From Brighton to LA

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BA (Hons) History of Design, Culture and Society grad 2015 Veronika Zeleznaja reflects on life, work and study since graduating from Brighton

Eames House

Fig 1. Charles and Ray Eames House (photograph by author).

I completed a BA (Hons) in History of Design, Culture and Society at the University of Brighton in 2015 and just a few months ago I graduated from University of the Arts London, Central Saint Martins’ Culture, Criticism and Curation postgraduate programme. Following my MA, I have relocated to Los Angeles, California.

At Brighton, my studies encouraged an interdisciplinary approach to form and culture. I applied a range of critical approaches to the study of the design and consumption of objects, from one-off pieces to everyday goods, starting in the mid-eighteenth century and running through to the present day. My BA dissertation, on mid-century American modernism in Forbidden Planet, explored how design is intimately bound up with the cultural, social and economic norms of its day. The dissertation looked at the connection between design, architecture and media, and how that science fiction film, and others of its day, reflected increased American leadership in the 1950s and promoted and propagandized its values and lifestyle. It drew on my fascination with the Californian Case Study Houses, a post-World War II modernist residential architecture project, discovered through the Making the Modern Home: Design, Domesticity and Discourse 1870 to the present module (taught by Jeremy Aynsley). It evolved beyond an academic interest when I visited the Eames House in California (Fig 1.), and relates to my recent move to Los Angeles.

After my studies at Brighton, I took a gap year and returned to my home country, Lithuania, and undertook an internship in the LIMIS (Lithuanian Integral Museum Information System) department at the Lithuanian Art Museum, helping to create a common digital archive of museum collections across Lithuania. I was responsible for digitising, managing and editing images to be published online, proofreading and copy-editing as well as working with the LIMIS database.

I did not take the usual route to jobs and internships through applications and posted vacancies online. Instead, I showed up in person at the institution of my interest and offered my candidature directly. This approach not only resulted in the offer of a position but also led to some useful contacts, who have offered sound advice along the way. Furthermore, this internship gave me an opportunity to engage with issues and strategies in presenting cultural heritage objects, and furthered my interest in how public relations relates to curation, presentation, and public engagement in art. It resulted in enrolment to the Public Relations MA programme at the University of the Arts London. After the first term, I realised that my interest in the issues surrounding the presentation of culture in public and social spaces, in what I thought of as the PR corner of the art world, were not addressed in the curriculum. So I switched to the Culture, Criticism and Curation course at Central Saint Martins, aimed at candidates with an interest in research and its application in organising cultural events. The programme offered a critical and historical framework for engaging with the culture that I found resonated with me, due to strong theory foundations in my BA. This MA course emphasized a hands-on teaching method and was mainly structured on ‘live’ projects used as a testing-ground. Led by students but done in partnership with external organisations, these projects taught me how to collaborate effectively.

Unknown Quantities

Fig. 2. Unknown Quantities work in progress (photograph by author).

After putting up an archive-based group exhibition as one of the first assignments, for my final project I chose to address a series of seminars on art criticism within the MA programme and joined the editorial board of Unknown Quantities, an annual collaborative project developed by MA Culture, Criticism and Curation and MA Graphic Communication Design students. Our group created an experimental concept-based physical publication that set out to contribute to cultural criticism and communication design, bringing together contributions from the team and direct external commissions from artists, writers and practitioners (Figs 2 and 3).

For my MA thesis, I examined the interplay of political, economic, cultural, and social forces that triggered interest in Russian art abroad, specifically in London, as well as curatorial choices around national art for international export. The dissertation explored how museums and art institutions have developed their roles as elements of soft power, as sites able to produce a favourable image of a country, by functioning as platforms for cultural display and exchange.

Now I have relocated to America. Los Angeles has a thriving art scene and I hope to put both of my degrees to excellent use here.

Unknown Quantities

Fig 3. Unknown Quantities work in progress (photograph by author).

