veils

A post about veils. I don't really know anything about the website that inspired this post, but last year I was really interested in veils throughout culture and history beyond their religious use. The juxtaposition between the hidden and the displayed, public and private, and precious versus plebian makes the veil a powerful tool, if you ask me.

Other veil sites:
• Wikipedia

• The Painted Veil with Greta Garbo
• How to make a veil
• The Chap on veils (pic at top from The Chap)
• Hats and veils in general.

Bibliography & Image List

...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.

Bibliography

Antony, Rachael, & Henry, Joël (2005), The Lonely Planet Guide to Experimental Travel, Melbourne, Australia, Lonely Planet Publications.

Barthes, Roland (1990), The Fashion System, Berkeley, CA, University of California Press.

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.

Gehman, Stacy, 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 List

Figure 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 here