![]()
Approaches to modelling and display
In the introduction I discussed the idea that artwork based on clothing is inevitably also about the body, and it is this reference to the presence or absence of the body that can give clues to how such pieces may be displayed, and therefore the design necessary to allow the chosen display method to function.
I would suggest that globally there are two methods of displaying three-dimensional unwearable clothes and corsets, and that is very simply the presence or absence of a representation of the body.
In the first instance some sort of dummy or mannequin could be used as a support to represent the body as a presence. The mannequin could also be worked upon and become part of the piece, or it could be quite simple, a faceless plastic body that almost implies absence, or at least an absence of person, even if the physical body is present. The use of a mannequin may imply ownership of the corset, as in a shop or museum where the body inside is necessarily not that of the spectator.
In the second instance the garment or corset is allowed to define the space from which the body is absent by using some sort of pedestal, or creating a means of hanging the corset or garment in the air. The artwork of the corset stands on its own, but its shape can be more easily perceived, and the exaggeration of form or thinness more easily appreciated. The absence of the body will implicate the spectator further into the piece, transferring her own body into the space that has been left with the impossibility, discomfort or eroticism that this action implies. The result may be even more destabilising: the mannequin represented a real woman, and now nothing is represented except some imaginary concept. Dangerous ground for the sexual imagination.
Textile sculptural corsets
Although it may seem quite automatic to make a textile-based corset wearable, there are materials, inclusions or methods of construction that preclude this possibility. The following considerations should be taken into account when choosing if a textile corset is to be a sculptural or wearable item.
The Bride’s Corset by Val Holmes, made from machine-stitching cotton scrim and lace onto a shrinking fabric.
The choice of materials
Certain fabrics may be difficult to clean or too delicate to be worn. The fabric used for the construction method itself may pose a problem. The Bride’s Corset, shown left, is constructed on hot-water soluble fabric that has been sprayed with cold water instead of being dipped in hot water. This causes the hot-water soluble fabric to shrink, causing ripples in the fabrics that have been stitched to it. If left in water the soluble fabric will simply disappear and the shrinking effect with it. Furthermore, The Bride’s Corset is modelled onto chicken wire and then lined in order to keep its shape, so it is completely unwearable. Similar effects can be achieved by heating certain plastics with a heat gun. The plastic would be unpleasant to wear, but a lining could be used to allow for the piece to be worn.
Sous le Corset il y a un Corps (There is a Body Underneath the Corset) by Marie-Claire Buffeteau.
The use of colouring matter
Although fabric coloured with a reasonable amount of acrylic paint can be gently washed, the use of rich pigments and multi-media surfaces may preclude this possibility. An interesting, heavily built up, multi-media surface may simply be too fragile to clean, or too delicate to be worn. Any corset that is to be worn and then washed will require dyeing or colouration that is thorough and lasting.
Sous le Corset il y a un Corps by Marie-Claire Buffeteau
Marie-Claire Buffeteau uses Procion dyes in a lot of her work, so with Procion dye she tried to colour the Lutradur. The dye slipped over the surface and didn’t colour it in a uniform way. It was this that made her think of skin. She created the pattern of the corset herself, and in fact it is potentially wearable, although it is not washable. The surface of the corset has a variety of dyed and coloured materials, including wool fibres, felted mulberry paper and lace; these are applied and stitched by hand and machine. The corset is lined with cotton fabric that has also been dyed.
The corset was made after Marie-Claire had produced a series of pots using Lutradur; the final one was based on a corset (shown right).
Pot by Marie-Claire Buffeteau.
Construction or modelling details
A good example of something that makes a corset difficult to wear is the use of heat-treated materials. When heavily burned with a heat tool, synthetic felts, Lutradur or synthetic organdie can become quite rough and hard. If care is not taken, under the arms for example, such a corset could quickly become quite uncomfortable to wear. When making a wearable corset it is necessary to consider not only how to make the lining against the body comfortable and wearable, but also the outside of the corset where the body will touch it, or a wearable corset could become an unwearable one. A sculptural corset does not have to adhere to these considerations.
There’s a telling quote from The Sylph by Georgiana Cavendish, Duchess of Devonshire, a novel written as a series of letters in 1778: ‘My gentlewoman’s gentlewoman broke two laces in endeavouring to draw my new French stays close. You know I am naturally small at bottom but now you might literally span me. You never saw such a doll. Then, they are so intolerably wide across the breast that my arms are absolutely sore with them; and my sides so pinched! – But it is the “ton”; and pride feels no pain. It is with these sentiments the ladies of the present age heal their wounds; to be admired, is a sufficient balsam.’
Encased by Shirlee McGuire. Three mixed-media miniature corsets in a box, hand painted and stitched papier mâché, beading, vintage lace, velvet trim, chains, silk net and photo transfer.
I love the tone (or should I say ‘ton’?) of this quote. But we are less used to dressing uncomfortably these days!
The size of the finished corset
This may seem like an obvious consideration, but the chosen size of a corset may be important for its intended conceptual impact. The availability of the materials, or techniques used may dictate a certain size. Miniature corsets or a collection of the same could allow for a broader look at a set of ideas. Working in oversize for an installation or sculpture may also bring interesting responses, so size is important.
Shirlee McGuire has enjoyed using scraps of paper, lace, chains and stitching to create a collection of miniature corsets (see here).
The conceptual element
Inclusions, fabric choices, colouring materials and construction details may have their part to play in deciding whether the corset should be wearable or not, but the overall impact of a conceptual corset presented as a sculptural piece may be more imposing than a garment that is simply worn. The decision will ultimately be that of the maker. The presentation of such a corset will also be important, taking into consideration the representation of the body, and therefore its presence; or the descriptive absence of the body.
Sculptural paper corsets
Paper is a fantastic material for three-dimensional fibre art. Some papers respond well to being sewn together just as a fabric; others can be embroidered with or without a support. Paper can be sculpted when dry or wet or used as papier mâché. Homemade paper can be sculpted around a form and left to dry to become a sculptural object. Paper can be included with textiles to make un-wearable or just-about-wearable art. The possibilities are endless. Much of my own research with corsets and that of my students has centred on paper used in many different ways. There are artists using this medium to make limited-use wearable items too (see here, for example).
Paper used in stitched constructions
Some papers respond very well to stitching without too much danger of breaking up if the stitches are big enough, and the holes, therefore...
