Elli Michaela Young
For decades fashion has been recognised as a way to communicate within a culture, functioning as a signifying system. Fashion is not something to simply appreciate or study whether you realise it or not. Everyday fashion plays a vital role in most people’s lives and their clothing choices are influenced not only by what they like, but why they like it. Fashioning the body and the practice of getting dressed has been particularly important in the Caribbean because of the region’s history of enslaved and colonisation. However, mainstream fashion histories often continue to marginalise or overlook the importance of the region. In this studio, we will consider Black Style and fashioning the African Diaspora, showing some of the ways the African diaspora in the Caribbean have used fashion in the construction of their identities in order to think through the ways you can research and write under-represented histories.
We will consider the different ways that archives can be used to elicit discussions about how knowledge is constructed and how you can use archival research to provide a more complete picture of history. Although the focus of this studio is the African Diaspora you will be introduced to concepts and methods that can be applied to most research subjects. The studio is designed for students who are interested in reading archives ‘against the grain’ and will be conducted via lectures, seminars/workshops, online talks and archive visits to help you to respond critically to some of the debates around fashion, design and the African diaspora. (306)
- Anne Berry, Kareem Collie, Penina Acayo Laker, Lesley-Ann Noel, Jennifer Rittner, Kelly Walters, The Black Experience in Design. Identity, Expression and Reflection. (New York, Allworth Press, 2022)
- Christine Checinska, (Re-)fashioning African Diasporic Masculinities, (ed) Elke Gaugele and Monica Titton, Fashion and Postcolonial Critique, (Vienna: Sternberg Press, 2019) 74- 89
- Elizabeth Castaldo Lundén,‘Exploring Fashion as Communication. The search for a new fashion history against the grain’, Popular Communication, 18:4, 249-258,
- Marisa J Fuentes, Dispossessed Lives. Enslaved Women, Violence and the Archive, (Philadelphia: University of Pennsylvania Press, 2016)
- Stuart Hall, Culture, Resistance, and Struggle, Selected Writings on Race and Difference, (ed) Paul Gilroy and Ruth Wilson Gilmore, Duke University Press, 2021. p180-206
- Jason Jules, Remake, Remodel, Remix, An Essay by, Return of the Rudeboy, Dean Chalkey and Harris Elliot, Return of the Rudeboy Publishing, 2015
- Julie D. Shayne, Denise Hattwig, Dave Ellenwood and Taylor Hiner, ‘Creating Counter Archives: The University of Washington Bothell's Feminist Community Archive of Washington Project’, Feminist Teacher, Vol. 27, No. 1 (2016), pp. 47-65
- Elizabeth, Way Black Designers in American Fashion, ed Elizabeth Way, (London, New York, Oxford, New Delhi, Sydney: Bloomsbury Visual Arts, 2021)
- Linda Welters and Abby Lillethun, Fashion History, A Global View (London, New York: Bloomsbury Academic, 2018)
- Raymond Williams on Culture and Society: Essential Writings Culture is Ordinary (ed) Jim McGuigan (London SAGE Publications Ltd, 2014)
Studio Image: Unknown man, Kingston Jamaica, circa 1950. Barrington Young Family Archive. Banner image: Hans Op de Beeck, Staging Silence (3), video still (detail), 2019
|Tutor||Elli Michaela Young|
Dissertation Studios 2022–23
Studio 01: The Pensive Image
Do images in the information age displace texts and become the main vehicle for expressing thought? How do images communicate? What are they are saying? Can images write histories?
Studio 02: Sport and Aesthetics
Dissertation Studio 02 will examine the concept of aesthetics as applied within that most everyday activity: sport.
Studio 03: The Bone Pile. Archive and Myth as Methodology
Starting with the archive as a ‘commons of imagination,’ Studio 03 is testing the bonds between the personal and the collective, the interconnection of heterogeneous histories, archival temporalities and deep places of myth and storytelling.
