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UNIVERSITY OF SOUTHERN QUEENSLAND Diaspora: textiles as paradox A Dissertation submitted by Jill Kinnear, BA, MVA

in partial fulfillment of the requirements for the award of

Doctor of Philosophy

2008

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Abstract

Diaspora; textiles as paradox is about the experience of migrant dislocation. The

exegesis and accompanying exhibition draw on my personal experience of migration

from Scotland to Australia and how the myths and memories of migratory

experience and the journey between these geographical extremes become an

analogy for the Third Space. The transitory (and transient) character of the journey

becomes the homeland, the place between the points of departure and arrival, a

place of hybrid cross-cultural response, compromise and innovation, which has

been referred to by various theorists such as Homi Bhabha. The Third Space that I

occupy as a Scottish and Australian textile designer provides me with crucial

opportunities to communicate the experience of migration and journey through the

production of new and innovative textile work.

As a printed textile designer I am particularly interested in the role of textiles as a

cultural signifier of history, place and identity. As an emigrant Scot, I am interested

in the role that traditional Scottish textiles, paisleys, and in particular, tartans, have

played in the construction of a Scottish identity and mythology, and how tartan

imagery has migrated along with its mythologies to every corner of the world. Like

maps, the designs of tartan are linked to land, though not necessarily ancestral land.

Their warps and wefts point east, west, north and south, and their construction is

entirely dictated by the overlays of colour from two opposing locations; a textile for

the Third Space.

Air travel is often the mode of transport for migrants in their transition from east to

west or north to south. At the point of embarkation in this journey of exodus, our

intimate possessions and clothing, encased and encapsulated in baggage, are x-

rayed. Beyond the exterior of the tough vinyl case, the personal effects, cultures

and histories of our lives are briefly revealed, examined and discarded.

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The textiles in Diaspora; textiles as paradox originate from constructions of steel and

other metal elements. These units were transported to the departure lounge at

Brisbane International Airport and passed through the baggage x-ray machine. I

retain the unique colour and characteristics of these x-ray images and reconfigure

them as a vibrant collection of digitally printed tartans and paisleys in silk and wool.

Reminiscent of my own Scottish textile heritage but physically transformed by the

process of present day travel, the x-ray designs are traces of transition; fragile maps

of a place between two points. The theme of paradox is further strengthened by the

inclusion of textiles structured from photographs of the original metal structures. As

textile designs and as garments, the works are layered with references to the

paradoxes within Scottish national identity, social history, mythology and 19th

century emigration. Meaning is found not only within the textile designs, but also in

the dialogue created by the contradiction of the garments. Through this

contradiction, I present a Third Space within the gallery environment as an analogy

for the experience of migratory dislocation and diaspora.

The historiographical elements of this study therefore are crucial to its processes

and outcomes, as are the autoethnographical elements, informed by my own

experience, my cultural background and the knowledge I have of my discipline. The

design process in which I trained as a textile designer is central to my methodology

for this study.

This study acts as a contemporary acknowledgement of the history of Australian

Celtic migration as expressed in the form of printed textiles and also of the

innovative possibilities generated by the migrant experience of dislocation.

Diaspora; textiles as paradox ties Australia and Scotland together as interdependent

components of a journey; in doing so I hope to provide an essential and imaginative

contribution and extension to the cultures of both countries.

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CERTIFICATION OF DISSERTATION

I certify that the ideas, experimental work, results, analyses, artwork and

conclusions reported in this dissertation are entirely my own effort, except where

otherwise acknowledged. I also certify that the work is original and has not been

previously submitted for any other award, except where otherwise acknowledged.

_____________________________ ________________

Signature of Candidate Date

ENDORSEMENT

_____________________________ _________________

Signature of Supervisor/s Date

_____________________________ _________________

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Acknowledgements

I would like to extend my sincere thanks to my supervisors, Associate

Professor Robyn Stewart and Dr Janet McDonald. I am grateful to them

both not only for vital direction, perceptions and suggestions, but for their

unstinting encouragement and support of me at all levels throughout this

study. Their wise counsel, humour, honesty and extensive patience have

been greatly appreciated.

