Showing posts with label fashion show. Show all posts
Showing posts with label fashion show. Show all posts

11.12.2007

Fashion show fights against slavery

When Jennifer Kimball began to research human trafficking for a school project, the more she learned, the more she was horrified.

"People are bought, sold, moved around. There are forced rapes," said Kimball, a University of Missouri-Columbia student. "There are two forms: sexual exploitation … and forced labor. These can be children. They can’t leave, can’t say no, they don’t get paid. They are told their families will be killed or injured."

With the knowledge that modern-day slavery is taking place overseas and in America, Kimball decided to do more. Along with other MU Women’s and Gender Studies Undergraduate Group members, she helped organize "Stop Traffic Now," an organization to combat the practice of trafficking.

The group tonight will host a fashion show to raise awareness and money for their three-day human trafficking conference scheduled in March. Some proceeds also will benefit The Shelter, a home for victims of domestic violence.

According to the U.S. Department of State, 600,000 to 800,000 people are trafficked across international borders, and millions more are enslaved in their own countries. About 80 percent of victims are women, and about 50 percent are minors.

Jill Hilbrenner, an MU journalism major, also helped organize the show. She said many trafficked people venture to a prosperous nation to help their families financially, but upon arrival they are held against their will and not paid for their work.

"A lot of people don’t even know it happens, and it’s not just something that happens elsewhere," Kimball said. "As citizens of Columbia, there is something we can do."

Kimball and other organizers have been working on the fashion show since the summer. They e-mailed students in the Textile and Apparel Management Department to recruit designers.

When Ashley Allen, 21, read the e-mail, she began to research human trafficking. "It really surprised me," she said, noting that she has seen pictures of workers chained to sewing machines. "Just being in college, I’m kind of in my own little bubble. The fact that I’m going to be in this industry and the textile industry is a main area" for trafficking "into sweatshops, that bothers me."

Allen has four pieces in the show, including two children’s outfits. One is a red-and-white outfit, using colors in the national flags of Singapore, Cambodia and Malaysia, which are hotbeds of human trafficking. On the jean Capri pants, she sewed the word "Kebebasan," Malayan for "freedom."

A T-shirt Allen designed features the phrase, "Mothers, daughters, sisters, cousins should be free to work, free to laugh, free to dream and free to be."

MU student Jaclyn Marcacci features her three-piece "Strictly Unrestricted" line, which shows a transition from rags to riches, symbolizing a survivor’s journey.

Designers and organizers said they hope the show will raise awareness of an underreported problem.

"It is a really big deal, not just internationally, but domestically," Marcacci said. "It needs to be stopped. It needs to be ended."

Kimball said interested people can also register for the March conference at www.stoptrafficnow.com.

"As human beings, we need to know and be aware that these atrocities are going on, especially in our own community," she said, adding that some trafficked women come to Missouri under the pretext of mail-order brides. "I can’t understand how you couldn’t care."

10.11.2007

The Hi-Lo Country

Few members of today's art world embody the tensions between glamour and artistic integrity as surely as British-born, New York-based critic and curator Neville Wakefield. Which is why Wakefield was a natural choice to curate the fifth Frieze Projects (which, along with the rest of the Frieze, gets underway tomorrow), and why his goal is to remind us that art fairs aren't only about sales and high-profile buyers; the art is also worth paying attention to. He practices a souped-up form of scholarship, combining mass and high culture, uptown and downtown style, art and fashion. He has been a contributing editor to such varied publications as Another Magazine and the academic journal Open City, and is the author of scholarly books on fashion photography and postmodern theory and a contributing photo editor at Visionaire.

Why do you think the relationship between fashion and art is consistently so interesting to critics and curators?
The art/fashion duet is always fascinating, and I think critics and curators are attentive to it in part to see who's taking the lead. The art calendar has come to resemble the fashion calendar, with major destination events taking place almost according to seasons. Now you are just as likely to see Stefano Pilati or Marc Jacobs at a fair or biennial as you are to see Elizabeth Peyton or Rachel Feinstein at a fashion show. But essentially it's not about either fashion or art. It's simply that the lamp of wealth and commerce attracts moths of all colors and what's interesting is the nature of the dance.

Do you believe in a high/ low hierarchy between art and fashion?
I don't know whether I believe in a hierarchy, but I do know that generally I'm not interested in art that is worn as fashion or fashion that is fetishized as art. To me they are different entities with very different roles. Even couture, which is perhaps closest to art in its intent, is ultimately about design and not, as I believe art to be, about transcendence.

How did you select the works you'll show in Frieze Projects?
I was interested in commissioning work that in one way or another engaged with the conditions of the fair itself and what it means to show work in such intense hothouse conditions. The responses ranged from the spectacular—Richard Prince's take on the fair as a yard sale for rich people—to the beautifully elusive work of Mario Garcia Torres, who is this year's recipient of the Cartier Award.

How is curating for Frieze different than selecting work for a more conventional exhibition space?
It's an entirely different process from putting on something in a white cube. Not only does the work have to be able to survive and be seen in an environment that is continually vying for your attention, it also has to meet the health and safety requirements of an event that attracts over 60,000 people. For instance, one proposal that we took seriously was a cattle grid installed across the entranceway. It was meant to be a riff on the stampede to collect, its underlying herd mentality, and the demarcation of the English countryside but in the end just couldn't be done.

How is Frieze different from other fairs?
What distinguishes Frieze from other art fairs is that it was founded on a critical rather than commercial culture. This feeds into nearly every aspect of the Fair, from the pavilion designed by architect Jamie Fobert in Regent's Park to the fiercely independent curatorial program. The FAF is greater than the sum of its commercial parts—it's both bellwether and overview of what's going on in the international art world.

—Ana Finel Honigman
Photo: David Velasco/Artforum.com
Wednesday, October 10, 2007 03:02 PM