SL Mode: one size fits all
An archive of a social sculpture project using garment production / retail as space for cultural assimilation, originally located at Graben St. #41 Weimar Germany.
Cultural Assimilation the process whereby a minority group gradually adopts the customs and attitudes of the prevailing culture. Wikiepedia
Jean Piaget “The process by which existing mental structures and behaviors are modified to adapt to new experiences.”
In a social context, contributing to a self and body image concept, fashion and clothing positively or negatively effects, controls and regulates our moods, emotions (Kwon 1991), and personality where we retrieve autobiographical memories during the process. Fashion allows us to experiment with our identities, exploring time, place, people and roles during the initial search, the selection, and then actual wearing of the clothes. Emphatic associations are created, ‘it is as though the fabric [of our clothes] were indeed a natural extension of the body or even of the soul’ (Bell 1976) – like a second skin or ‘epidermis self-awareness’ (Eco 1986).
When a wearer goes to buy a garment and sees it, tries it on, observes it worn by others or in the media, we can presume that an evaluation of the garment with the self-concept occurs – an evaluation of how that garment, if worn, would affect their self, emotions, moods, and personality, and depending upon the needs, values and goals of the wearer as well as the social meaning of their decision. Thus we appraise the design variables inherent in the garment: color, print, texture, drape, style, shape and line and their visual and tactile associations or symbolic meanings. We would consider how much they are used to modify, e.g. accentuate the body, and how they are used to disguise, distort, distract, or enhance the body’s boundary of size, height, and proportion (body-image).
Fashion and clothing and appearance management
Wendy Moody (Fashion Retail Group, Textiles and Paper
Project Proposal: The creation of a cultural assimilation experiment involving the inhabitants and visitors of Weimar, appropriation consumer systems, expressions of personal identity, garment production and the language of clothing manufacturing and retail.
- Maintain a storefront where development and production of the project will reside.
- Design and produce a product a collection of garments that question how I (as a foreigner to Weimar) modifies to fit into the cityscape of Weimar.
- Create a DIY Pattern of the garment
- Wear these items in public space and document public responses using surveillance equipment. “Fashion show”
Production time line / Aesthetic ideas
April: space, language assistant (post on web), research and time for investigation, theoretical connections, history, etc.
May: 1 – move into space
31- paint, establish aesthetics of the space, begin developing Marketing
Aesthetic choices: importance of allowing the community to provide what I need for the least amount of money. Recycle found fabrics, remake old garments, purchase new fabrics, make my own carry out bags. Why is it important that nothing remain?
Track income and expenses.
June 1-4 first designs, patterns, (Mirror suit, crochet masks, surveillance suit)
Set up structure for continued responses to living in Weimar
Final Marketing strategy-begin making posters and promotional material.
June 6-15 Production
June 16 Grand Opening Press Party! / Presentation of Collection
June 25 Sustainable Garment Exchange
July 8 Going out of Business Sale
Open Hours Friday-Sunday 11-7 or later if it seems like people will come in off the street.
PR to be done through the local newspaper appropriating language of advertising a garment store. Non art context. Work this out as you go.
Keep door open when ever I am in the space, energy of the city comes into the space and back onto the streets again.