was given at a ceremony in the Sallis Benney Theatre where students from across the University received Breakthrough Awards, Merit Awards, International Scholarships, Sports Scholarships, Enterprise and Employability Grants and Santander-funded awards. The donor of my award is Andrew Davidson (pictured with me above), a University of Brighton Alumnus who studied Visual Culture and is now an Education and Communications Consultant. I was awarded £500, which I plan to use towards a trip to the 2019 Venice Biennale, inspired by Khadija Saye’s achievement. This will be my first experience of an international biennial and further my understanding of contemporary art exhibitions. I haven’t been to Venice since I went on a three-week trip to look at as many examples of Titian’s work as I could before enrolling at university first time around, so this will be a memorable and beneficial use of the award money, representing my circuitous journey back to the History of Art.

 

Volunteering: where might the ‘positive feedback loop’ take you?

Bookmark and Share

 

Lisa Hinkins, currently in her final year studying BA (Hons) History of Art and Design, gives an update on the diverse volunteering opportunities available via the University of Brighton  – and the unexpected places they have led…

In my first year of the BA (Hons) History of Art & Design course, I was asked if I could write for our blog about my experiences of volunteering. In it I mentioned the ‘positive feedback loop’ from my experience of coordinating volunteers at a Scrap store I ran, to my volunteering with Photoworks and Fabrica. Since then, I have participated many hours of learning and creating within my voluntary roles. On the way, I have met and made friends with many different people. Fabrica has been a refuge from many stresses and an outlet to experiment in writing for their Response magazine, create workshops and interact with the public in Front of House duties for exhibitions.

The initial few months of volunteering within the arts gave me the confidence to apply for a job at Brighton Museum & Art Gallery as a casual gallery explainer. For nine months, I was part of a team working in the Fashion Cities Africa exhibition, following which I worked with the Constable and Brighton exhibition. While engaged with the Museum, it has led to some other opportunities within the organization, which have been very interesting and invaluable learning experiences. So, my volunteering led to a positive outcome of a paying job.

Not only have I been able to earn money from something I enjoy, I continued my volunteering during my second year of study. Somehow, I managed to rack up over 90 hours of volunteering! It has been important to keep in contact with Kat (neé Turner) Saunders, Volunteering Project Officer for Active Student Volunteering Services, as she was able to ensure I received continued opportunities with Photoworks, which included creating a workshop during 2016’s Brighton Photo Biennial at the Ewen Spencer installation at Fabrica. Another benefit of keeping registered with the university Volunteering Services, is that your volunteering hours are officially recognized by it, so for the past two years I have received certificates recognizing my dedication.

In June, I was completely taken aback when Kat Saunders sent me an invitation to attend the Mayoral reception for University of Brighton student volunteers, part of celebrations for National Volunteers’ Week. Around twenty students were invited from across the Brighton campuses to the reception in acknowledgement of the many hours of dedicated service in organizations across the city. It was an honor to be asked and to represent the City campus. It was also a great excuse to eat far too much cake in the Mayor’s Parlour in the Town Hall! And it was a delight to meet the exuberant Mayor, Mo Marsh, who took time to speak to all of us about our experiences and thank us.

A week later our group photograph with the Mayor was featured inside The Argus newspaper. Rather embarrassingly the callout for students to send a few words about their volunteering experiences, for the article seemed to result in only mine being published, but Fabrica director Liz Whitehead was truly delighted that her organization got a mention in my statement.

That positive feedback loop has endured: volunteering, job, celebration, recognition, continued volunteering. I would encourage my fellow students to sign up with Active Student Volunteering Services. It has been one of the best things I have done during this journey through my degree.

 

Perspectives on Fashion Curation

Bookmark and Share

 

What does it mean to exhibit fashion today? Student Jade Bailey-Dowling (BA (hons) Fashion and Dress History) visited the London College of Fashion event Perspectives on Fashion Curation to find out.

For a two week period, London College of Fashion (LCF) took over House of Vans in Waterloo with an exhibition and programme of events called Found In Translation, showcasing work from the School of Media and Communication postgraduate courses at LCF.  These include Master’s courses of interest to Brighton’s History of Art and Design BA programme students including Costume for Performance, Fashion Cultures, and perhaps most relevant for those studying Fashion and Dress History, Fashion Curation.