Studio 04: Public Protest – Spaces of negotiation
How do we shape the city? How do we claim, occupy and inform spaces as people who live, work and play? All places have a history of negotiation over territory and its use – which helps to bring them into their current form. Understanding this legacy through acts of dissent and protest can better uniform us about the places that we inhabit.
Studio 05: “If I stay silent nothing will change:” Identity, Politics, Social Change and Creative Culture(s)
This cross-disciplinary studio considers how power, culture, politics, identity, representation, activism, social media and mass culture theory intersect with a range of arts practices, including photography, architecture, design and fine art, film studies, fashion and music, sound, pop art and theatre.
Studio 06: Thinking with Ruins
Thinking With Ruins begins with the idea that to think about ruination allows us to approach subjects that are of interest materially, aesthetically and politically and it allows us to work across scales – from dust to debris to object to landscape.
Studio 07: Feminist Approaches
In this studio you will be invited to take a feminist approach to your dissertation and its topic, whatever that topic might be.
Studio 08: Fashioning the African Diaspora
Elli Michaela Young
Exploring the fashioning of the African diaspora and with a particular focus on the Caribbean Island of Jamaica, this studio aims to think through how fashion and dress is used to grapple with ideas of self.
Studio 09: Sartorial Culture
This studio examines the intersections and relationships between objects and their visual and discursive representations through the lens of the history of fashion and dress. It locates fashion, or fashionable dress, in the conversations about it, the images portraying it, and the artefacts left in its wake.
Studio 10: “Everywhere we remain unfree and chained to technology”
Studio 10 questions the role of technology in our lives and investigates the environmental ethics concerning how we relate to, and operate within the world and each other.
Studio 11: The Hammer without a Master
Studio 11 explores the idea that we think, remember and decide ‘in the world,’ rather than in our heads, that we are connected in unexpected ways and that this connection may be a key to unravelling some of the paradoxes of modern life and culture.
Studio 12: The Voice of Things
This studio will offer a challenge to the idea that objects are unruly things and need to be brought to heel by labelling, categorising, taxonomising. Instead, it offers an invitation to give voice to the mute and invisible, by listening to objects and treating them as allies.
Studio 13: Suck it up
This studio takes a sideways looks at the intersection of youth culture and late capitalism considering the impacts and influences of desire, the cartoon, consumerism and cuteness in shaping our lived contemporary experience.
Studio 14: Futures Past and Present
Cultural history, from high art to kitsch, is littered with visions of the future; some inspiring, some ridiculous, almost all of them wrong.
Studio 15: A River with Standing
What happens when a river is conceived as a living entity instead of the prevailing perspective of human sovereignty over nature? What political impact may this unprecedented legal status have on the ecological crisis? What do Indigenous cosmologies contribute to current posthuman philosophical debates?
Studio 16: “I can’t see the wood for the trees:” Ecology as Methodology
This studio aims to provoke discussion about the ’reality’ and the ‘myth’ of ecology: the ease with which one can theorise about it, and at the same time the persistent challenges of enacting it as an everyday lived condition of human (and more-than-human) existence.
Studio 17: The Practice of Space – Writing Atmospheres in Art and Architecture
Nico de Oliveira
Dissertation Studio 06 looks at space as practice, since each location is a mutable entity framed as a moment in time, populated by individuals and shaped by their actions as artists, musicians, curators, designers, architects, writers and spectators.
Studio 18: The Poetics of Making
This studio will consider the value of making in itself, independent of the product or outcome, exploring the idea of craft as meaningful work.
Studio 19: The Erotics of Infrastructure
Studio 19 questions how our body and subjectivity is formed through our encounters with infrastructure. We will explore what constitutes contemporary infrastructure, such as the digital sphere, financial products and how these may impact the formation of our subjectivity and social organisation.
Studio 20: A History of Efficiency
There is nothing inevitable about the way we organise our societies. Changing the harmful structures of economic efficiency, which are making the planet uninhabitable, is up to us. This studio is for students who are interested in exploring any aspect of the climate emergency.