Pictures for Rings, Resistance and Society

https://www.redpillring.com/p/silver-red-pill-ring

One of the two sources I looked at for the importance of what finger you wear your ring on. Makes a huge impact but is too gem focused to work for what I want it to convey.

520c263be991b.jpg

https://www.emilydepasse.com/eldsoul/2018/8/7/he-said-yes

An infamous diamond ad – consumer driven rings and the idea that buying a ring is equivalent to buying a person – I want to push away from the possessiveness of diamonds.

http://www.thecarrotbox.com/blog/1004.asp

I love how bits of rough stone are wedged into gold – I think the look of seamlesness and roughness works better than overly polished diamonds – definitely pushes the idea that you can create/design your own ring for the person you love. I want to make a space where people are involved in the process of designing the ring and not just the idea that you buy – people need to be involved – society should not just be a means of transferring money.

MAG008a, gavin macsporran, thin rough and raw wedding ring in 9ct white gold with 9ct yellow gold slash.JPG

Rough & Raw (gold)

I like this as a wedding band – doesn’t stand out too much but still pushes itself from the normalized 1 tone band – would work with a larger engagement band around it too – could create a sense on resisting the idealist wedding band.

imogen belfield-aw 09 collection-1

https://trendland.com/imogen-belfields-aw-09-jewelry-collection/

I like the organic look of this piece – gives it a sense of tactility and purpose and resists the urge to look perfect and polished. Is able to be used as a means of stating marriage but also to be reused if divorce occurs.

Readings for Rings, Resistance and Scoiety

HOW TO WEAR YOUR SIGNET RING

POSTED ON JANUARY 20, 2015

The ‘rules’ of where to wear your signet ring is a topic often discussed with our customers at the Rebus workshop. Opinions vary because the signet ring is an item of jewellery which is so steeped in tradition, yet it’s identity and purpose is ever evolving as fashions change, evident not only over recent years but across the centuries. I choose to wear mine on the ‘ring (third) finger’ on my right hand. I have also seen them worn next to wedding rings or instead of wedding rings, as well as the most popular finger, which in this country is the little finger, aka. ‘The pinkie’.

However, there are traditions; these can vary across cultures and religions. In the UK the signet ring has traditionally been worn on the pinkie – or smallest – finger, on the non-dominant hand. Therefore, if you are right-handed, you will tend to wear your ring on your left hand. In Switzerland, men wear signet rings upon the right finger of their right hand, while in France men use the right finger of their left hand.

Since the Middle Ages, the pinkie finger (which comes from the now defunct adjective ‘pink’, meaning ‘small’) was the favourite finger for the signet ring. Wearing the signet ring on the smallest finger ensured that the wearer was easily able to use the ring for its traditional means – as a tool to emboss wax, creating a wax-seal for the purpose of identification and authentication.

A practice which first started in ancient Egypt and later carried on by the Romans, the seal was widely used from the Middle Ages in royal proclamations, legal documents, or to authenticate correspondence. Incorporated into the signet ring, it was safely kept on the hand of the owner and was of course close to hand whenever needed.

During the seventeenth century the signet ring briefly fell out of fashion. Instead, during this period the prominent members of society preferred to have their seal in an ornamental mount. They would then wear these mounted seals on a chain or ribbon, often as a fob, along with a watch. This practice continued until the latter part of the eighteenth century, when the signet ring once again became popular. Nowadays, the signature has replaced the signet ring as the primary means of authenticating a person’s identity. Despite this, the habit of wearing an engraved signet ring on the smallest finger continues.

As the use of the signet ring to provide an official wax seal has all but disappeared today, where you choose to wear your ring is largely a matter of personal choice. In the United States, for example, it is quite normal to see people wearing a signet ring on their ring or middle finger, think of Steve McQueen who was never without his ring. Winston Churchill typically defied tradition by wearing his gold signet ring, bearing the family crest, on his third ring finger. Prince Charles wears his wedding ring on his pinkie finger stacked next to his signet ring.