On Friday 17 February, I attended Perspectives on Fashion Curationa series of presentations by some of the leading figures who teach on LCF postgraduate programmes in Fashion and Dress History and Fashion Curation. The event was chaired by Ben Whyman, the manager for Centre of Fashion Curation, and began with presentations from several experts in the field talking about different areas of fashion curation and exhibition making.

Perspectives on Fashion Curation. Photo by Jade Bailey-Dowling, 17 February 2017

Perspectives on Fashion Curation. Photo by Jade Bailey-Dowling, 17 February 2017

Susanna Cordner introduced the London College of Fashion Archive which is open by appointment only and has a vast array of fashion objects, literature and other artefacts. The collection includes 650 shoes from the Cordwainer College Archive dating back to the 18th century. Cordner has worked hard to create an immersive experience from the archive and organises events such as the Object Reading Group, where an object is presented and attendees discuss them, and Sartorial Stories, when a guest speaker from the industry, from designers to editors, bring in an object and discusses it in relation to their career and the fashion industry.

Jeff Horsley explored concepts of exhibition making, and spoke in great detail about the fashion displays in Antwerp that he has been researching for his PhD. Themes of his talk included the importance of exhibition entrances, concepts of what ‘objects’ are within a museum context and the use of mannequins for historical dress vs. contemporary haute couture that could be displayed on a live model. This is something Claire Wilcox  – curator of the exhibition Alexander McQueen: Savage Beauty – has explored with Fashion in Motion at the V&A by presenting contemporary fashion on live models around the museum rather than confined to a glass cabinet. Wilcox, who began working at the V&A in 1979, also spoke about changes in fashion collecting and the shifting attitudes towards fashion exhibitions and contemporary designers in a museum collection.

The penultimate presentation was an overview of the Fashion Space Gallery that is at the campus just off Oxford Circus. The space relaunched in 2014 and was described by Ligaya Salazar, the gallery director, as an ‘interdisciplinary incubator of ideas about fashion” and a “think tank for curatorial ideas and experimentation.” Although it is a small space, there is arguably more freedom than at a larger establishment, leading to innovative use of space and creative curatorial decisions. The current exhibition, Museum of Transology, curated by E-J Scott, documents objects of importance to members of the trans community and runs until 22 April 2017.

Their work also goes outside of the gallery with the travelling Polyphonic Playground. This off-site project is a kind of playground apparatus that can be used to make sound art as all of the surfaces use touch technology or electrical conducting thread to create sound.  Similarly, Alison Moloney spoke about a traveling exhibition she worked on called Cabinet Stories in which 7 curators would use the small cabinet space to display objects in different venues, including a women’s prison, an NHS hospital ward for people with suffering with personality disorders, a charity shop in Poplar and an old peoples home. At all the venues, people were encouraged to then display objects that meant a lot to them. This meant that people could get involved from the community in curation, showing the diversity of fashion outside of the museum. Moloney also introduced the project 1914 – Now, a series of films and essays summarising the themes of this event, which was displayed in the exhibition space at House of Vans and also available on SHOWstudio. Fashion films explore initiative ways to present fashion using film, visuals and sound, much in line with the inovations presented at this talk related to new ways to exhibit fashion and dress.

MA Fashion Curation final show at LCF. Photo by Jade Bailey-Dowling, 17 February 2017.

MA Fashion Curation final show at LCF. Photo by Jade Bailey-Dowling, 17 February 2017.

The final portion of the event was a panel discussion with Amy de la Haye, Alison Moloney, Jeffrey Horsely, Ligaya Salazar, and Claire Wilcox, where they discussed what curation meant for them, motivations when creating an exhibition and generally what it is like to curate a fashion exhibition. It was fascinating to hear differing approaches on the subject of fashion curation and to learn more about how experimental the field is.

 

Volunteering at Brighton: Gladrags Costume Store

Bookmark and Share

 

Emmy Sale, a second-year student studying BA (hons) Fashion and Dress History tells how Brighton University helped her to get involved with a fascinating costume project…

Life at university can offer many new opportunities: volunteering can not only help others, but also give you new experiences that can be helpful for your future career.