Research networking

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Bridget Millmore (PhD, 2015) recalls how the University of Brighton’s Postgraduate Design History Society helped her find her feet as a researcher

Poster PDHS Symposium 2017

Poster from the PDHS Symposium 2017

Ten years ago I was a student on the MA in Design History and Material Culture. Having worked for many years, the process of returning to study as a mature student was a bit like travelling to a new place without recognising the language or terrain. Things had changed since my undergraduate days. As a result I was unfamiliar with what was expected; unsure whether postgrad study was for me and uncertain about how to use the scholastic resources that were offered. Should I be reading all the books on a reading list? Could I fathom the details of the required referencing system? How did I hunt down a particular journal article or discover which online sources might be most useful for my research? Of course, these feelings of uncertainty waned as the course progressed and my confidence in researching and writing grew. However, the questions related to my course and research continued; questions that did not always lead to answers but to ambiguity and complexity. As well as encouragement from fellow students and the course tutors, one of the most significant support networks for me was the University of Brighton’s Postgraduate Design History Society (PDHS).

 

Sandy Jones presenting at PDHS Symposium, 2017

Sandy Jones presenting at PDHS Symposium, 2017

The Society was a lifeline when I had questions and quandaries, needed suggestions for my research or just reassurance that others were facing similar challenges. It is a student run group of postgraduates, all at different stages of their studies, from novice MA students to experienced PhD scholars and early career academics. The Society (that was set up in 2005) offers a friendly and encouraging network – a place to go to with your questions, for example, what to include in a word count, how to deal with an apparent ‘dead end’ in your research. Straight away when I joined, I made friends, met with others interested in similar aspects of material culture and design history and was amazed by the diversity of our collective interests. We discussed our research and talked about future opportunities. A few of us met, for example, to read and share feedback on our draft conference abstracts. We went as a group to exhibitions and the theatre. The PDHS provides a network to share information and advice, to welcome newcomers to the postgraduate world of Material Culture and Design History and to join together in academic and social settings.

E-J Scott presenting at PDHS Symposium, 2017

E-J Scott presenting at PDHS Symposium, 2017

Sarah-Mary Geissler presenting at PDHS Symposium 2017

Sarah-Mary Geissler presenting at PDHS Symposium, 2017

The glue that holds the Society together is the annual History of Design and Material Culture Postgraduate Symposium. A summer event organised and delivered by students, it offers participants the chance to try out their conference skills and repertoire within a supportive environment. In 2008 I delivered my first conference paper on eighteenth century thread buttons following a rather unscripted set of notes, unaware that most people ‘read’ their presentations. Every year after that I got involved in different aspects of the Symposium, giving papers, taking email bookings, organising rooms, negotiating financial support, updating the website and chairing sessions. For me the MA in Design History and Material Culture led to a funded PhD at Brighton University that I completed in 2015. Many of those I met through the PDHS have become close friends, pursuing similar academic journeys or moving off in new paths. I hope that the group will continue to evolve and grow and provide the kind of support that I found invaluable during my postgrad years.

This year’s PDHS Symposium will be held on Friday 15th June 2018, 10:30-17:00: G4, Grand Parade, University of Brighton

Mass Observation: Objects in Everyday Life

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How can historians investigate what people wore in everyday life and what it meant to them? Hannah Smith (MA History of Design and Material Culture) explores some of the many micro-histories contained in the Mass Observation archive…

For my MA dissertation I have researched practices of dress in everyday life as presented within the Mass Observation Project Spring 1992 and Spring 2006 ‘One Day Diary’ directive responses. Housed within the University of Sussex Special Collections at The Keep near the South Downs in Sussex, it is made up of handwritten letters, typed emails, photographs and drawings, produced at the hands of the hundreds that make up the panel of writers known as ‘Mass Observers’. This material is divided into the Mass Observation Archive (1937 – early 1950s) and the Mass Observation Project (1981 – present). It is the latter Mass Observation Project (MOP) that I have been using in my research.

