Top 3 Chosen designers/desgin companies

Pecha Kucha on my 3 chosen design companies.

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  1. welcome
  2. house of hackney intro
  3. house of hackney style
  4. favourite collection
  5. other collections, different colour schemes
  6. companies up-recycling programme/British made goods
  7. how i can relate as a designer to my theme
  8. agent Provocateur intro
  9. favourites, house style, dark,romantic, delicate
  10. june collection – valentines day
  11. companies recycling/environmental care
  12. links to film
  13. how i can relate through my passion and constellation studies
  14. hopeless intro
  15. basic, typical style – dark, romantic, cut outs, gothic
  16. dedicated to cassandra from wanes world – inspired by film
  17. how i can relate
  18. summary of my style
  19. chosen design companay
  20. thank you



For the first part of week 3’s lecture we read though Janice Millers ‘Hair without a Head’, we were then asked to summarise the main findings of the article. These are my notes:

  • Miller claims that hair can be a liminality between life and death. It can be seen as dead or alive but it is already dead. It grows and can be made shiny but it can also live on without you. ‘becomes a substitute for the dead person’
  • Freud theory of the uncanny- something that should remain hidden. ‘stray hair should be hidden and shouldn’t be there’  Uncanny in films – zombies and ghost – obvious trumps of the horror film. but they both highlight this issue of liminal body the idea of the zombie is un-liminal of the undead, its a corpse that is walking around as its dead, the ghost does the same thing but in a different way – its dead but seems to be alive, the zombie has a physical form thats deteriorating in front of you, the ghost seems to have some sort of form but doesn’t have a clearly identifiable one. ‘spectral’ – Hair is in between, alive and dead.
  • liminality. horror films always deal with liminality to do with the body. Liminality in life and death means that it can be in between the two or both. Miller starts with a contradicting fact that hair is dead ‘styling products are sold on he premises that they can create hair that has life, vitality and strength, hair is dead matter’  – we buy products that promise to give our hair ‘life’ but our hair is always and has always been dead. We, mostly women are told that hair should be ‘lively’ it is symbolic that women need to tame their hair. Hair signifies femininity so long as its tamed and shiny.
  • Britney shaves her hair and is therefore seen as going crazy. Hair is a signifier of beauty – fairy tales, repunzel ect.
  • Hair becomes unfamiliar when it leaves the body. ‘On the body hair is controlled, familiar and homely; it is part of us. Off the body, it transforms itself into something at the same time alien, unfamiliar and unhomely’. 
  • Whether the hair falls out or is cut from the body, it becomes alienated and unnatural. She links to Myfanwy MacLeod’s ‘Bound’ art piece of a deep pile, white carpet thats described as clean and pure with a lock of dark hair laying on top. It is described as ghostly and disturbing because once the hair has left the body ‘we know nothing of the origins of the hair, who it belonged to, the persons presence or lack of hygiene, how it became there’
  • ‘hair reveals its marginality’  Marginality because it exists outside of the body. marginal objects in relation to the body. piercings, they don’t belong to the body and yet we invade the body with them. your earring is inside you and outside you at the same time. when it gets taken out it doesn’t look the same but there is a hole where it was. the hole was made snd therefore have controlled some of the holes and not others. Tattoos are also marginal but these invade the bodies and are internal and external at the same time but are harder to get rid of. so both tattoos and piercings explore the boundaries of my body. where the body begins and where it ends. these are all marginal concepts. are bodies are always dealing with marginal concepts. Hair is a marginal concepts. the stray hair on the jumper has come off of my body but is not part of the body anymore.  this idea of the context for hair and the way we receive it. Hair can be disembodied. its only not gross on your body if its on your head – mainly for women. the trend of shaven pubic hair emerged in porn culture of the 90s but a lack of pubic hair on a women represents a pre pubescent vagina.