To complement my studies, I decided to undertake a volunteering placement with help from the university’s Active Student scheme. There are a broad range of placements in and around Brighton that are available, whether it may be to gain experience in a museum environment, assisting events organisation or in education and teaching. Whatever your interests and aims may be, the co-ordinators help to understand these in order to ensure the placement will be suitable and fulfil your aspirations.

As a Fashion and Dress History student, I understood how competitive the field is within the museum and heritage sector. I wanted to use my spare time to be productive, learn new skills and meet new people alongside my course and university experience. After meeting with Active Student, I chose to undertake a Research volunteer placement with the community charity, Gladrags.

Gladrags is a volunteer run charity and offer a unique resource for the hiring of costumes to schools, community groups, amateur art groups and individuals. The store has over 6000 costumes and garments, that volunteers find themselves overwhelmed by when first entering the store. Through the role and time dedicated per week to helping at the store, I found myself putting away costumes, which was always a test of knowledge but also enabled me to learn new things about historical clothing from other volunteers. I also enjoyed spending time in the sewing area to fix, rejuvenate or make garments requested by users of the store. Outside of my time at the store, I undertook research into Roman clothing and artefacts for the education boxes that can be hired by schools to compliment and enrich the national curriculum.

Macduff costume sketch by Duncan Grant c. 1910

Figure 1: Scanned image of the Macduff Sketch, from the Sketchbook of Duncan Grant, c.1910

Through this placement, an opportunity to be part of a project with Charleston House arose. The project was proposed as part of the Centenary Celebrations of the House and to bring together community groups to discover and explore Charleston House and its history. It involved the use of costume sketches from a sketchbook given to Charleston by Angelica Garrett, the daughter of Duncan Grant which were originally intended for a production of Macbeth dating from 1911. The production was going to be directed by Harley Granville Barker at the Savoy Theatre in London, but in the end the costumes were never made. With help from costume designer, Suzanne Rowland, a group of 15 volunteers at Gladrags set to interpret, imagine and reproduce the costume sketches of Macbeth, Lady Macbeth, a witch, Lennox and Macduff.

Figure 2 The author of this article working on the Macduff costume at the Gladrags Costume Store. Image from Gladrags Facebook Page, 26 May 2016.

Figure 2: Emmy Sale working on the Macduff costume at the Gladrags Costume Store. Image from Gladrags Facebook Page, 26 May 2016.

We spent several workshops together to learn about Charleston House and to produce the garments. I was excited to work on the costume of Macduff. The costume sketch featured a tunic with squares and circles erratically placed and adorning all spaces of the fabric. It was inspired by Gustav Klimt’s The Kiss (1907-08) and the various sized squares featured on the covering of the bodies. Appliqué squares of different sizes and proportions would cover the calico tunic in a colour scheme of gold, browns, blacks and silver toned textured fabrics.

To exhibit the costumes, actors from Burgess Hill Theatre performed a mini-Macbeth within the gardens of Charleston House which we were invited to help with and share our project with those at the centenary events. It was a truly unique and wonderful experience to see a piece of history that could have just been hidden in an archive but has been somewhat revived and as a result Duncan Grant’s vision was realised through the interpretation and construction of the garments.

Figure 3: Actor wearing the finished garment in the garden of Charleston House. Image courtesy of Gladrags. Taken 29 May 2016.

Overall, my volunteering with Gladrags has been one of the most valuable experiences I have had since moving to Brighton and starting university. It helped me to contextualise my studies as well as testing what I already knew or did not know. It is an experience that I will be able to talk about to future employers as well as one that expresses my commitment to expanding knowledge to both my studies and the job roles I may want to have in the future. I would highly recommend to anyone how helpful the Active Student service at the University is and the advantages that volunteering can have on both personal development and preparing for future job roles.

Learning from Volunteering: making it happen at Brighton Museum

Bookmark and Share

 

University life opens up opportunities to make a difference in the community and learn new skills in the process. Lisa Hinkins, a first year BA (hons) History of Art & Design student, describes the enriching experience of volunteering for the Photoworks ‘Making it Happen’ project.

