This thesis was created by Leah Jewer, submitted to the faculty of graphic design department in partial fulfillment of the requirements for thedegree of Master of Fine Arts at Savannah College of Art and Design.

This thesis argues that Marshal McLuhan's theory "the medium is the message" can be applied to the concept context alters human communication. Analysis of two separate visual entities, clothing and signage, shows that the application of signage elements on clothing modifies the interpretation of the message from its traditional use. Clothing and signage are defined and compared as to how each visually communicates to the world. A conclusion that meaning will be reconstructed by the viewer through visual communication theory and rhetoric theory is explored.

The exhibit of this thesis took place on June 1st, 2008 in Savannah, Georgia alongside the thesis shows of Holly Ann Schmidt and Ariel Plotkin.

The paper component of this thesis can be downloaded below. Please do not reproduce this paper in any form. Thank you.

PDF of thesis for download

The visual created for this thesis explores context alterations. I have created a fusion of signage and clothing. Eight articles of clothing have been adorned with signage that I defined as utilitarian in the thesis. The signage has been applied to the clothing through visual cues that reference the original sign through symbol, type, shape and color. The signage is attached to the garments in methods that are traditional to ornamental methods, includes stitching, silk screening and heat transfers. Additional emphasis on materials was made to enforce the reference to signage through material sheen, reflective qualities and visibility of material at night. The goal was to create a series of garments that blur the line between clothing and signage. The garments are meant to cause the viewer to question how they interpret the identity of the wearer through their reading of the signage placed upon the garment.

These articles of clothing and signage were specifically chosen to create visual tropes for the viewer to decipher meaning. Further emphasis on these tropes was conducted through the placement of the signage on each garment.

Clothing is meant to live in the context of the human body and means in which an individual can visually communicate their identity to the world. In order to further explore context alteration, photographs were taken of people wearing the clothing. It was important for this experiment to showcase the clothing upon the human and on a hanger. This photographic step was necessary in order to determine if recontextualization changed the meaning interpreted by the viewer. The execution of these photos was completed to emulate fashion photography. The models were photographed in a studio setting upon a neutral background. The basis of fashion is to create desire in the viewer in order to sell itself. Fashion creates this emotion in the viewer through photography that expresses life styles, idols, glamour and beauty that the viewer idealizes and identifies with. Creating desire through photography conveys to the viewer that these garments are fashion and to be taken seriously. The models used the photos were chosen to reinforce the desire in the photographs. Both model’s body types are slender, which is accepted as beautiful by current fashion standards.

The essence of this exploration it to investigate how the viewer will construct a perception of the identity of the wearer based on signage that ornaments the clothing. To make sure that the identity of the wearer is based on the clothing alone, the photos are cropped to remove the eyes of the models. The eyes of a person are a main focus of the face. Emotions, personality and conversations can be expressed through the eyes. By eliminating them from the photos, the models become anonymous. This allows the clothing to be the only method in which the viewer can assess information about their personalities and identities.

I am a serious designer with a light-hearted temperament. Design consistently challenges me to create something original, which is quite an uphill task. But somehow, I never see it this way. Instead, I feel that there’s no limit to what elements I can bring into design. My work has incorporated ink drawings, feathers, illustrations, chain link fencing, fish wire, copper pipe and electro-luminescent tubing. Though I like to reach as far as I can creatively, I use these elements in a simplistic way. I don’t believe in over-complicating design. In the same way, I could never be pigeon-holed as a designer because I tackle its every medium with equal interest. My portfolio reflects traditional graphic design ephemera (posters, annual reports, books, logos), type design, interactive design, motion graphics and web development. I’m always trying to tackle new technology. I’m naturally drawn to it. I’m as content diving into exclusively one thing as jogging back and forth from all these mediums. Though I enjoy adding humor to pieces, depending on the project, one can also find the political, the sophisticated, the dark, the elegant and the playful.

I’ve always been attracted to Japanese anime and Art Nouveau. As a result, certain curves, shapes and line treatments often sneak into my work. My personal logo reflects both of these styles. As a former synchronized swimmer who is a Pisces (the fish sign), I abstractly reference a fish. The shape also shows my femininity. I am the curious eye with long lashes always looking for ideas to make new, fresh form.

The huge world of design always pulls me in further and further. There’s nothing better than losing myself in it completely, especially since the results are always exciting.

A big thanks goes out to those who helped me on this journey. Rhonda Arntsen, Jason Fox, Josh Hecht, Patrick Hogan and other profs at Savannah College of Art and Design, I thank you. I could not have completed this without the help of Ariel Plotkin, Eddie Jacobson, Neves Rodrigues, Holly Ann Schmidt and Sara Jo Johnson. Merci Beaucoup!

~Leah

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