Ultimately, as the signet ring becomes increasingly a means of personal expression, where and how it is worn will be as unique as the person who wears it.

https://www.rebussignetrings.co.uk/blog/how-to-wear-your-signet-ring/

Despite my restriction to the ring finger (I want to uphold tradition in that sense) I wanted to look into the importance of ring placement and how a company such as Rebus sees the meaning of each finger. I love the idea that through simply choosing a different finger to wear your ring on you’re creating a different statement and portraying a different message. I especially love the end line “where and how it is worn will be as unique as the person who wears it. ” as I want to drive the point that each ring should be tailored to the receiver – not everyone thinks, does or wears the same thing and a wedding ring shouldn’t be any different.

ON WHICH FINGER SHOULD I WEAR THE RING?

Many women have complimented me on the Red pill rings I wear and will always ask, “what does that mean?”  I simply answer: “It means I am my own man and no one owns me.”  They love that response because it sounds very “alpha male” and they never realize I just told them that they have no hope in getting anything from me. The ring itself has meaning.  The choice of which finger to decorate with a Red pill ring is a matter of personal taste however the finger on which you wear your ring also sends it own message.

Index Finger: THE RING OF POWER: “I am ruler of my life.”

The index or “pointing” finger is the finger upon which important men like kings and ambassadors, historically wore family or association rings.  It is the ring that would be kissed.  In the movie “Lord of the Rings, Fellowship of the Ring” there is an opening battle scene wherein the Dark Lord Sauron is shown wearing the “ring of power” on his right index finger.  Frodo would also wear ‘the ring of power” on his index finger. This is the proper placement for a “ring of power.”  When pointing or directing, this symbol of power and authority is on that pointing finger.  When holding a weapon such as a sword, the ring is closest to the blade.  It is closest to the enemy.  By wearing the ring on this finger, the wearer is declaring that he is lord of his own life.  He has power over his own life.  He will not be kowtowed.

Middle Finger: THE RING OF DEFIANCE: “F— your gynocentric society.”

Displaying the middle finger has long been a sign of defiance and contempt. Going MGTOW is itself giving the finger to the gynocentric world.  Going MGTOW is showing defiance and contempt for every THOT or White Knight that would have you believe that your life has no value other than to serve as a slave.  Therefore wearing a Red pill ring on this finger seems to be a very appropriate placement.  On the practical side you can use the ring to fly people the “MGTOW BIRD.”  You don’t have to flip off a person.  Just give them a respectful salute or “tip of the hat” and let the ring highlight your middle finger and the contempt you feel.  (This is very useful in the workplace.  One MGTOW is a delivery driver and uses the ring to waive to people/customers.  If he likes them, they see the palm of his hand, if not, we waives with the back of his hand.)

Left ring finger:  THE RING OF OWNERSHIP: I am my own man.

This is the finger that our culture has reserved for the wedding ring.  When asked, “what does your wedding ring mean” a man will typically answer, “It symbolizes my dedication to my wife.”  A woman will typically answer, “It symbolizes my husband’s dedication to me.”   These attitudes are consistent with what people pay.  A man is supposed to spend 3 months salary on an engagement ring. The woman in turn buys about the cheapest ring she can find.  The wedding ring in our modern gynocentric society is a symbol of slavery.

By wearing a Redpillring on your left ring finger, you are showing that your heart, mind, and money are not open for exploitation.  You are your own man and no one owns you.  There is no room on that finger for a ring of slavery because you wear a ring of freedom.

Pinky:  THE RING OF CONFIDENCE: I laugh at your gynocentric world

The pinky ring is an understated display of elegance.  It exudes confidence and an attitude that you don’t care what other’s think or do.  It harkens back to the golden age of Hollywood when men like Cary Grant, Douglas Fairbanks, and Errol Flynn defined men’s fashion.  Following WWII and the rise of feminism pinky rings fell out of fashion and were discourage by men’s fashion consultants and fashion gurus.  These modern blue-pilled advisors believed and taught that the only jewelry a man should wear is a wedding ring.  These same sources advocated spending thousands of dollars on women’s jewelry.  (It makes perfect sense.  If a man wanted to be a good slave to a corporation, he had to display that he was a good slave to a woman.)  Wearing a Redpillring on the pinky is therefore now a subtle and defiant wink to those who would want to subjugate you.  It shows that you are silently laughing at the SIMPS and women who would try to drag you into slavery.