I knew I had made the right decision to study at the University of Brighton after we had a few lectures regarding managing wellbeing and employability. Having left the world of work at the end of September, after twenty-three years of 9 to 5, some reassuring words that the university took student wellbeing and life during and after studying seriously were important to me, especially as I was taking tentative steps towards a new career in an area I have always been passionate about.

In my former employment, the Waste & Recycling section of a local authority, the emphasis on volunteering was important for conveying the message of sustainability and recycling. My manager enjoyed bring university students into our hub, teaching and directing them, while also learning from them too. I picked up on this ‘positive feedback loop’ with how I managed and taught my volunteers for the scrap store I ran from our building. The volunteers not only gave valuable time to the store, but I was greatly enriched learning new art and craft ideas from them, while also discovering how interesting these people were.

So, as a new student I embarked upon seeking out volunteering opportunities. My first step was meeting with Kat Tucker, Volunteering Project Officer for Active Student Volunteering Services. Kat has given me excellent support over the past 5 months, providing help and advice with applications for volunteering opportunities. My first placement was with Photoworks and was a month-long position in January under the banner ‘Making it Happen 2016’. This was an open day to the University of Brighton’s Photography department for 16-18 year olds who may have not considered the possibility of university study before.

With five other students, we learned from photographer/artist Annis Joslin, how to plan and deliver photography based workshops with school students aged 16-18. I participated in a series of three hour training sessions led by Annis, which allowed me to learn skills needed to lead workshops. The requirements of the role were to have an open-mind and hands on approach to art and design and wanting to gain practical work experience in arts education.

Photoworks Making it Happen workshop, February 2016 Photo © Giovanni Estrella

Photoworks Making it Happen workshop, February 2016
Photo © Giovanni Estrella

The group divided into pairs. Myself and a fellow volunteer researched, planned and prepared workshops based at the Brighton Museum, around the photography exhibition ‘Pierdom’ by Simon Roberts. I learnt to work ideas up very quickly, get to understand new ways of working for community arts education and develop trust with other volunteers that I had only just met. We all had to lead one workshop three times during the day, with up to fifteen school students in each session.

Photoworks Making it Happen workshop, February 2016 Photo © Giovanni Estrella

Photoworks Making it Happen workshop, February 2016
Photo © Giovanni Estrella

My workshop was titled ‘The Art of Looking’. I wanted the school students to spend time looking at the exhibition images and form individual ideas about them, working in teams discussing ideas together. This helped them to become confident in expressing thoughts from looking and reacting to the images and be able to articulate those thoughts by talking in front of other people. I used techniques such as word cards they had to blindly select from to stimulate ideas.

Photoworks Making it Happen workshop, February 2016 Photo © Giovanni Estrella

Photoworks Making it Happen workshop, February 2016
Photo © Giovanni Estrella

Being able to deliver ideas and education to younger people was exhilarating, extremely satisfying and I enjoyed listening to them react to the exhibition, with their own ideas and thoughts. The students enjoyed it, too: positive feedback included, ‘Enjoyed looking closer at the images and relating them to words. Made me look at them more and appreciate the detail in them.’

I am now looking forward to receiving an interview date for my next volunteering opportunity. It isn’t just about what looks good on your CV, but how these experience can nurture your own thirst for learning, being creative and boosting your confidence.

 

A Geordie in Oxford: Recounting my first Conference

Bookmark and Share

 

What happens at an academic conference? Current MA student Jenna Allsopp found out when she attended the Design History Society Conference 2014

In July of this year, I graduated from the University of Brighton with a BA (Hons) in Fashion and Dress History and I am now a History of Design and Material Culture MA student, also at Brighton. My BA dissertation, entitled, Negotiating Female Masculinity in the Early Twentieth Century: the Case of Vera ‘Jack’ Holme (1881-1969) won the Design History Society 2014 undergraduate essay prize.

The Design History Society (DHS) is an international organisation that promotes the study of global design histories, bringing together and supporting all those engaged in the subject. Each year the DHS awards one undergraduate and one postgraduate the annual essay prize. As winner of the undergraduate prize, I was awarded a bursary of £300, one year’s membership of the DHS, £100 worth of Oxford University Press publications, 5 Paperbacks in the Oxford History of Art series, one free place to the DHS conference and gala dinner, and a £200 travel bursary to enable my attendance. DHS conferences are often held overseas; last year’s was held in Ahmedabad, India, and next year’s in San Francisco, so I was thrilled that this year’s was held in Oxford meaning, with the help of the travel bursary, I was able to attend.