The MOP defines itself as a ‘national life writing project’. Former director of the project, Dorothy Sheridan described it as, “…ordinary people observing and reflecting on everyday life…” (Sheridan, 2000:10). The intent of both the Mass Observation Archive and Project was to give voice to the ‘ordinary’ everyday person, giving them “the authority over knowledge” (Sheridan, 2000:10). Mass Observers are sent up to three sets of ‘directives’ a year with the invitation to write about a wide range of themes and events. Examples have included “Gardening”, “The Refugee Crisis” and “Your Home”.

Figure 1. Responses to the Spring 2005 ‘Charles and Camilla’ Directive. Image courtesy of Mass Observation.

Figure 1. Responses to the Spring 2005 ‘Charles and Camilla’ Directive. Image courtesy of Mass Observation.

My interest in the MOP came about during my first year on the MA History of Design and Material Culture at the University of Brighton. We were encouraged to use the MOP as a primary resource for a group project entitled ‘Interior Lifestyles’. Using the directives ‘Objects about the House’ and ‘Collecting Things’ we explored the relationships between the Mass Observers and the objects they decorated their homes with. Aside from the aforementioned project, the ‘New Years Eve’ and ‘One Day Diary’ directives that I had had the opportunity to look through particularly inspired me. As a researcher of dress and fashion in everyday life, here was access to narratives of real experiences of living, breathing people interacting with dress and fashion, rather than a constructed representation or media ideal. I therefore initially assessed these diary-format directives and developed my own methodology for using the MOP within a material culture study, ultimately leading to my dissertation research in practices of dress.

As well as being able to track the Mass Observer’s use of dress as they weave amongst different contexts throughout the narrative of their day, it has given me rare insight into the ‘wardrobe’ moment – the moment when which the bricolage of the visual self we see in more public spaces is created. Through using Mass Observation, I have been allowed the opportunity to explore not only how people use dress in more public spaces, but also in move private spaces – whether that be their dressing gowns, pyjamas or nothing!

Figure 2. Examples of additional personal papers (including diaries and letters) donated to the project. Image courtesy of Mass Observation.

Figure 2. Examples of additional personal papers (including diaries and letters) donated to the project. Image courtesy of Mass Observation.

Initially, I was overwhelmed due to the vast amount of material and its seemingly limitless capability for endless threads and tangents of research. By reading as much as possible about how other researchers had used the material, I was able to see that every Mass Observation researcher has shared the same struggles and frustrations. Through learning from their problem solving, I was able to tailor their theories to my research interest and develop my own methodology for using the material as well as providing a structure for sampling.

With its interdisciplinary appeal the material transcends boundaries, making it an exciting resource that can always be further explored. Whilst students, academics, media researchers and the public have taken advantage of the unique collection – it is ultimately a treasure trove for anyone with an interest in everyday life. For a researcher of design history and material culture, it provides a rare platform to witness the reality of objects interacting in everyday life. Since I’ve been working with the material, the Mass Observation staff, and the staff at The Keep, have been incredibly helpful and approachable. There is an openness towards anyone that is interested in engaging with the material.

As much as it may seem intimidating during an initial encounter, this should never prevent anyone that is interested from engaging with the material. Now more than ever Mass Observation provides an important platform for recording the reality of lived experience, giving voice to the micro-histories that grand-narratives have tendency to silence. It is inspiring to know as an individual in society, as well as a researcher, that there is a space for your voice to be heard and a space that seriously considers what you have to say. Working with a collection such as this is incredibly important if we are to understand the reality of how we negotiate lived experience and exist as a society and as individuals.

 

Dress Detective: using Brighton’s Dress History Teaching Collection

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Sarah-Mary Geissler (MA in Design and Material Culture), reflects on how one seemingly uninspiring garment led her to unexpected places…

Fig. 1: Front, side & back view of the 1880s Mauve Altered Afternoon Dress. Photo by Sarah-Mary Geissler

Fig. 1: Front, side & back view of the 1880s Mauve Altered Afternoon Dress. Photo by Sarah-Mary Geissler

It really is amazing is how far one project can take you. From what started simply as a class presentation led to assisting lectures, journal publication and even curating a display just a year later!

