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The Threads, Trends and Threats of the Wedding Dress: a Collaborative, Studio-Based

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The Threads, Trends and Threats of the Wedding Dress: a Collaborative, Studio-Based The Threads, Trends and Threats of the Wedding Dress: A Collaborative, Studio-based Dissertation María Ezcurra Lucotti A Thesis in the Department of Art Education Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy (Art Education) at Concordia University Montreal, Québec, Canada February 2016 © Maria Ezcurra Lucotti, 2016 ii Abstract The Threads, Trends and Threats of the Wedding Dress Maria Ezcurra Lucotti, Ph.D. in Art Education Concordia University, 2016 A multi-faceted, collaborative studio-based project of doctoral research-creation, this thesis uses art, text, textiles, photographs and the body to explore how visual culture participates through dress in the creation of female stereotypes and, as an informal educative practice, contributes to the definition of feminine identities. It is centred on the participation of 19 women who guided the artistic transformation of wedding dresses to represent their different notions of marriage. This project allowed participants to experience the research-creation inquiry in both personal and social contexts, responding creatively through visual, material and embodied thinking. Conceptualizing and representing our experiences through dress and text, we developed new understandings about close relationships and community through imagination and intellect. Brides function here as representative stereotypes of femininity, while wedding dresses work as a metaphor for marriage in exploring the restraining symbolisms hidden in the form of tradition that certain current cultural and social rituals have for women. Based on collaborative research-creation processes and supported by inclusive ethnographic methods, this thesis intends to develop new understandings and awareness about the connection of fashion and popular visual culture to the ways women learn and generate meaning. The project was inspired by “Trash the Dress” (TTD) wedding photography, a relatively new and increasingly popular practice in North America which shows brides wearing their white dress in an environment outside of the traditional wedding context, damaging or destroying it, or even exposing themselves during the session—a cultural phenomenon just now beginning to attract the attention of theorists, scholars and iii artists. Through collaborative artistic processes, this project explores how femininity is influenced by popular and media representations of women as brides, considering personal issues related to love, commitment, family, tradition, and religion, and also the social challenges, responsibilities and negotiations that women face in conjugal relationships. Based on visual and textual analyses of participants’ transformed and embodied dresses and their responses to survey questions, the thesis concludes that working in collaboration with others can provide a context for personal learning and social growth, allowing participants to creatively explore their experiences together and to discuss and develop new ideas. Thus, The Threads, Trends and Threats of the Wedding Dress considers close relationships and love both as our subject of study and as a strategy to create new knowledge and ways of knowing through art-education in ways that allow for compassion, awareness and humanization. Keywords: collaborative artmaking, feminist art education, research-creation, wedding dress, women’s informal learning. iv Acknowledgements This dissertation would not have been possible without the generous collaboration of many people who contributed their time, ideas, creative processes, reflections and support. I would like to thank: The 18 women who participated in this research-creation: Anne Pilon, Carmen Giménez Cacho, Claudia Vega, Daniela Ortiz, Denisse Horcasitas, Des, Flavia Hevia, Gen & Gina, Jessie, Lee Lapaix, Nati Vega, Norma Vite, Paula, Rosa, Sara, Tina and Zacy. Without their generous support and keen collaborations this project wouldn’t have been possible. ¡Muchas gracias queridas amigas! Dr. Kathleen Vaughan, my Ph.D. advisor. For guiding my research-creation with a kind but rigorous approach, understanding the advantages, complexities and conflicts with which I deal as an artist working in an academic setting. Her keen guidance has been essential for my growth as a student, artist, researcher, and educator in Montreal. She has actually been a central aspect of my growth as a person, and for that, I am deeply thankful. My committee, for their generous comments and supportive advice. Dr. Juan Carlos Castro, whose input and encouragement throughout my time in the Department of Art Education has always been a big support. Dr. Richard Lachapelle, in whose courses and through his keen guidance I defined many of the ideas I developed in this dissertation. Kelly Thompson, for her generosity, expertise and advise. Dr. Claudia Mitchell, whose ideas have allowed me to feel more comfortable embodying my own understandings of art as research. The Department of Art Education at Concordia University, for opening its doors to new ways of knowing. For the remarkable people that conforms it and their commitment to teaching. Also, this project has been possible thanks to the generous funding support provided by Concordia University through the International Tuition Fee Remission Award, the Power Corporation of v Canada Graduate Fellowship and the Fine Arts Travel Award Program. I am also deeply thankful to the Fonds de recherche du Québec – Société et culture in Canada, and to the Fundación Jumex Arte Contemporáneo in Mexico. I want to sincerely thank the Universidad Autónoma del Estado de Morelos for their encouragement and support to pursue this doctoral adventure. Concordia’s Loyola Chapel and Helen Downie, for lending me such a wonderful location to take the photographs. Concordia’s Hexagram, and particularly Josée Hamelin, for the technical and material support to print the project’s final pictures on silk. Elvia Uribe, for the many stitches she helped me to do for this project. La Maison de la Culture de Notre-Dame-de-Grâce for the exhibiting the final series of pictures in Fils, tendances et dangers / Threads, Trends and Threats. And to Scott McLeod for introducing them (and so many other spaces and people in Montreal) to my work. My Concordia’s classmates and colleagues from Art Education. For promoting collaboration, more than competition. For making of this experience a real meaningful one. My friends in Mexico and in Canada, for our many shared experiences. Because there is no knowledge without experience, and are an essential part of everything I do and I am. The photographers: Jacqueline Fortson, Enrique Uranga and Pedro Orozco. Their unique vision of things was a fundamental aspect of this project. My editors. All of them. Especially to Pedro María Ezcurra, for the really hard work he did editing this text. He managed to respect my ideas and keep my voice while correcting my words. Not an easy task! ¡Gracias relativo! And to Paula Ezcurra, for helping me with the last and critical corrections in such a short time and good spirit. I also want to thank them in a more personal level, for allowing me to play again and rediscover the world through their eyes. vi My family, of course! I own them most of what I am, I love and I believe in. My father, Exequiel Ezcurra, for always being there for me. For teaching me that the most important education happens outside the school. For all the adventures, the long trips by car, the nights camping behind millions of stars. For the Monarch butterfly. For sharing with us his passion and respect for nature and life. Bárbara Corcega, for her constant support and generosity. For her warmth and love. My mother, Claudia Lucotti, for showing me the importance of art in life and the meaning of community. For transforming her wedding dress it into a lamp that brightened many exciting family dinners and quiet evening teas, illuminating significant readings and creative processes. For introducing me to Louise Bourgeois and Virginia Woolf. The woman from whom I learnt how to fight for the things that really matter to me. My sister Ana, the person with whom I learnt the real importance of collaborating and sharing. For everything we have learnt, loved and being together. Matías and Eugenia, my other center. The end and the beginning of the world as I knew it. No one has taught me more about the complex and amazing process of learning and loving than them. Two very important reasons to try to improve the world in which we live ad make it a fairer and warmer place. My other family. ¡Gracias queridos Orozco! Especially to my dear Ully, whose wedding dress hangs in my closet, inspiring me to make more art and to enjoy life as much as I can. Pedro, my most important collaborator. A truly generous, warm and supportive companion. A loving and committed partner. ¡Gracias mi novio! vii Table of Contents List of Figures ................................................................................................................................... xi Chapter One. Introduction: Discovering the Dress that Burst into Flames ........................................... 1 Research Questions: .................................................................................................................................5 Methodology and Practices ......................................................................................................................5 Collaborative Art Practices ....................................................................................................................6
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