We were then asked to talk about how this article linked to what we have discussed in the study group so far.
In the first 2 weeks of this study group we have explored and discussed the characteristics and social constructs of glamour and its relation to femininity. Hair is something that can be glamorous but can also be disturbing depending on the context of which its received. When it is attached the the head or body it is acceptable, and glamorous when it is off the body it is deemed as gross. In Freud’s theory of the uncanny, a stray hair is something that should be hidden. There is a separate set of rules on body hair for men and for women. This reflects on what we have learnt about social constructs on gender based on what is acceptable and what is unacceptable depending on the fashion at the time and that women are glamorous characteristics are often unnatural. Hair is liminal and can be associated with the monster as well as the goddess. For example, in the story of medusa, the hair signifies the change from goddess to monster. Hair is an example of something that is liminal and a margin of the body. Piercings and tattoos are examples of something that once had an existence that was separate to the body but is absorbed or pierced into the body and becomes part of it. With liminality becomes anxiety. Anyone that doesn’t conform to the rules of social constructs is liminal. Michael Jackson is an example as he was neither black or white, his surgeries didn’t make him look masculine nor feminine, and he didn’t act as an adult nor as a child. He defied categories and this made him ‘monstrous’.

The Ideal Woman – lecture notes

Ovid’s myth of Pygmalion

  • constructions of the feminine ideal, themes of gender construction and embodiment
  • realised that he’s alone, wants to carve a statue that represents his interpretation of an idea woman but ironically isn’t an actual woman. what are the characteristics of a woman? – its all social constructs.
  • carved his idea woman to be his wife out of ‘snow white ivory’ – purity, innocence, expensive, rare, precious. It has a flesh like tone – pale.
  • He dresses it, kisses and touches it, buys it gifts and then undresses it again before laying her down. The notion of a strip tease and believing that she is his. Making her more believable and giving a sexual desire.
  • he designs her, choses what to include and what not to include
  • he gives her feminine gifts like jewellery and flowers. Gender is a social construct, it’s is made up and nobody suggested it.
  • she is only ‘naked’ and sexually desirable after he has undressed her. where as she was naked before.
  • creative construction of a woman into an object to be looked at
  • As a statue it can not speak, it has a silent status and is non-threatening
  • He is ‘repulsed’ by the prostitutes using their bodies for sex, yet creates this ‘woman’ and has no problem with using her where as she doesn’t have a voice
  • ‘real’ women in the flesh and blood discuss Pygmalion as they are not perfect, unblemished and beyond his control
  • Textures of shiny, smooth surfaces, accompany connotations of ‘real’ and ‘natural’ – the unattainable perfection.
  • femininity is described as a site of male desire

Glamour and Beauty

In the first week we discussed the characteristics in glamour and beauty and how it associates with femininity though photographs of film stars such as Marlene Dietrich and Audrey Hepburn.

This was my first opportunity to use the ‘Description, Analysis, Theory’ process that had been previously suggested. I used that process to analyse the photographs above of Marlene Dietrich and Audrey Hepburn. Cath had already collected extracts from Dyhouse, C (2010) Glamour: Women, History, Feminism, Zed Books, London pp1-47 and from Brown, j (2009) Glamour in Six Dimensions: Modernism and the Radiance of From, Cornell University Press, New York for us to use as the ‘Theory’ Part. We just had to find the right ones to use. I have shorted some of these extracts and I’m not sure how to show that in the correct manner.


  • Marlene is wearing a fur hat – This is soft, feminine, sexual and glamorous – ‘luxury and sensuous, signalled partially through the wearing of fur’ Dyhouse, C (2010)
  • Both are black and white photographs – makes the subjects appear more feminine – ‘black and white photography emphasised light…light plays across skin, satin, the surface of fur and hair… gives goddesses their extraordinary seductiveness’ Dyhouse, (2010)
    Being seductive is glamorous ‘Glamour is genuinely seen as a constituting a form of  sophisticated – and often sexual – allure.’ Dyhouse (2010)
  • Audrey’s highlighted collar bones and cheekbones – Feminine, seductive, delicate and teasing because it shows the flesh – ‘high contrast lighting that sculpted its object, redefining facial features for maximum effect’ 

Both of these photographs show examples of glamorous characteristics within film stars that associate with 20th century glamour cliches such as high quality fabrics, make up, marble like skin and perfect complexions ect.