During my final year studying the BA (Hons) Fashion and Dress History at the University of Brighton, we had the privilege of being taught by Professor Lou Taylor, pioneering dress historian. The spring term Special Subject module focused on case studies of objects in the Dress History Teaching Collection. Throughout her career, Taylor has amassed a wealth of dress objects which now reside at Pavilion Parade, an incomparable resource waiting to be utilised by students. Each piece has a fascinating backstory – rejected by museums, donated by alumni, rescued by students – though only a small percentage of the collection has been thoroughly researched. The aim of our module was to improve our own analytical and interpretive skills as dress historians, but also to provide a selection of objects with proper catalogue entries. The garment I had my heart set on was already selected by someone else, so I unenthusiastically settled on researching an 1888 Mauve Day Dress. I began the project totally convinced that there was nothing exciting about the Victorian era, and grumbled to friends how boring this project would be. I was so wrong!

View inside the dress bodice. Photo by Sarah-Mary Geissler

Fig. 2: View inside the dress bodice. Photo by Sarah-Mary Geissler

Eventually I found how to apply my own interests to the research. Once I moved past my preconceptions of 19th Century dress, the analysis process became fascinating. I studied the dress inside and out, then compared it to other dresses from the period: it was clear that it wasn’t a straightforward example of 1880s fashion. As a dressmaker myself, the garment’s messy construction intrigued me. Other evidence in the garment led to the conclusion that it could have been an 1860s dress altered over 20 years. My project became a detective-style investigation into who the wearer was; where/when was the dress first made? Why was it altered so dramatically? And was this dress renovation typical for the period?

View of the skirt hem, showing previous stitch perforations. Photo by Sarah-Mary Geissler

Fig. 3: View of the skirt hem, showing previous stitch perforations. Photo by Sarah-Mary Geissler

Throughout the assignment, I contacted several museum-based professionals regarding the dress, and became more confident networking as a researcher. I looked into museums policies regarding altered garments, and how different keepers of costume interpret their collections. Over the course of the module, I developed a specialist understanding of mid-late 19th Century home-dressmaking, strengthened my ability to read dress, learned how to properly mount costume, and found out a great deal about the theory of dress history and the field today. Outside of university, this project gave me the confidence to submit an exhibition review to Textile History Journal, which was selected for publication last November!

Knowing how invested I was with my case study, Professor Taylor asked me to assist with her first year lecture and object handling session, and to do a small talk about the dress. I was so nervous about speaking in front of a large group, but the session went brilliantly. It was surprising how much information I could recall about the dress; I started to feel like a proper historian! This year I was asked to help out again, and so came prepared with notes and printed images to aid my talk.

Dress on display in the Pavilion Parade Foyer. Photo by Sarah-Mary Geissler

Fig. 4: Dress on display in the Pavilion Parade Foyer. Photo by Sarah-Mary Geissler

The success of this led to a conversation about displaying the dress in the School of Humanities’ Pavilion Parade foyer. With help from Clare in the office, mounting the dress was straightforward, though preparing information for the posters was challenging. I had to figure out what story was being told and how to make it interesting for a public viewer. Revisiting an undergrad project as a postgrad student, it was clear to see how much my work has strengthened in just a year (frustratingly, I found a spelling mistake on the first page of my original paper!). Displaying my research made me consider how museums and heritage sites interpret their collections, and this little display pushed me to develop my own curatorial skills.

All in all, I never expected the work done for one assignment to be the basis for such fantastic things. Having the Teaching Collection as a resource has been an invaluable part of my education at Brighton, and has reinforced the importance of understanding objects as sources of information to be read. I’ve been fortunate to have opportunities at the university to provide me with experience I can take into my career. It would be great for more students to get involved showcasing other pieces from the Teaching Collection in future, as there are many, many more fascinating stories to be shared!

 

Perspectives on Fashion Curation

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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

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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.

