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Now. When is ‘now’?

Was it yesterday? Tomorrow?

In a week from now? What is now?

Now? I get lost in places I’ve already been,

Now? I fear anything comfortable, settling in

It all drifts by like.. never ending,

Here and there, a circular motion of.. never ending

When does it stop? Now?

When is now?

I have no place, no place I have now,

Holding onto an idea it all ends well,

But only just hanging onto what I have now,

When does it stop?

Please be now!

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Login to see your complete body of work on Padlet.

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Login to see your complete body of work on Padlet.

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https://artslondon.padlet.org/jwheatley02202211/c1pa1q8crp7jh9w1

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https://artslondon.padlet.org/lpaton0320221/zlqxm82ewqf71jzk

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I’m looking at the people appearance from Victorian time to 21st century because the today we are living is dramatically changing over time whether it’s a looks or people:
These are the some website I found in the internet about how people used to dress up in the Victorian time;
https://eu.detroitnews.com/story/news/local/michigan-history/2016/01/23/diet-exercise-th-century-detroit/79242306/

Thank https://en.wikipedia.org/wiki/History_of_fashion_design

http://www.vam.ac.uk/content/articles/i/introduction-to-19th-century-fashion/

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n the early 20th century, the first professional fashion models were called "living mannequins". They took their name from their 19th-century predecessors, the display mannequins used by dressmakers. The term suggested that these early models were no more than animated dolls, and this was born out in reality. Uniform in their mechanical modelling styles and standardised body shapes, they stared glassily ahead, paying no attention to onlookers. One critic in 1910 described their "industrial smiles". Forbidden to speak unless spoken to, when asked by the client, "What is your name?" the living mannequin would answer not with her own name but that of the so-called model dress she wore: Pleasures of Love, or The First Yes, perhaps. Resembling both a talking dress and the inanimate mannequin she mimicked, the fashion model cut a disturbing and uncanny figure in the luxurious couture salons of Paris.

Mannequins in Parisian couturiers in 1900. Photograph: Apic/Rue des Archives/PVDE

Among the first women to go uncorseted in the early 1900s, fashion models were slender and supple, but nowhere near as thin as today's models. The fashionable ideal remained statuesque until 1910-14 when it became tall and willowy, in tandem with the burgeoning craze for dance and sport. The new, slimmer silhouette was spearheaded by professional models whose narrow skirts and flimsy fabrics put the body on display in novel ways. Then as now, both journalists and the public complained that models bore no relation to ordinary women. The British designer Lucile advertised in an American newspaper for "the thinnest model in the world" to drape in heavy fabrics. She found "Arjamand", described by Lucile's assistant as "a slender, swaying reed, so thin, I often feared, as I watched her pace the long rooms in the divinely draped brocaded gowns, she would bend, then break, and dissolve into a graceful, luxurious heap upon the floor". Far from it: Arjamand so hated being thin that she was on a constant diet to gain weight.

Miss Diane Furse, daughter of General Sir William Furse models a bridal gown at the Mannequin Parade in London in 1925. Photograph: Kirby/Getty Images

In 1920s, New York, the uptown retail stores employed svelte models while the downtown wholesalers used fuller-figured ones, especially to model fashions for "stouts". As with display dummies, the first fashion models represented a range of body shapes and sizes, but these were standardised to correspond with the increasing standardisation of mass-produced clothing sizes. In Paris, Coco Chanel chose models in her own, slender, image, even fitting the fuller-figured ones with a whale-boned brassiere to flatten their bosoms. The fashion for extremely thin and androgynous models lasted from 1924-8, peaking in 1926. After that, the press announced that "boyish form is passé", spurning the stick-thin flapper. One Paris newspaper contained an apocryphal account of 200 mannequins who had lost their jobs because they were too thin. But, in reality, the slender ideal was well established by the late 1920s and has varied only slightly in the intervening decades. (In fact, the first calls for a slenderised body came not from fashion designers but from doctors who attempted to make a medical case for dieting from before the first world war.)

By the 1920s fashion writers were generally advocating a slimmer figure. Presaging today's fashion for a lean and youthful physique, the Countess de Noailles wrote in 1926, "our epoch favours the appearance of permanent youth".