Along with Annebella Pollen, Nicola Ashmore, Megha Rajguru and Louise Purbrick from the University of Brighton, who were all presenting at the conference, we stayed in the temporarily-vacant University of Oxford student accommodation in Keble College. Breakfast was held every morning in the very grand, Hogwarts-esque dining hall where we were unnervingly watched, alongside numerous American tourists, by the patriarchal portraits of past college Masters.

Breakfast at Keble College

(clockwise from left) Megha, Annebella, Nicola, Louise and myself having breakfast at Keble College

In commemoration of the 1914/1944 anniversary, the theme of this year’s conference was Design for War and Peace, exploring the relationship between design, war, peace and protest, which, as conference organiser Claire O’Mahony highlights, usually falls outside the frameworks of design history. Graphic design, textiles and fashion, industrial and transport design, craft and exhibition design were all explored over the sixty-plus papers across three days.

Having never been to a conference before, it’s hard to describe what I expected as I really didn’t know. I knew I felt out of my depth, and lacked initial confidence in the thought of keeping up with the intellectual content of the papers then engaging in post-discussion with other attendees. Despite this, I was also very excited to have a glimpse into the world that I ultimately want to be involved in, and this gave me a great introduction. I found some of the academic jargon quite alien, such as ‘keynote speaker’ (an invited speaker rather than a proposed paper), and the concept of a ‘panel’ (small group of thematic papers) but luckily had Brighton staff close by to enlighten me.

Due to the short time-scale of the conference, and the volume of papers being given, it was impossible to attend all the papers of interest. As panels ran simultaneously, I had to make some tough decisions on which I thought sounded the most interesting so I usually opted for papers which aligned with my own academic interests in dress and textiles history.A stand-out paper I attended was presented by Jane Tynan of Central Saint Martins entitled, A Bad Fit: Race, Ethnicity and the Uniforms of Colonial Soldiers in the First World War. This paper examined WWI uniform designs to see whether clothing was used to signal racial difference between British and colonial soldiers, and also highlighted the ethnic division of labour. The impassioned subject matter of this paper sparked a heated debate during the following Q&A section, which was interesting to listen to opposing views and interpretations of the evidence and arguments presented.

The paper of keynote speaker Joanna Bourke, Professor of History at Birkbeck College, entitled Designed to Kill: The Social Life of Weapons in Twentieth Century Britain also stands out as it was an area I had never considered as ‘design’ before. Using the case studies of full and semi-metal jacketed bullets, Bourke investigated the design of weapons whose aim was to cause the most ‘debilitating wounds.’ Although the paper included some harrowing accounts, and shocking images, of ballistic wounds, it was nevertheless fascinating when discussed in the context of the bullet as designed and used object.

As mentioned previously, the University of Brighton was represented at the conference. Nicola Ashmore and Megha Rajguru displayed the protest banner created by Brighton artists and activists which depicts a re-making of Picasso’s Guernica. Annebella Pollen discussed the symbolic resistance embodied in the textiles, tents and totems of inter-war pacifist organisation the Kibbo Kift Kindred, and Louise Purbrick examined the political and protest handkerchiefs decorated by jailed prisoners during the 1970s Northern Ireland conflict.

On the first evening of the conference, the prize winners were announced at a drinks reception at the Ashmolean Museum of Art and Archaeology. All speakers and delegates were present and it was a great opportunity to meet academics and fellow students. As a shy person. the prize announcement was a good ice-breaker for me as it meant people then approached me to say congratulations. I met a PhD student who suggested I submit an abstract to speak at her student-focussed ‘research in progress’ conference next year, and I had the opportunity to discuss my dissertation with aprize judge who gave me great feedback and advice on continuing my studies in the area.