My MA Story: from India to Brighton and back again

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Pallavi Patke, a graduate of MA History of Design and Material Culture, reflects on her international study journey to date

I consider myself a curious mix of all spices. Born in Delhi, I was raised in a range of different places in India. Thanks to the constantly shifting nature of my father’s job I was able to witness and adapt to diverse Indian sub-cultures: Bengali, Bihari, Punjabi and Maharashtrian. History, politics and fine arts were the three major subjects in which I excelled in high school. Thereafter, during four years of undergraduate education, I was based in the historic coastal town of Cannanore, a quiet town and a hub for handlooms, located in the north of Kerala. Here I obtained first-hand experience of the rural handicraft industry of South India. Through various textile industry internships and college visits I was exposed to Keralite, Gujarati and Tamil cultures. Although I had had some experience of visiting foreign lands with my family, including Malaysia, Thailand and the US, an academic exchange trip to Switzerland gave me a valuable opportunity to understand the European perspective in fine textile manufacturing. This, together with all my previous cultural encounters, put me in a better position to determine my career path ahead.

Fascinated more by the way traditions and cultural histories shaped the art of designing objects than the commercial aspect of textile production, I took up my postgraduate studies in History of Design and Material Culture at the University of Brighton in 2012-13. Initially, even more than the adjustment to British culture, I had to adapt to a new teaching methodology. For instance, in the beginning I was absolutely clueless about how to interpret readings and then express my ideas coherently while maintaining an objective stand. The tutors, however, had more faith in me than I had in myself at the time. I am particularly thankful to Professor Lou Taylor whose constant support and positive criticism drove me to keep pushing boundaries in research.

Possibly Chinai (Indo-Chinese) Embroidery- Black silk bustle-back dress embroidered in silk, around c.1875-78

Possibly Chinai (Indo-Chinese) Embroidery- Black silk bustle-back dress embroidered in silk, around c.1875-78; Author’s own photograph. 11th December 2012; Source: Lewes Little theatre; With Thanks to Gerry Cortese

At the university I encountered a whole new range of prospects which could be pursued in tandem with my MA. The silhouette research project, co-organised with the Regency Town House, introduced me for the first time to the British history of portraiture and silhouette artists. What was most exciting about this initiative was working with an eclectic group of tutors, undergraduate and postgraduate student researchers and non-academic professionals. In September 2013 the annual conference of the Design History Society provided me with an opportunity to present the subject matter of my thesis before a global audience at the National Institute of Design in Ahmedabad. University of Brighton extended enormous generosity in funding my visit to India for the conference, and given the focus on my dissertation on Anglo-Indian exchange in textile design, this felt like a fitting setting to discuss my work.

By the end of the course I had learnt a huge amount and successfully overcome my earlier fears. Participation in academic seminars and conferences introduced me to international scholars in the field of fashion, art and design history and this inspired me to do something constructive to advance studies in the Indian context. On returning to India it took me a while to reconcile my British experience with the relatively impoverished academic research environment. The first few months of 2014 were especially challenging in identifying India-based connections in the field. While I began assisting with research on the evolution of design in traditional Indian textiles at Chatrapati Shivaji Maharaj Vastu Sangrahalaya or CSMVS (formerly, the Prince of Wales Museum) in Mumbai for a Textile Gallery Project, I found myself grappling with the parochial attitudes of Indian curators in implementing creative learning strategies. Then in August 2014, Poonam Mishra, head of Fashion Business Management at Parsons ISDI (Indian School of Design and Innovation), who shares my aspiration to develop scholarship in fashion and textiles, invited me to develop a proposal for a new study programme. My first step towards introducing pedagogical reform has been to build content for a postgraduate diploma course, Cultural Histories of Fashion and Textiles.

With Poonam at the entrance of ISDI.

With Poonam at the entrance of ISDI. Author’s own photograph. 28/01/15

Following all these developments, I now wish to pursue further research in the field of design history. This will help me acquire a much greater depth of understanding in the subject. Thanks to the studies and opportunities offered by Brighton, any research work which I undertake will now certainly reflect a more sensitive handling of subject matter, acknowledging cultural idiosyncrasies while also covering a broad range of perspectives.

A Geordie in Oxford: Recounting my first Conference

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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.