I also would like to extend my heartfelt thanks to the University of Southern

Queensland for awarding me a scholarship to undertake this study.

Without this financial support such a study would have been impossible for

me, and I am truly grateful for such a wonderful, life-changing opportunity.

I hope that this exegesis and the accompanying artwork contribute in some

way to repaying the generosity and faith invested in me by the University of

Southern Queensland, and by my supervisors.

I am grateful too, to the Faculty of Arts Research Committee and to the

Public Memory Research Centre for funding towards the making of the

artwork. The University of Southern Queensland has been immensely

generous and supportive of me, and I will forever remain indebted to the

University for providing me with one of the most challenging, terrifying,

enjoyable and rewarding experiences of my life.

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I would like to extend my gratitude to the following individuals and organisations,

each for their own valuable contribution to this study. Without many of these

contributions, this study, as it is presented in this exegesis, would not have been

possible. I sincerely thank everyone for their encouragement, patience and support.

Australia:

The University of Southern Queensland, including:

Dr Janet McDonald, Head, School of Creative Arts

Associate Professor Robyn Stewart Associate Professor Chris Lee, Director, Public Memory Research Centre

The Faulty of Arts Research Committee The Jean Clarice Searle Research Award Committee

Alison McDonald, Senior Graphic Designer

Andrew McDonald, Studio Manager, Visual Arts

Cindy Laine, Photographer, Photographic Services

The artwork in this study has been made possible through the generous co-

operation of Alistair Kerr, Security Operations Manager, Brisbane Airport Corporation and Bruce Charlton, Service Engineer, L3 Communications – Security and Detection Systems.

Don Hildred Photographics, Toowoomba

Longina Phillips, Sydney, in particular Sylvia Balog for superb digital textile

printing

Carolyn Taylor-Smith, couturier, Toowoomba, for her beautiful realisation of my

garment designs; for highly skilled drafting and construction

Toowoomba Regional Art Gallery: Diane Baker, curator,

and staff Lorraine Brown, Susan Lostroh and Evan Dean

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Julie Foster-Burley

Models Cherylyn Stewart and Stevie Waite

Karen Ryan of Paris Pleaters, Brisbane

Scotland:

National Museums Scotland: David Forsyth, Senior Curator, Scottish Social History and Diaspora

Hugh Cheape, Head, Scottish Material Culture Research Centre, (now

retired)

Kristina Stankovski, Curator, Dress and Textiles

Irene Mackay, Assistant Curator, Scottish History, Late Medieval

Maureen Barrie, Exhibitions Officer

The Centre for Advanced Textiles, Glasgow School of Art: Vicky Begg for the

digital textile printing of the Famine/Exodus Dress fabric

Heriot-Watt University: Helen Taylor; Archivist

Dr Marjory Harper, Author and Reader in History, University of Aberdeen

National Library of Scotland

Valerie Reilly, Keeper of Textiles, Paisley Museum

Rachel Chisholm and The Highland Folk Museum, Kingussie Pauline Hann

Peter and Pamela Kinnear

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Jill Kinnear gratefully acknowledges the generous support of the following sponsors

for the exhibition:

Jill Kinnear is a member of the Public Memory Research Centre, University of Southern Queensland. This exhibition is supported by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments. This exhibition is supported by Visions of Australia, an Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia. The Regional Arts Development Fund is a Queensland Government and Toowoomba Regional Council partnership to support local arts and culture.

