A dialogue between fashion designer and client: Drawing for LAW
- Submitting institution
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Heriot-Watt University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 15561163
- Type
- E - Conference contribution
- DOI
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- Title of conference / published proceedings
- Drawing Research Network
- First page
- 1
- Volume
- 12
- Issue
- 2017
- ISSN
- 1742-3570
- Open access status
- Compliant
- Month of publication
- July
- Year of publication
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The output is a co-authored article in an established journal (1997) published by a UK university press. The specialist journal focuses on drawing and visualisation research, operates a double-blind peer-reviewed process and has a strong editorial board and peer-review panel. The authors bring complementary experience and expertise to the research about the interaction between a fashion designer (Coburn) and her music industry client. Through their analysis of the drawn record of the design of a stage wear garment and the email dialogue between Coburn and her client, the authors delineate a long-distance working collaboration based on drawing and the communication of drawings via digital means. While Mahva (2018) discusses communication in designing for theatre through verbal and drawn discourse at the various stages of the design process, there is no equivalent to the detailed drawn and written dialogue between designer and client that Coburn reveals. While Barbieri (2012) describes a shared, embodied and cultural memory that can be posited in costume design, the embodiment of the cultural aspirations of an individual music artist moving toward the establishment of her stage persona with the interchange of ideas with an expert fashion designer is unparalleled. While other authors (Croft 2016, Graham 2016) have reflected on their own drawing procedures, for Coburn drawing plays a central role in the creation and communication of meaning in live performance. Moreover, the additional problems of distance working are addressed.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
