...please begin at the beginning here. Also to reiterate: this piece is © 2006 Kimberly Hall. Do not copy, steal, or reproduce without permission. If you're interested in my work, please drop me a line. Thanks.
Samples of landscape print and fading tumeric dyes I developed for my MA collection All Stories Have Endings
at Central Saint Martins, 2006.BibliographyAntony, Rachael, & Henry, Joël (2005),
The Lonely Planet Guide to Experimental Travel, Melbourne, Australia, Lonely Planet Publications.
Barthes, Roland (1990),
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Breward, Christopher (1994),
The Culture of Fashion: A New History of Fashionable Dress, Manchester, UK, Manchester University Press.
Buttolph, Angela (2005)
A Week of Dressing Dangerously, BBC2 [Television] 8 weeks, beginning August 17, 2005.
Davis, Fred (1992),
Fashion, Culture and Identity, Chicago, IL, The University of Chicago Press.
Entwhistle, Joanne & Wilson, Elizabeth (2001),
Body Dressing, Oxford, Berg.
Foster, Alicia (1999), Dressing for Art’s Sake: Gwen John, the Bon Marché and the Spectacle of the Woman Artist in Paris in Haye, Amy de la, & Wilson, Elizabeth,
Defining Dress: Dress as Object, Meaning, and Identity, Manchester, UK, Manchester University Press (1999) pp. 114-26.
Gale, C. & Kaur, J. (2004),
Fashion And Textiles: An Overview, Oxford, Berg.
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Body Mapping, [Internet] Available from: http://www.alexandertechnique.com/articles/bodymap/ [Accessed March 3, 2005].
Givhan, Robin (2004),
Thread & Circus, The Washington Post [Internet] Washington, D.C.: February 22, 2004 p. D01.
Originally I found this article here: Available from: [Accessed August 18, 2005] but the most correct location is linked above.
Friese, Susanne (2001) The Wedding Dress: Use Value to Sacred Object in Guy, Ali, Green, Eileen, & Banin, Maura, eds.
Through the Wardrobe: Women’s Relationships with their Clothes, Oxford, Berg (2001) pp. 53-70.
Hirschhorn, Thomas,
Thomas Hirschhorn: Altar to Raymond Carver, Levy Gallery, [Internet] Available from: http://thegalleriesatmoore.org/publications/hirsch/hirschhorn.shtml [Accessed March 9, 2005].
Horn, Marilyn J. , & Gurel, Lois M. (1981),
The Second Skin: An Interdisciplinary Study of Clothing, Boston, MA, Houghton Mifflin Company.
Leslie, Esther (2005), Response to Hauser in Breward, Christopher &
Evans, Caroline,
Fashion and Modernity, Oxford, Berg (2005) pp. 171-174.
Llewellyn, Nigel (1999) Elizabeth Parker’s ‘Sampler’: Memory, Suicide and the Presence of the Artist in Kwint, Marius, Breward, Christopher, & Aynsley, Jeremy eds.,
Material Memories: Design and Evocation, Oxford, Berg (1999) pp. 59-71.
Lupton, Ellen, &
Miller, Abbott (2000),
Design, Writing, Research: Writing on Graphic Design, London, Phaidon Press Limited.
Potteiger, Matthew & Purinton, Jamie (1998),
Landscape Narrative: Design Practices for Telling Stories, New York, NY, John Wiley & Sons.
Stewart, Susan (1999) Prologue: From the Museum of Touch in Kwint, Marius, Breward, Christopher, & Aynsley, Jeremy eds.,
Material Memories: Design and Evocation, Oxford, Berg (1999) pp. 17-36.
Thomas, Dana (2005),
What Hubert de Givenchy Can Teach You About Fashion, Harper’s Bazaar (June 2005), pp. 168-171.
Troy, Nancy (2003),
Couture Culture: A Study in Modern Art and Fashion, Cambridge, MA, Massachusetts Institute of Technology.
Wollen, Peter, & Bradley, Fiona (1998),
Addressing the Century:100 Years of Art and Fashion, London, University of California Press in association with the Hayward Gallery.
Zappia, Corina, (2005),
For Once, Kajagoogoo Has Purpose,
The Village Voice [Internet] New York: June 20, 2005. Available from: http://www.villagevoice.com/nyclife/0525,zappia,65136,15.html [Accessed June 21, 2005].
Mid-development photo of Marriage Shirt
performance produced while studying at Central Saint Martins, 2005 and working at Hussein Chalayan Studio.Image Source ListFigure 1: Santoro, Alyce (2005) dress made from audio tape [Internet] Available from
[Accessed May 20, 2006]. Images of Santoros work are viewable on here website www.alycesantoro.com. In my post this week I used this image instead of the original one I found as stated in my image list.
Figure 2: Hall, Kim (2005) beginning and ending images from Marriage Shirt, burlap, time.
Figure 3: Hall, Kim (2006) paperdolls from Wardrobe Swaps & Shares, coloured pencil on paper.
Figure 4: Chamberlain, Ann (1993) Romper con el Pasado, ceramics [Internet] Available from [Accessed May 20, 2006].
Figure 5: Parker, Elizabeth (1813), V&A object no. T6-1956 [Internet] Available from http://images.vam.ac.uk/ixbin/hixclient.exe?_ixss_=&_ixsr_=mc1&_ixspfx_=full/f&_ixmaxhits_=1&_ixfirst_=1&_ixaction_=summary&_ixsession_=ds1akc1xikm&_ixiMAGE_=pcd852632020782-029 [Accessed May 20, 2006].
Figure 6: Hall, Kim (2006) samples from All Stories Have Endings, silk, cabbage, and latex.
Figure 7: Hall, Kim (2006) detail of cabbage dyed dress from the All Stories Have Endings collection, digitally-printed, cabbage dyed silk.Appendices hereLabels: my work, references