NOTE ON HOW TO WEAR THE SYBMOL RING:  When wearing the MGTOW symbol ring on the middle finger, the symbol should be pointed toward the fingertips.  In this way, when you lift up your hand to show the MGTOW BIRD, the symbol in facing the correct position.  When wearing the symbol on any other finger, the symbol should point up toward your arm so that in a natural position or when showing it to someone, the symbol is in the correct position.

https://www.redpillring.com/page/which-finger-do-i-use

 HE Said Yes: The Unspoken History Behind Engagement Rings and Wedding Bands

August 18, 2018

After an engagement becomes Facebook official, family members and friends of the newly betrothed couple participate in ring ogling that is so common, it seems like its own tradition. Rumor insists that diamonds are a girls’ best friend, but history has another tale to tell about its significance. When I was a little girl, I have a distinct memory of my father mentioning that you could tell a lot about a person by the presence of a ring on their finger. He told me that the ring symbolized commitment to another person, and that commitment could transcend to other pieces of that person’s life—a similar presentation of Jack Byrnes’ “Circle of Trust” in Meet the Parents.  In Western society, many believe that the engagement ring is the utmost symbol of commitment to another, and although there are some links to ancient practices, rituals, and the rumored vein to the heart, the diamond ring did not become a symbol of marital promise in the United States until after the Great Depression (Ogletree, 2010).

Once upon a time, betrothed women were protected by the Breach of Promise of Action (Brinig, 1990). This law entitled a woman whose fiancé had broken the engagement to sue him for damages, which included embarrassment, humiliation, and potential future marriage prospects—all important to women at the time since marriage was considered one of a woman’s only career opportunities (Brinig, 1990, p. 204).  Most states repealed this law in 1935, which some scholars argue created a need for “a bonding device” within society, while others simply thought that the Depression created a need for tangible assets (Brinig, 1990, p. 209). It is difficult to know for certain considering that there are little-to-no records of engagement sales from this time period. Four years later, De Beers, a diamond importing company, partnered with Ayers, a New York advertising agency, on a campaign that promised a “diamond is forever” (Brinig, 1990). Hollywood starlets were given diamonds to wear and movie scenes were scripted to include marriage proposals.

By 1965, 80% of brides chose diamond engagement rings. Today, popular wedding planning website (and a world completely unfamiliar to me),  The Knot, has pages upon pages of engagement rings organized by style (vintage, classic, elegant, glamorous, and unique) and cut (princess, asscher, cushion, emerald, heart, marquise, pear, radiant, round, and oval). These rings, exclusively advertised to women, were once a failed advertisement to men in the 1920s–well before De Beers’ campaign even ran (Howard, 2003). In 1926, jewelers across the country participated in a campaign to popularize male engagement rings–advertised as symbolic associations of masculinity situated in heterosexual tradition. Jewelers knew that in order to create a new tradition, they would have to defy the social norm that jewelry was strictly a feminine accessory (Howard, 2003).

After the Depression, a new marital trend started making its way around jewelers’ windows: wedding bands for women and men. Before World War II, most marriages took place with only one wedding band–this is largely thought because Roman Catholics only required that the bride’s ring be blessed (Howard, 2003). By 1937, etiquette books began to suggest that double-banded wedding ceremonies were more common, however, the trend did not solidify in America as a tradition until the late 1940s and early 1950s, when double ring marriages increased from 15 to 80% (Howard, 2003, p. 845).  So why did male wedding bands catch on, but male engagement rings are an often unspoken aspect of marital history? Timing.

During and after the war, marriage became a patriotic act: “The groom’s ring became tradition when marriage, weddings, and masculine domesticity became synonymous with prosperity, capitalism, and national stability” (Howard, 2003, p. 846).  Thus, jewelers could cater advertisements to men at war abroad, fighting to protect the families they left behind at home.