Evening gowns being modelled at the Home Exhibition, Olympia in 1922. Photograph: Topical Press Agency/Getty Images

Clearly, the debates about models' bodies and their influence on the rest of the population have been raging for more than a hundred years. In all this time, while it has often been asserted that skinny models are the cause of extreme dieting and exercise in pursuit of a slim, toned, and youthful-looking body - and in recent decades whether models' bodies inspire eating disorders - there is little hard data to support the claim, and we still await a definitive, scientific study. There is unarguably a relationship, but whether it is causal is moot. As the fashion sociologist Agnès Rocamora says, "While images of thin women may well influence us to desire certain clothes, and even thin bodies, whether that translates into actual eating disorders is another issue. I don't know if it's ever possible to substantiate."

Caroline Evans is a professor of fashion history and theory at Central Saint Martins, London, and the author of The Mechanical Smile: Modernism and the First Fashion Shows 1900-1929 (Yale University Press, 2013). She is contributing a podcast on fashion models and display mannequins for the Fitzwilliam Museum exhibition Silent Partners, which is open until 25 January, and explores the history of the artist's mannequin from the Renaissance to present day.

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Are models too skinny? The debate fashion has been having since 1900

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n the early 20th century, the first professional fashion models were called "living mannequins". They took their name from their 19th-century predecessors, the display mannequins used by dressmakers. The term suggested that these early models were no more than animated dolls, and this was born out in reality.

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Lecture day
NOTES:

Padlock- development of your thoughts and how your works and thoughts changes over time.

(PDF)

Everything I look into

everyday workout_ artist I look into-books and experiment I did.

Document the all experimental in the studio + record all the galleries I have visited.

Unit 1= submission of all deadlines 28th Oct!

Shannon Bono-Talk

Africa- different view and exception

Self empowered

Support to get into creative zone.

Family pressure

Picasso artist

black looks race and representation (book)

Black feminist thought (book)

met many African people and artists to connect more and create a comfort zone into art industry.

She is also inspired by her art teacher whose work is based on African as well.

Lot of her work was inspired by other people?

MA -Selfdirect

went to UAL CSM talk- black women academy- encourage her to continue her art-career.

Experimental with many media- while study at csm

Used her own images to show(black WO man) to create strong connection into her work.

Womanism is ?

- Oxford museum* - mask-man day traditional- different view can lead to different stories.

Men day- grab young ladies- many her relatives went through this men days as well which leads her work more personal- to understand more about her culture she discussed with her family.

her mom reaction different than the museum lady.

Own bonda* face mask

Oversexulise - black woman body - try to understand black woman body

Her work:

David Hammons:

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This is what I am seeing every day.

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Fashionable lady of the era:
portrait by Giovanni Boldini (1845-1931)- the most fashionable portrait painter in Paris in the late 19th century, with a dashing style of painting which shows some Macchiaioli influence and a brio reminiscent of the work of younger artists, such as John Singer Sargent and Paul Helleu. Also his works are also recognisable for the subjects’ exaggerated pointed chins, bow-like red lips, elegant noses, and lithe hands and fingers held at jaunty angles.

"The outfits worn by fashionable women of during the Belle Époque (1871-1914) were strikingly similar to those worn in the heyday of the fashion pioneer Charles Worth. By the end of the 19th century, the horizons of the fashion industry had broadened, due to the more stable and independent lifestyles of well-off women and the practical clothes they demanded. However, the fashions of the Belle Époque still retained the elaborate, upholstered style of the 19th century. The changing of fashion was unthinkable, so the use of different trimmings was all that distinguished clothing from one season to the next."

Her beautiful bright orange gown with red lipstick steal all my attention and the painting looks full of life; I love the way how he uses loose, and flowing brushstrokes at back which make the main character visual more beautifully.

I repainted painted this beautiful lady the way I want it on cardboard because I'm love experiencing with new material and love creating extra texture in it, and living in a new environment showing me new ideas and feeling for my artwork that I can't express them in word but keep painting them to indicate my inner emotions and view.

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Books I look into and some painting I got inspired by the books.

And some picture I took during Tate Britain exhibition.

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writing down everything before starting.
Making quick notes of my experience and sketching/ painting.