02 X DESCRIPTION
My search on clothing is not so much a matter of object as of visual matter, which is to certain extent due to conscious control. The presentation’s narrative consists of an introduction and 9 chapters.
The clothing – which is subsequent, and nonessential compared to the body: (a) protects, (b) constructs an identity and mechanisms of self-identification in the society, (c) shapes social relations and bonds, (d) has a form, which is itself split into surface and tectonic practices used for the structural support of the form, (e) belongs to a context that can be sub-categorized into the notions of space, time, and technology.
In quest of clothing, I turned to the crinoline. This is a supportive structure use in the Victorian era to transform the female body. Semantically and morphologically, it constitutes a fusion between the openings of temples of Gothic style and the vulva.
In an attempt to present a median, archetypal crinoline, I recorded 30 examples of crinolines that are shown in MET Museum. From their analysis, I extracted precious info on the materiality and the number of hoops, the vertical unifying stripes, and the support band.
From the above analysis, it can be concluded that the archetypal crinoline has 16 rings, 5 stripes and 1 belt.
This is a social comment with 9 chapters meaning and not exactly depict, like the theater costume.
The body desires
The human body expresses desire, a feeling that remains always immanent. This is the claim for transformation since it is always perceived as imperfect.
The body is enclosure
This is a new constellation catered for by 16 elements, which are supplemented by 5 spokes and 1 belt. There is, however, a restructuring that covers the whole body and, more specifically, the 16 nodal joints that represent the human body’s flexibility.
The body is attached
The carnal pairing leading to one body, leads in a way through the realization of the restraints to their removal, as their pairing allows them to move more freely.
The body is distorted
The same structure is applied in an isolated body part. An arm. The arm is now unable to function.
The body is swaying
This structure is now placed around the foot. The body- in order to elevate- becomes unsteady.
The body defends itself
Here, instead of pre-existing elements, spokes are used in the width of the archetypal crinoline’s hoops, made of a hard material. 16 points are filled with nails. The structure defines an in-extremist position of balance for the body.
The body is transformed
The same structure is analyzed here. This time, the hard material is replaced by a soft one, hair. As used in the archetypal crinoline.
The body is detached
This time there is no structuring in 16 points. In order to illustrate the face, all elements are placed on the neck, like jewelry. The 5 spokes of each joint are bent, like those of the initial crinoline as a parable.
Or maybe the body is simply pensive?
I have simply become a head. As long as I had a body was turning increasingly violent. When I was unaware of the pain that could spread in my body, as this pain was oppressed, I could not understand my body’s limits. My body was always fragmented following the society’s precepts. Whatever was external to my body could be perceived bodily in a distorted way. I was simply seeking a source of knowledge. My demand was saturated, my desire not. I would rather stay with this mask staring through it, and the others can simply see on me their reflection.
03 X ABOUT
Triantafillos Danios, Diploma Design Dissertation
Supervisor: Professor Spiros Papadimitriou
Institution: School of Architecture, Aristotle University of Thessaloniki
Contributors: Maria Kriara, Artist
Materials: Wood (Laser cut), Pla (3d Print), Resin (3d Print), Metal wire, Cardboard (Laser cut), Acrylic color