Today, engagement advertisements, although somewhat evolved, still reflect De Beers’ original ideology that a diamond is forever, but when 40-50% of marriages result in divorce, I am left wondering what piece of forever today’s couples are fighting to preserve (APA).

To my surprise, I found a piece of myself in The Knot–research. The Knot performs a study every two years on wedding jewelry and engagement rings entitled, “The Knot Engagement Ring Trends & Insight Report.” The most recent report released in November 2017 reveals several important takeaways:

Engagement ring spending is at an all time high;

People are spending more time researching, but looking at fewer rings;

Women are increasingly more involved in the selection of the ring and proposal;

Men care more about price, while women care more about size;

Couples desire the proposal to be filmed; and

Wedding bands rarely match.

The Knot caters its data to wedding industry providers, as opposed to those exchanging vows. The report suggests that jewelers, photographers, caterers, and wedding planners should centralize their businesses based upon data trends in order to successfully market their services to modern couples. From a marketing perspective, this rationale makes sense. As a researcher, I am left wanting more.

Historically, wedding traditions evolve and establish themselves over time. Some (the diamond ring and double wedding band) survive generations, while others (the male engagement ring) fade away into an unspoken history. It seems that most (but not all) couples embrace such traditions in a way that fulfills a marital obligation or expectation, rather than a choice. A marriage is as distinctive as the personalities of its partners. Couples not only have the prerogative to choose a style of ring, but also the power to forego tradition. A diamond ring may represent forever to America, but the success of a marriage is not dependent on the presence of a piece of jewelry.  

https://www.emilydepasse.com/eldsoul/2018/8/7/he-said-yes

RESISTANCE AND SOCIETY

Below are the definitions of resistance and society that have driven my research:

Resistance – the refusal to accept or comply with something. 1.1 The use of force or violence to oppose someone or something.
https://en.oxforddictionaries.com/definition/resistance accessed 3/19

Society – a community, nation, or broad grouping of people having common traditions, institutions, and collective activities and interests
https://www.merriam-webster.com/dictionary/society
accessed 3/19



WEEK 2

Dr. Huhana Smith’ s  MANA TAONGA AND THE MICRO WORLD OF INTRICATE RESEARCH AND FINDINGS AROUND TAONGA MAORI AT THE MUSEUM OF NEW ZEALAND TE PAPA TONGAREWA

  • Mana may also reside in people, animals, and inanimate objects, including the physical symbols of identity, such as personal taonga held in museum collections.
  • In Glenis’s case, adornments like the hei tiki have ancestral or personal significance to the whanau. This taonga has been charged with the tapu and mana of revered ancestors and has acquired the history and vitality of each succeeding person within the generation who wears and looks after them. For Glenis, this taonga is not a possession or seen as her own property. As kaitiaki she holds this treasure in trust for future generations, responsible for preserving the knowledge of stories or events, associated with it.

Case studies of resistance and society

White roses at the Grammy’s for ‘Time’s Up’

White roses and black velvet: the Grammys red carpet

Monochrome dominated the award ceremony last night, as politics remained fashionable for celebrities

Lauren Cochrane

Mon 29 Jan 2018 09.31 GMTLast modified on Mon 2 Jul 2018 14.50 BSTShares

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miley cyrus

On the Grammys red carpet on Sunday, celebrities spelt out messages in black and white. While the Golden Globes earlier this month saw black dominate as a protest in line with the Times Up campaign, music’s biggest award ceremony switched to monochrome as default setting. 

Some stuck to the black dress code, such as Miley Cyrus, Beyoncé, Lady Gaga and Sarah Silverman.

Rita Ora at the Grammys

Others went for the impact of white. SZA, Cardi B and Childish Gambino were in this camp, while Lana Del Rey took the angelic angle further. She wore a gown embroidered with silver stars, accessorised with a halo.

SZA at the Grammys.

Some celebrities carried white roses with them, with men including Kendrick Lamar and Trevor Noah pinning them to their lapels, and Cyrus licking hers with that famous tongue.

Kendrick Lamar with white rose, Grammy and Rihanna.