Annebella and myself post-prize-giving at the Ashmolean Museum

Annebella and myself post-prize-giving at the Ashmolean Museum

Research from my BA dissertation has been selected for inclusion in the Lesbian Lives Conference 2015, held at the University of Brighton, so attending the DHS conference has given me a lot more confidence to speak and network. It was an excellent opportunity to see how a conference is structured and how a wide-range of subjects, which I had never previously thought of in terms of design history, can be effectively discussed and linked under a general theme. It was a very enriching experience, and I now look forward to my next conference.

 

Working as an Oral Historian at Eastside Community Heritage

Bookmark and Share

 

Paul Beard, a graduate of Brighton’s BA (hons) History of Design, Culture and Society, describes how the degree sparked an interest in capturing other people’s stories – and led to an exciting opportunity…

Oral history is not necessarily an instrument for change; it depends upon the spirit in which it is used […] it can give back to the people who made and experienced history, through their own words. – Paul Thompson, Voices of the Past, 1978

Recently I have taken a position as an Oral Historian and Heritage Trainee at Eastside Community Heritage. As a part of a Heritage Lottery Funded (HLF) project called Skills for the Future, Eastside Community Heritage and other partner organisations are working together to develop historical and heritage skills. Focusing on East London histories from 1900, the position is geared towards training a new generation of oral historians.

Eastside Community Heritage, based in Ilford, is a community history charity funded by HLF. Run by director Judith Garfield, Eastside work collaboratively alongside a number of local community groups, charities and historical societies to document and exhibit the experience of everyday life in East London. Some of the current projects being developed include: Little German, Stratford and East London (focusing on the lives of German immigrants in and around Newham during the First World War) and Jewish Migration Routes: From East End to Essex tracing the stories of Jewish families who have moved from county to county.

'Peace Tea Party' Barking and Dagenham, 1918,

‘Peace Tea Party’ Barking and Dagenham, 1918, image courtesy of LBBD Archives, Valence House

As a part of my role, I am working on a number of different projects. One is an exhibition on display from 11th August 2014 at Barking Learning Centre, entitled The Great War in Pictures and Words. The exhibition curated, researched and developed by myself and a colleague explores the stories and day-to-day experience of soldiers and families through oral history and images found in the archive from an on going project. The exhibition is a part of the centenary commemorations of the First World War and uncovers the stories of those that would otherwise be lost.

Another project that I am contributing to is Woodberry Down: The People’s Story aimed at engaging the community in one of the largest housing estate in Europe with their own heritage. Woodberry Down is located in Manor House in Stoke Newington, Hackney and is currently under redevelopment by Genesis Housing Association. Woodberry Down: The People’s Story aims to document and record the experiences of living in Woodberry Down in light of the redevelopments that are happening. By using reminiscence sessions, oral history interviews and vox-pops, Eastside are working alongside the old and new communities to facilitate cohesion in the community.

Woodberry Down is an interesting case study for a number of reasons. As one of the pioneering new council estates to be built in post-war Britain, various buildings received awards at 1951 Festival of Britain for architecture. Fast-forward forty years, the same estate that represented utopian ideologies, it was then used in Spielberg’s Schindler’s List as the setting for the Jewish ghettos. These contentious issues of race, religion and class still remain contentious issues and are causing tension in the local area. With plans of redevelopment, Genesis and other organisations view it as crucial to ensure that the potential two-tier community in Woodberry Down are brought together to re-establish the old community atmosphere.

The importance of documenting oral history and life stories is become more and more prominent in cultural history. In areas such as Newham, Redbridge and Hackney it is becoming a key tool in re-engaging communities with their heritage. By putting on a range of different events, Eastside Community Heritage bring history back to the people and allow those who do not necessarily have the option to participate in heritage to have the opportunity to do so.

Studying at Brighton on the BA History of Design course gave me a solid understanding of life in the cultural heritage sector. Oral history was a method that I was eager to explore at undergraduate level. The degree gave me a good grounding in oral history as a method. Being introduced to it in the second year module entitled Constructing Historical Research, it was something I wanted to explore in my research; after completing my first interview for my dissertation research I was hooked. Curating has also formed a key part in this position; as skill that I only briefly explored in my studies. From a first year Interpreting Objects module to the final year exhibition (and a couple of small projects I had volunteered on) I had little experience curating an exhibition. This role has allowed me to build upon the skills that I had developed on the course.

