What is the working title of your dissertation?
‘Buried Brides’ (+ some subtitular arrangement of ‘dysfunction, surface, bodies, femininity, et cetera, et cetera’)
What led you to choose this subject?
I don’t want to say a lot yet, since I think sharing too much about projects before they’re fully actualised jinxes them. But essentially, I developed this idea of the white dress doubling as wedding dress-Baptism/ Communion gown and burial shroud-ghost sheet in my first formal essay of the year. I really love doing alchemy – taking one thing and transforming it through theory and juxtaposition. Bride becomes corpse, black becomes white, surface becomes depth and back again.
Favourite book/article you’ve read for your dissertation so far and why?
Caroline Evans’ Fashion at the Edge has been my constant this year, and I finally read Ulrich Lehmann’s Tigersprung.
Favourite image/object in your dissertation and why?
This still of Kirsten Dunst in Melancholia is everything I’m talking about. The film opens with a kind of avant-garde, apocalyptic montage, and at one point, Dunst’s character Justine runs in slow motion in her wedding gown as tree branches and roots wrap around her limbs and claw at her. It’s just the perfect visual metaphor: the fashionable, fertile woman in white struggling against time and nature. Melancholia isn’t one of my case studies, but I need to find a way to work this image in anyway. I’ve been thinking of pulling a Lehmann and including thematically insightful pictures alongside my direct illustrations, just to get this in.
Favourite place to work?
I’ve been quite boring this year. In the past I’ve habitually claimed tables at the Hungarian Pastry Shop in New York and the Finnish Institute in Paris, but as of now I’ve exclusively written my dissertation at my desk at Duchy House. I will be better.