This was a campaign in support of the Times Up initiative. The rose idea was pushed by Meg Harkins, senior vice president of marketing at Roc Nation, Karen Rait, head of rhythm promotions at Interscope Geffen A&M Records, and other high-profile women in the music industry. “We all agreed it was really necessary,” Harkins said. “We’ve all felt the political and cultural change in the last couple of months.” In an email sent to attendees of the Grammys, the collective explained their choice of the flower. “We choose the white rose because historically it stands for hope, peace, sympathy and resistance,” it read.

Kesha and friends in white on stage at the Grammys.

The colour white, of course, represents peace, but it is also has history in the women’s movement. White was one of the trio of colours adopted by the suffragette movement, along with green and purple; white stood for purity. Hillary Clinton’s white pantsuit, which she wore to accept the nomination as Democratic candidate for the 2016 election, was seen making a feminist statement

Beyoncé, never one to miss an opportunity to win at visual statements, skipped the red carpet and the white rose, but her six-year-old daughter, Blue Ivy, was dressed in head-to-toe white. Kesha – an artist who has firsthand experience of sexual misconduct – performed all in white, with a supporting cast including Cyndi Lauper and Camilla Cabelo also in the colour.

Other microtrends were noted too – there was an upswing of trousers for women, with Janelle Monae, Anna Kendrick and Kesha wearing them. This in itself is a protest against the pageant-y end of the red carpet. Burgundy seemed to be a sleeper colour, worn by both multiple winner Bruno Mars and Hillary Clinton during an onscreen cameo. Rihanna saw the opportunity to wear three outfits – a brown PVC wrap dress, pink slipdress and black and gold metallic co-ords.

White roses might be more discreet, and politics might have been less in the foreground for fashion at the Grammys, but the 2018 red carpet remains a place where protest can be signposted. These visual statements arguably stand with the signs on the Women’s March last weekend. As images that will be broadcast around the world, the optics are undeniable. This award season, a political issue remains the best accessory.

https://www.theguardian.com/fashion/2018/jan/29/white-roses-and-black-velvet-the-grammys-red-carpet

This article is a case study for fashion pushing resistance in society as it is based off of the symbolism of white and the importance of the participants who are well known celebrities throughout the world. It shows that through something as small as a rose can create a buzz around topics that people tend to avoid (Time’s Up is a campaign against sexual assault). I like the idea of collaboration and community resulting in the propelling of my ideals – this could be something to look more into.

When Resistance turned into Fashion

An exhibition in Paris explores the art and craft of recycling and creating fashion showcasing accessories from the Second World War.

When Resistance turned into Fashion

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Crisis and recession have undoubtedly been the most used words over the last few months by the global media. But fashion already proved of being resistant to such things in worst times: trends and styles emerged even during the Second World War when fabric rationing limited the amount of material that could be used to make clothes. Yet in Paris glamour was still alive and women were still stylish, thanks to clothes and accessories created using new and unusual materials or recycling old ones.  

A recently opened exhibition at Paris’ Mémorial du Maréchal Leclerc de Hauteclocque et de la Libération de Paris-Musée Jean Moulin chronicles the changes that went through fashion accessories during the Second World War. Organised in association with the Galliera City of Paris Fashion Museum, the event “Accessories and Artefacts: Women’s Lives in Paris 1940-1944” showcases 300 items from the Galliera archives and from public and private collections.

While most of the items displayed show the importance of “utility wear” with pieces that could help shielding from the cold, standing for hours outside the shops or carrying a gas mask, there are also accessories that show how being low on resources, French women were high on resourcefulness. Indeed, though many platform shoes, bags or hats displayed wouldn’t look unfashionable if worn in 2009, the materials used to make them – from recycled leather to cashmere shawls, from felt to raffia, newspapers and even car tyres – reveal they belong to other times, when people had to cope with chronic shortages of specific materials. 

Among the items displayed there are also pieces that have different functions and political meanings: scarves by silk factory Colcombet with Marshal Pétain’s portrait were used as propaganda for the Vichy government, while those with a printed map of France were employed by the Allied aviators parachuted into occupied territory; bags with false bottoms were perfect to hide Resistance leaflets and a pair of chamois leather sandals with the Allied flags by Di Mauro celebrated instead the liberation of Paris.  