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List of illustrations

Figure 1, Warrior Girl, Kate Beynon……………………………… 23b

Figure 2, Forking Tongues, Simryn Gill…………………………. 23b

Figure 3, The Sojourners, Greg Kwok Keung Leong………….. 23c

Figure 4, Wearable Skirt No. 4, Wendi Choulai…………….….. 23c

Figure 5, Dinh Q. Le………………………………………………. 23d

Figure 6, Croxxing, Valerie Kirk………………………………….. 23d

Figure 7, A Second Simplicity, Domenico de Clario…………… 23e

Figure 8, Subway Station, Santiago Calatrava…………………. 36b

Figure 9, Palais de Beaux-Arts, Jean Marc Ibos & Myrto Vitart. 36b

Figure 10, Guggenheim Museum, Bilbao, Frank O. Gehry……. 36b

Figure 11, Institute of the Arab World, Jean Nouvel……………. 36c

Figure 12, Institute of the Arab World (detail), Jean Nouvel…... 36c

Figure 13, Paper Wall, m3architecture………………………….. 36d

Figure 14, Origami costume, Akira Isogawa……………………. 36d

Figure 15, Pacific Tartan Dress, Miranda Brown………………. 36d

Figure 16, Three Graces, Yinka Shonibare…………………….. 40b

Figure 17, Where the feet are…, Josephine Meckseper…….… 48b

Figure 18, Home Land, Legs on the Wall…………………….…. 48c

Figure 19, Portable City, New York, Yin Xiuzhen………………. 48c

Figure 20, My Mother’s Vuitton Suitcase, Steve Miller………… 48d

Figure 21, X-ray image, Judith McMillan………………………… 48d

Figure 22, My Boots, Jill Kinnear………………………………… 48e

Figure 23, Abdullah Quth Shah and Kashmir shawl…………… 59b

Figure 24, French fashion in 1823……………………………….. 59b

Figure 25, Maasai at Ngorongoro Crater………………………... 59b

Figure 26, Arisaid in National Museums, Scotland……………... 64b

Figure 27, Arisaid, R.R. McIan……………………………………. 64b

Figure 28, Colour strips of tartan…………………………………. 64b

Figure 29, Allan M’Auley, Horace Vernet………………………... 70b

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Figure 30, Highland crofters………………………………………. 70b