 

From Art History to the Philosophy and Politics of Art: on the new BA (Hons) Philosophy, Politics, Art

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How do you choose the right degree course, and where might it lead you? Will Hughes, BA (hons) History of Design graduate, describes his intellectual journey at the University of Brighton and introduces a new undergraduate degree that combines study of philosophy, politics and art.

I am Will Hughes. I come from Sussex in the UK, and am now approaching the end of my year studying for an MA in Cultural and Critical Theory, specializing in Aesthetics and Cultural Theory.

Early in 2010, I applied, via UCAS, for five different undergraduate degrees. My criterion for choosing between them was simple – that the courses they offered should be interesting. I accepted a place to study the BA in History of Design, Culture, and Society (now BA History of Design) at the University of Brighton.

I’d had no prior experience with design, and I hadn’t studied history since secondary school, but it seemed to fit the criterion. I felt that it could sustain my interest for the duration. It is one of the few major decisions that I have made because it was something that I wanted to do, rather than because of some immediate or future practical concern. In hindsight, it qualifies as one of my better decisions. Your decision about your higher education is too important to be based on what job you might want to do (or end up doing) in the rest of your life.

From the beginning, the content of the course was expansive. The courses on the degree looked at art, craft, and design – but mostly the latter two – from around the mid-eighteenth century to the present. From within this degree, I was able to develop my interests, which included politics in the focused sense (the implicit stratification of the arts, art as social engineering, etc.), which I pursued with regard to the nature of Modernism. I also developed an interest in politics in the generally accepted sense, which led me to investigate the design, poetry and prose of William Morris, the art and designs of Constructivism, and aspects of fascist architecture.

Will Hughes' dissertation, on set design in 1930s Hollywood

Will Hughes’ dissertation, on set design in 1930s Hollywood

In my third year, I completed a compulsory module on the reading of objects in conjunction with texts from other subject areas (mostly sociology, critical theory, and anthropology). This led me to the writings of Walter Benjamin, which I opted to explore in relation to industrial design and the historical avant garde. It is as a result of having studied on this course that I discovered that I wanted to study aesthetics and the philosophy of art.

After graduating, I enrolled on the Cultural and Critical Theory MA at Brighton, choosing the Aesthetics and Cultural Theory pathway. Though daunting at first, this was the work that I really wanted to do. I also followed the first term module ‘Foundations of Critical Theory’, which introduced me to continental philosophy. Keeping up with the reading was difficult. At least one new philosopher was introduced in the lectures each week. Between each lecture was the preparation for the seminar the following week.

Going from a state of ignorance to having a workable understanding of thinkers such as Kant and Hegel, each within a week, is difficult but I was nevertheless able to croak something intelligible in most of the small-group seminar discussions. Though difficult, this work was necessary to prepare me for the dissertation on which I am currently engaged – an identification of the deficiencies of Arthur Danto’s and Hegel’s teleological theories of art and of history.

The skills that I learned in my undergrad work on Art History are still applicable in Philosophy. I learned how to read texts critically, and how to craft an essay, and I didn’t accumulate too many bad habits in these areas. Ultimately, I want to organise my thoughts into a coherent view of the world. This is going to take some more time, some considerably more time. Consequently, I’m now thinking of doing a PhD.

Now Brighton is to have an undergraduate degree in precisely the area of my interests – the BA (Hons) Philosophy, Politics, Art. This degree will connect all of the interests that I had and have developed – art and representation, politics and political activism, philosophical reflection and theoretical engagement. My interest has always been in the connection between these critical moments of thought and action. Now this exists as a degree programme here in Brighton.

 

Mirrors and rainbows: Andrew Logan’s Glasshouse Studio

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MA History of Design and Material Culture
student E-J Scott was spellbound on a field trip to Andrew Logan’s Glasshouse Studio in London.

“The idea was to have a window on the world.” Andrew Logan.

Entering Andrew Logan’s Glasshouse Studio, one is literally tripping the light fantastic.  As our MA group climbed the stairs to his crystal palace of creativity, we were visually bombarded by a menagerie of flying horses, queer medusa statues and warped, plastic toy landscapes.  We had stepped inside a diorama of his imagination, where the kaleidoscopic colours crashed and banged loudly enough to make audible our group’s shared delight.