Maintaining a sense of beauty and glamour may have been difficult when worn-out upholstery was used to make items of clothing and wood shavings were incorporated into hats, but women tried all the same to aesthetically please, as a straw turban by Jeanne Lanvin and Dunand’s sandals in violet taffetas with a wooden platform carved with a beautiful swirling motif prove. Three rare hats by Jewish milliner Fanny Berger, deported to Auschwitz where she died in the gas chambers in 1943, are also on display in the exhibition.

The accessories showcased are accompanied by photos, fashion magazines, newsreels and sheet music for popular songs that help putting into context the pieces displayed. Among the materials there is also a sketchbook of hats sent by a designer from prison to couturier Lucien Lelong. The sketchbook is an indirect reference to the fact that, during the German occupation of France when Hitler wanted to transport the Paris couture to Berlin or Vienna, Lucien Lelong, President of the Chambre Syndicale de la Haute Couture, together with the General Secretary Daniel Gorin, managed to persuade the Germans that French couture wouldn’t have been able to operate on alien soil. Couture was indeed made up of many different industries, comprising milliners, embroiderers, corsetiers and shoemakers just to mention a few, and it wouldn’t have been possible to move them all.

After the liberation, Parisian fashion re-established its prestige and the last displays of the exhibition show exactly this, how couture came through with flying colours and leading designers and fashion houses breathed new life into the industry. The final message of this interesting exhibition is to show how, even in tragic times, fashion and style remained two essential aspects in the life of Parisians. Maybe if we could only apply a bit of the endless inventiveness designers, tradesmen, manufacturers and ordinary women showed during the Second World War, we could all pull through our financially bleak times and bring a renewed spirit to the world of fashion.     

“Accessories and Artefacts: Women’s Lives in Paris 1940-1944” is at the Mémorial-Musée Jean Moulin, Paris, France, until 15th November 2009. 

https://www.dazeddigital.com/fashion/article/3491/1/when-resistance-turned-into-fashion

I love this as a case study for resistance and society as it shows that even during the most dire of times we can still push ourselves to be resourceful and can continue to reuse old items. I am definitely interested in pushing the idea of reuse – such as Parisians did in WWII. While the western world isn’t currently facing war on our own shores – we are creating it in other places to satisfy our apparently undying thirst for blood – we are living in a space where everything we do or say can create huge social, political, economic and environmental fallout. Our need to be more cautious can push us towards recycling old “waste” jewelry to create new memories for now.

WEEK 1

Whatu Kakahu – mana and taonga and what it means in relation to clothing

  • Kakahu are more than mere items of clothing. They not only serve a functional purpose but are also physical manifestations of tribal pride and status.
  • kakahu - high regard Maori have for these taonga.
  • imbued with the mana of both the maker and the wearer, and often that of the whanau, hapu or iwi. The belief that these prestigious garments convey power and authority has been retained up to the present time and is evident at both Maori and non-Maori functions. Kakahu are worn at significant public and personal occasions such as powhiri or official welcomes, important birthdays, weddings, graduations, signings of Treaty of Waitangi settlements, and draped over coffins as tupapaku, the loved ones, lie in state.
  • generations of wear
  • Having the correct attire was crucial in portraying status and mana, as the proverb below shows. Tama-te-rangi, a Ngati Kahungunu chief, married Hinerangi, a woman unable or too lazy to weave. Tama-te-rangi was requested by his people to conduct the ritual blessing of his war party but did not have garments befitting the role
  • kiwi-feather cloak, becoming the prestige garment of the twentieth century. Birds are the children of Tane and their connection to atua, as well as their ability to change form and their accompanying mythological stories, are all qualities that are valued within Maori tradition
  •  most common use of kakahu today is in placing them over the caskets of loved ones who have passed on. T his is a symbolic gesture, of keeping loved ones warm and under spiritual protection in preparation for their final journey along the pathway towards their ancestors
  •  mana of these taonga shines through in their inherent splendour and the expertise used to make them. Function and symbolism, status of the wearer, skill of the weaver, precious and modern materials, and traditional and borrowed techniques add to the significance of each individual cloak, telling a story of artistic and cultural achievement
    
    HOW THIS HELPS MY RESEARCH

My aim is to push wedding rings back to their natural roots – something embedded with symbolism and promise – and to move it away from the consumer driven entities they’ve become. Marriage is meant to symbolism eternal love but now is focused towards how many carats and rings below a certain size have become “unacceptable”. I want to resist this new age ideal and remind western society that a ring is meant to be driven by purpose not by how much money you have on your ring finger. As is with a kakahu I want rings to be a taonga, driven by symbolism and each to tell a story of the individuals who are in love. Rings have become replicas.