Figure 31, Glengarry, Sir Henry Raeburn……………………….. 70b

Figure 32, Three Steel Tartan Structures, Jill Kinnear…………. 87b

Figure 33, Steel Tartan 1 textile design, Jill Kinnear…………… 87c

Figure 34, Steel Tartan 2 textile design, Jill Kinnear…………… 87d

Figure 35, Lasercut Paisley structure, Jill Kinnear……………… 87e

Figure 36, Steel Paisley Shawl, Jill Kinnear…………………….. 87f

Figure 37, 8cm lasercut metal squares, Jill Kinnear…………... 87g

Figure 38, Baggage x-rays of lasercut squares, Jill Kinnear…. 87h

Figure 39, Colour key on commercial fabric…………………….. 87 i

Figure 40, Colour key on commercial fabric…………………….. 87 i

Figure 41, Jill Kinnear at baggage x-ray machine……………… 87j

Figure 42, Baggage x-rays of Steel Tartans, Jill Kinnear……… 87k

Figure 43, Baggage x-rays of Steel Tartans, Jill Kinnear……… 87l  

Figure 44, Overlay of x-ray images, Jill Kinnear……………….. 87l  

Figure 45, Diaspora Tartan 3, Jill Kinnear………………………. 87m

Figure 46, Diaspora Tartan 8, Jill Kinnear………………………. 87n

Figure 47, Diaspora Tartan 6 and Red Co-ordinate, Jill Kinnear 87o

Figure 48, Minerals and pigments………………………………... 95b

Figure 51, Workshop of the Empire Dress 1, Jill Kinnear……… 107b

Figure 52, Workshop of the Empire Dress 2, Jill Kinnear……… 107c

Figure 53, Workshop of the Empire Dress 1 (detail)…………… 107d

Figure 54, Workshop of the Empire Dress 2 (detail)…………… 107e

Figure 55, Art in Fashion, Vivienne Westwood…………………. 109b

Figure 56, Gaultier in The Australian…………………………….. 109b

Figure 57, Chivalry Dress 1, Jill Kinnear………………………… 109c

Figure 58, Chivalry Dress 2, Jill Kinnear………………………… 109d

Figure 59, Chivalry Dress 1 (detail)………………………………. 109e

Figure 60, Chivalry Dress 2 (detail)………………………………. 109f

Figure 61, Drawings for Workshop Dresses, Jill Kinnear……… 109g

Figure 62, Drawings for Chivalry Dresses, Jill Kinnear………… 109g

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Figure 63, The Wanderer above a Sea of Mist, Friedrich……… 113b

Figure 64, Famine/Exodus Dress, Jill Kinnear………………..… 119b

Figure 65, Shawl design collected by William Moorcroft………. 134b

Figure 66, Shawl design collected by William Moorcroft………. 134b

Figure 67, Empress Josephine, Antoine-Jean Gros…...………. 134c

Figure 68, Kashmir pashmina, last quarter, 17th century…….… 144b

Figure 69, Kashmir pashmina, mid 19th century………………… 144b

Figure 70, Kashmir pashmina, last quarter, 19th century………. 144c

Figure 71, Kashmir pashmina, mid to late 19th century………… 144d

Figure 72, Jacquard long-shawl, second quarter 19th century… 144e

Figure 73, Paisley jacquard, c. 1860…………………………….. 144e

Figure 74, Lasercut Paisley structure, Jill Kinnear……………… 157b

Figure 75, Baggage x-rays of Lasercut Paisley structure……… 157b

Figure 76, Diaspora Paisley 1 Shawl, Jill Kinnear……………….157c

Figure 77, Diaspora Paisley 1 Shawl (detail), Jill Kinnear……... 157d

Figure 78, Diaspora Paisley 2 Shawl (detail)……………………. 157e

Figure 79, Diaspora Paisley 3 Shawl (detail)……………………. 157f

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Table of contents

Abstract………………………………………………………... ii

Certification of dissertation……………………………. iv

Acknowledgements…………………………………….…. v

List of illustrations………………………………………… ix

Table of contents…………………………………………... xii Prologue………………………………………………………. 1

Chapter One Introduction……………………………………………. 3

Description of study……………………………. 4

Significance of the study…………………….… 12

Methodology…………………………………………… 16

East/West: Third Space artists……………….. 19

North/South: Third Space artists……………… 24

Design practice as research methodology…… 27

Textile design as category…………………….. 35

My background, training and experience

as methodological influence………………….. 41

Garments and the body as a metaphor

for migration……………………………………. 47

Methods and processes: travelling light…….. 50

Textile design as maps………………………... 52

Chapter Two Contradiction and Paradox in the Third Space….. 57

Paradox as device……………………………… 57

Paradox as difference…………………………. 63

Splitting the paradox…………………………… 72

Textiles as paradox……………………………. 77

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Chapter Three Defining the Third Space……………………………. 81

First layer: transmutation; the textile designs.. 85

Metal as material……………………………….. 88

The digital x-ray as (im)material………………. 92

Second layer: the garments…………………… 99

The Workshop of the Empire Dresses……….. 104

The Chivalry Dresses………………………….. 109

The Famine/Exodus Dress……………………. 114

Third layer: installation…………………………. 122

Chapter Four In imitation of the Indian…………………………….. 128

Kashmir…………………………………………. 130

Paisley…………………………………………… 145

The Shawl and the Third Space……………… 153

The Diaspora Paisley Shawls and

the Steel Paisley Shawl……………………….. 156

Chapter Five Ruminations on the Third Space…………………... 164

Roots tourism…………………………………… 165

The digital world………………………………… 171

Examining the case: summary and

conclusion………………………………………. 177

References…………………………………………….. …… 184

Bibliography………………………………………………… 198