Its interesting that the unattainable is more associated with females than males. Both of these images have been constructed to create perfection.

Goddesses and Monsters overview

Over the weeks of October and beginning of November i will be in the Goddesses and Monsters study group led by Catherine Davies. This module will be specifically looking at glamour and the grotesque within visual and material culture. We will be dissecting body parts; interior and exterior embodiments.  We will be looking at how visual and material culture construct and emphasise materiality in relation with embodiment. What characteristics of glamour and beauty are and why its synonymous with femininity. What does femininity mean in relation to textures and forms and consider how desirability is constructed. We will also be looking at the alternatives; the abject, the grotesque, the monstrous and how to artists and designers construct it. We will be exploring this through analysing film stars, and celebrities in photography and cinema showing notions of ideal bodies, glamour and femininity. As well as looking at mannequins in relation to embodiment and visible stitching as the threat of the body unraveling that constitutes monstrousity in horror movies, cartoons, ect.  We will discuss subjects such as constructions of gender, the body, materiality – textures and the connotations of textures, castration and female genetalia with teeth.


Within this study group are subjects that i think I’m going to be really interested in. Being a textile designer i am really interested in fabrics and textures. I am a huge fan of Alexander McQueen and  am looking forward to discussing his work in relation to the subjects in the module. I also have a recent obsession with lingerie and i think i will be able to relate this into my study group and possibly as a subject for my dissertation.

Description, Analysis, Theory.

Cath has introduced us to a method of analysing visual materials to make it easier for us though out our studies. We should create a table using the 3 columns under the headings of ‘Description’, ‘Analysis’ and ‘Theory’.

  • Description – What is the image made up of?
  • Analysis – What could each of the elements could represent?
  • Theory – What evidence could support this?

I will be testing this method though out my studies and especially over the next few weeks in my Goddesses and Monsters study group to see if it can help me when analysing visual material.

Earthed A/W 16/17


Based on the WGSN theme ‘Earthed – Autumn/Winter 16/17’
Earthed explores nature through Autumn and Winter. It is inspired by irregular geological patterns, cold atmospheres, florals, autumn/winter landscapes, growth and decay and new earthy, science discoveries.
Im not happy with this mood board. I don’t think it gives the general feel of the theme, i don’t think the images fit well together and i think i need more images. I hope that i get a chance to improve on it.


Colour & Texture.
Based on the WGSN theme ‘Earthed – Autumn/Winter 16/17’
Inspired by nature, fabrics mimic irregular geometrical patterns and wild florals. They are soft and lightweight, feeling natural and pure against the skin. The colour palette is made up of saturated brights and earthy darks of Autumn. I will reflect nature in print, texture and pattern and using fabrics such as velvet, silks and satins, I will explore existing fabrics as well as new natural made fabrics.


Client Profile.
Agent Provocateur’s target market is women within the A, B or C1 social-economic groups and within the age of 20-50 years. These women are modern, professional, independent women who want to feel confident from the boardroom to the bedroom. They like spending money on luxurious items whether its on items for their homes or for products that lay against their skin. They shop at other high end fashion stores and read fashion magazines.


Company Profile.
  This board is made up of Agent Provocateurs market competitors. There are different markets within the lingerie market; comfort and fit makes up the practical end of the market and individuality and seduction makes up the adorn end of the market. Brands often struggle to span all of these together leaving them competing towards different customer needs.

Agent Provocateur
A high end lingerie company that produce luxurious and sometimes daring lingerie and nightwear, focusing on creating new and upcoming stylish pieces as well as being the perfect fit to every woman. They are also well known for their theatrical cat walk shows to display their new collections. 

Marks and Spencers
A lingerie brand that focus’ on comfort and practicality when producing lingerie, nightwear and shape wear.

Victoria’s Secret
Another high end lingerie brand made popular with its celebrity models and also known for producing theatrical cat walk shows.

Ann Summers
Another daring lingerie brand like Agent Provocateur but with not as high a price or quality. 

Adore Me
This brand offers stylish lingerie as well as offering to plus sizes.