Fashion Futuring in the Anthropocene

  • Anthropocene describes our current geological era, in which human activity has grown to become a planetary force.
  • technooptimists, propose a future in which cleaner technologies can lead to the gradual evolution of a better industry. In contrast, fashion’s Soterians take a cautionary approach, and seek to unbind fashion from the unsustainable growth imperative of capitalism itself. Under these two, the definition of “sustainable fashion” may differ, but, critically, their dialogue will shape the direction of fashion.
  • techno-enabled cornucopian future, the fashion industry embraces wearable technology, speed, and efficiency. Technologies such as waterless dyeing, 3D printing, and self-cleaning garments potentially shift fashion into a new era of cleaner production
  •  views of Latour and Brand align with post-environmentalism, which acknowledges that attempts to “save the environment” or “save the planet” have failed, and we cannot return to the stable Holocene environment
  • Like many others, Maynard (2014) notes that the concepts of “fashion” and “sustainability” are at odds, and Black and Eckert (2010) describe this as the “fashion paradox” in which fashion’s economic importance is in contrast to its social and environmental ills

What does dress mean?

  • What we should be
  • Pressure
  • What do I like – who am I dressing for
  • Opinion
  • Sense of self
  • Confidence/lack of
  • Identity

What do we need to consider if Utopian Bodies was to come to NZ

  • How we wear clothes – what colours and shapes are we drawn to?
  • Maori culture
  • What drives us?
  • What are New Zealander’s fearful of?
  • What negative impacts does New Zealand have on the world and its environment?
  • How do we interact with the environment – what are we dependant on?
  • How are we self-sufficient, how are we destroying the planet?
  • What is New Zealand’s art scene?

The history of my silver ring

When I was 14 or 15 my Mother made me attend a course called tides – it was meant to symbolise the movement from girl to woman and consisted of things like manic dancing in a forest and being trapped in sweat lodges under the earth where people shoveled steaming coals. I think this was an attempt to help me make friends as I had spent most of my youth in isolation. It didn’t work. When the course ended my mother presented me with a ring, a small, silver band of stars that varied in size with Zoe & Morgan stamped inside. I loved this ring with all of my being, I was never without it – perhaps it became a part of me. When I was forced into hospital, at 16, just days before Christmas I was told I couldn’t take the ring. The points of the star were too sharp and I or another inpatient could hurt ourselves with it, so I gave it to my friend. She blessed the ring under the moonlight and wore it tied around her neck. Then she lost it. At that point I felt another piece of my being leave. I’ve never loved an item more – material goods are easy enough to replace but sentiment is not.

Here’s the history·

  • The earliest use of the ring in the civilized world seems to have been in making impressions or imprints upon wax or clay. This ring, then, was used to designate ownership. It was normally too large to be worn upon the finger, and was sometimes a part of a bracelet or necklace, or just attached to the waist by a thong or a cord.
  • By the sixteenth century BC finger rings were noted among the ancient Egyptians, which leads some to believe that this was about the time when the finger ring evolved from the signet ring, which was used as a seal.8
  • The Persians had conquered Babylon, and therefore may have gotten the ring from Babylon.
  • Others ascribe the ring to the Phoenicians. But the Phoenicians were sea traders, and were most likely responsible for merely spreading the use of rings throughout the Mediterranean.
  • The ring probably went from the Babylonians and Persians to the Greeks. From the Greeks it went to the Etruscans in Italy, and then finally to the Romans, from whom we in the West have gotten our basic custom of wedding rings.
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