Sally Reynolds smiles in Logan’s sunlit studio. Photograph by E-J Scott.

Out trip to Logan’s studio followed our morning at Zhandra Rhodes’ Fashion and Textile Museum.  A six foot high photograph of him in a dress designed by Rhodes depicted the friendship they have shared since the early seventies. Rhodes still designs half his frocks (the dresses are split down the middle, representing transformation) for his Alternative Miss World appearances, the outrageous drag pageant he launched in all its fabulousness in 1972.  The sculpture he made of her is housed in the National Portrait Gallery.  Zandra describes herself and Logan as “blood brothers”.

Logan (pink t-shirt) explains his curiosities to the curious! Photograph by Professor Lou Taylor.

A sculptor, painter, performance artist, jeweller, qualified architect and flamboyant London queen, Logan is the only living artist in Europe to have a museum dedicated to his work (The Andrew Logan Museum of Sculpture, Berriew, Mid Wales, est. 1991).  His work has been shown everywhere from the Hayward Gallery and the Victoria and Albert Museum, to Somerset House and the Royal Academy of Arts.

Louisa Carpenter next to a mannequin dressed in Logan accessories. Logan’s jewellery has been used for catwalk shows by designers ranging from Zhandra Rhodes to Ungaro to Comme des Garcons. Photograph by E-J Scott.

Logan’s studio was cluttered with portraits of Britain’s most eccentric queer characters. They are devotedly pieced together from smashed up mirrors, plastic toys, beads and the odd Swarovski crystal.  Derek Jarman is there, and as Logan ran through the artistic career he formed in London’s underground scene, he nonchalantly contextualised the portrait, divulging that he introduced Jarman to Super8 film-making at his Butler’s Wharf studios in the ‘70’s.   His sprightly, sexy and curious creations are steeped in personal history.  The noticeably rough finish on many works- splotches of glue here, drips of colour there- are left over touches indicative of an artist having fun at play.

Surreal sculpture by Andrew Logan. Photograph by E-J Scott.

Logan’s public art projects litter the UK landscape, reflecting his belief that art can be found everywhere and in everything. His Millennium Pegasus on Scots Green Island – a larger-than-life bronze horse with gold and silver glass inlaid wings and a bejewelled mane – depicts hope for a new era.  Logan says, ‘It is about where we come from, and where we are going to’.  Legend has it that wherever the hoof of Pegasus struck the ground, an eternal spring appeared.  Like Pegasus, when describing his artistic vision, Logan himself can appear to be bred from the love of Poseidon, and the carrier of Zeus’ thunderbolts.

E-J Scott in front of a winged Pegasus (a signature piece of Logan’s). Photograph by Professor Lou Taylor.

Little rainbows refract throughout the studio, as if they somehow shone straight from the glimmer in the craftsman’s eye.  As energetic as it is inventive, Logan’s works reflect his dreamy optimism, his colourful nature and his extraordinary warmth.  He not only welcomed our MA History of Design and Material Culture group into his creative space, he welcomed us into his world. My guess is Dr Annebella Pollen did not want to leave… at least, not without the  frog brooch in his Emporium gripped tightly in her clutches.  Speaking for myself, the visit to Logan’s studio – a self-created space, funded by the success of his lifelong dedication to his artistic pursuits – was a source of unequivocal inspiration.  Believing it is possible to live another kind of life – an enchanted life of art, whimsy and make-believe – is one thing; being brave and clever enough to make it happen is altogether another.   Just as Logan’s work resides in a boisterous space somewhere between fine art on the one side, and craft on the other, so too, Logan’s faery-like attitude toward the art of living is protected and crystallized in his castle: a chrysalis that dangles on the increasingly dirty, corporate, capitalist London skyline, home to a rare butterfly of a man.  This visit made the value of my study ring true, and I caught the train back to Brighton full of shiny ambition.