ReMODEL / ReFORM

BACKGROUND Drawing from Heidegger's (1927, 1954) ideas about technē and the use of technology as either enframement, and a 'means to an end', or as poiēsis, an opening up of unforeseen possibilities, ReMODEL/ReFORM offers new knowledge in fashion practice by proposing an expanded perspective on technology as a means to explore tacit knowledge and expand modes of engaging the body. Fashion has embraced newer technologies, such as laser cutting and 3D printing, but these have largely been applied to existing frameworks rather than being used to propose fundamentally new approaches. CONTRIBUTION This installation provoked viewers to re-evaluate concepts of "technology" by repositioning traditional fashion hardware, such as hooks and eyes, in this context and exploring how re-imagining these types of technologies could radically shift material use and ways of clothing the body. ReMODEL/ReFORM was part of The End of Fashion conference exhibition at Massey University in Wellington, New Zealand, which was attended by high-profile fashion academics such as Valerie Steele, Pamela Church-Gibson and Patrizia Calefato. The exhibition catalogue was distributed to all conference attendees and is available online. SIGNIFICANCE It includes a profile of the work and an essay by Adam Geczy (2016) that discusses it. An exhibition review by Tarryn Handcock (2017) was also published in the Intellect journal, Craft Research. ReMODEL/ReFORM has contributed to debates beyond that of technology and traditional craft towards questions about how the body is conceived. Handcock's (2017) exhibition review suggests that the work, "... evoked the absent human body through its associations with an uninhabited skin..."(p.128), while Geczy (2016) proposes that by bringing together traditional practices and new technology, it points, "... to a new era of clothes' production, but also new hybrid notions of thinking the self that have recently been theorised in terms of an age after human