There is something special about listening documenting the stories of those who are not ordinarily heard in history. After gaining a strong background in memory as a method, it was something I was eager to take on further in my career.

For more information on Eastside Community Heritage please visit the website: www.hidden-histories.org.uk.

Volunteering at Fabrica: contemporary visual arts in Brighton

Bookmark and Share


Fancy volunteering in the visual arts? Student Rosie Clarke (BA (hons) History of Design, Culture and Society) gives a taste of her experiences a
t Brighton’s Fabrica.

Over the last year or so I’ve been involved with some of the events and exhibitions which happen behind closed doors in the cool, quiet atmosphere of an old church on Duke Street. You may have been inside Fabrica, or you may have walked straight past like I had countless times before, but now I urge you to stop and have a look.

It’s a wonderful building, with walls so thick that even the busiest Saturday Brighton tourists are muffled, and a roof that vaults high into shafts of sunlight. Fabrica hosts contemporary visual art exhibitions and holds all manner of events, from films to workshops to talks. It’s an organisation which commissions art works in relation to the building itself, creating a feeling that is unique to Fabrica.

My role as a volunteer means helping out during exhibitions: I talk to the public about the current artists on display and the work that Fabrica does elsewhere. So far I’ve been involved with The Blue Route (by Kaarina Kaikkonen), Resonance (Susie Macmurray), and A Cold Hand on a Cold Day (Jordan Baseman). When I applied to become a volunteer at Fabrica I wanted to learn how a gallery functions, meet some new people, and perhaps be inspired in my own creativity. However there is so much more to being a Fabrica volunteer than just standing in a gallery.

One great opportunity was being able to contribute to The Response, a magazine put together by Fabrica volunteers alongside each exhibition, featuring our own artwork or writing. It was great to be a part of the editing team and have the chance to get my work read by hundreds of visitors. We responded to Kaarina Kaikkonen’s The Blue Route, which used reclaimed shirts to project ideas about loss and longing. You may have seen some of Kaarina’s work wrapped around the clock tower in Churchill Square. We used the shirt as a starting point, and the magazine content grew from there.

During the set-up of Resonance I found out how to put together an installation, by spending a few days stitching reams of sheet-music into cones for the final piece – getting to know many interesting people along the way. It felt like time had stopped, if not for the fact that every time I glanced up there would be another huge new limb of the paper sculpture suspended above, the product of our labour. This photo was taken halfway through…

Installation of Resonance by Susie Macmurray. Fabrica, 2013. Photograph by Rosie Clarke.

There are also plenty of evening events that are held in conjunction with the current exhibitions, such as panel discussions and film screenings. In October I invigilated for “Nothing Lasts Forever (Nor Should It)”, a frank and heartening discussion about death and dying to compliment A Cold Hand on a Cold Day. The series looked at ways of dying (inevitable as it is) and raised the question, why are we so averse to talking about death? I remember one of the speakers describing pain, as “a vessel of grief.” Its moments such as this that I appreciate the depth and essence of Fabrica’s work, which goes so much further than the visual arts.

So within all these experiences, I’ve learnt that by engaging with unfamiliar things there’s a lot to be discovered. The best aspect of Fabrica is their willingness to encourage new ideas, and allow volunteers such as myself to take on more responsibility. If you’d like to get involved too, you can download an application form from Fabrica’s website, or come along to one of their events to find out more. Fabrica’s next exhibition features Jacob Dahlgren’s On Balance and it runs from 5 April to 26 May 2014.

The Fashion and Textiles Museum, Inside and Out

Bookmark and Share


Hannah Rumball, PhD candidate, documents an extraordinary day in Bermondsey, London.

Founded in 2003 by British fashion designer Zandra Rhodes, and still functioning as her London residence and studios, the Fashion and Textiles Museum presents a constantly changing series of design and jewellery exhibitions operated in association with Newham College. On 4 June 2013 the MA History of Design student group, joined by Professor Lou Taylor and Dr Annebella Pollen, were given unprecedented access to the museum’s current exhibition, Zandra’s cutting and print room, and even to her home. As Curator, our fellow Masters student Dennis Nothdruft was in a perfect position to provide an intimate behind-the-scenes tour of the site.

The day commenced with a visit to the hit show Kaffe Fassett: A Life in Colour. The gallery space had been skilfully curated as a unified flowing composition that also managed to represent the core themes of each of the craft practitioner’s creative phases through painting, knitting, textile design and quilting. The relatively modest size of the exhibition space and the overlapping arrangement of the exhibited pieces created an intimate and homely environment for the textiles, much as you may imagine Kaffe envisioned them in use. A heavy wool knitted handmade cardigan, for example, draped over the back of a chair, sat as if its owner had just abandoned it. A Wedgwood-inspired cabbage teapot stood as if ready for pouring amidst the vegetable and flower motifs of Kaffe’s Berlin wool work pillows and needlework furniture coverings. This compilation of recent and earlier pieces, featuring an example of the Victorian ceramics that inspired his earliest works and which he reinterpreted through his bold colour palette, was organised as a psychedelic garden tea party on the mezzanine floor in the space’s most striking curatorial composition. The exhibition perfectly reflected the life’s work of its subject yet also combined it effectively with the bold and distinctive aesthetic favoured by the gallery’s founder.

Widely recognised as one of the world’s most distinctive designers, Zandra Rhodes’ career has spanned more than forty years.  Rhodes originally studied printed textile design at the RCA, and this practice is still central to all of her creations. Her distinctive hand-printed fabrics formed the basis for her first fashion collections, with which she crossed the Atlantic to be featured in American Vogue in 1969. Her international profile among the new wave of British designers during the 1970s helped bring the London scene to the forefront of the fashion world. Renowned for her safety pin-adorned, torn and beaded punk-inspired creations, she later went on to dress Diana, HRH Princess of Wales and Freddie Mercury, amongst others. Her designs continue to adorn well-known figures, including Sarah Jessica Parker and Helen Mirren, for both awards ceremonies and on-screen roles. In addition to her clothing brand, Zandra’s current output includes costume and set design commissions for opera performances around the world. Her tireless work in the field of fashion was honoured with a CBE in 2007. She has also received a spectacular nine Honorary Doctorates internationally and is Chancellor of the University of the Creative Arts. Zandra’s bright pink hair, theatrical make-up and daring jewellery have also made the designer into an icon as recognisable as any of her gowns.

Such exhaustive creativity can be witnessed first-hand when entering the rabbit warren of studios, offices and private rooms that make up the behind-the-scenes of the Fashion and Textiles Museum. Steep, narrow stair cases, lushly carpeted in bold patterns and crammed with artworks, connect the myriad of functional quarters that operate as separate sites for each of the specific stages in her creative process. Wandering through, every wall positively groans under the weight of stored and displayed material; every nook and cranny houses a design, swathe of fabric, finished garment or magazine from any of the past 40 years of her career. Zandra is a meticulous collector and archivist of her own practice and nowhere is this more evident than in the textile design studio in the lowest sector of the complex. As a functional site, the uncharacteristic concrete floors and grey walls signal the dirty-hands nature of the artistic work undertaken in the area. An enormous print table, easily 10 feet long, is bordered by neatly arranged wooden markers and screens organised likes books in a library. While digital techniques have been latterly introduced into Zandra’s textile design practice, this screen printing area is still a hub of activity. The print room also houses all of her original screens dating back to the 1960s, featuring her most iconic patterns. As we huddled around the expansive work bench, like children at an oversized dinner table, Dennis Nothdruft explained the function and significance of the space as creative site of inception, realisation and archive.

For many, however, the highlight of the visit was lunch in Zandra’s private flat, with the designer herself joining us for an M&S sandwich and a chat. Zandra’s vocal opinions remain razor sharp, and she keeps her finger firmly on the pulse of the international fashion and gallery scene. Perched on a leather lounger, surrounded by architectural plants, flamboyant artworks by the likes of Andrew Logan and a collection of her extraordinary dresses on rails in a corner, Zandra had the perfect backdrop as her private rooms reflect the kaleidoscopic aesthetic of her professional and personal style. With rainbow shades of blue, green, yellow and hot pink adorning every wall of the rooftop space, Zandra’s vision comes fully alive in the space she calls home. Venturing out onto the rooftop terrace, only the stunning views of a baking hot London skyline reminded us of the outside world.