Denis Friar Art |
Design Statement
“A woman’s work is free, so why make it easy”. New Zealand Cottage Gardening summed it up, clearly conveying how women have been constrained throughout history. There was always more work to be done or another child on the way. Who decreed that they had to wear corsets and huge skirts? Life seemed to be constant toil. A pioneering woman’s activities were to benefit the family, rather than celebrating the self with frivolous recreational activities. Their legacy to us is free weekends to pursue a large range of interests.
Why do I create the folds in my fabrics? Why do I use the scraps? Why wraps?
I have been sewing since I was 7, from making doll’s clothes, learning to follow patterns, through to design school, and now to original creations. But it was more than this. My parents moved from the gentile life in pre-WWII Indonesia, where servants attended to every need, to the harsh reality of surviving a war, through to 1950’s grass roots, post-war New Zealand. Adopting this new culture meant that immigrants worked extremely hard to make ends meet, becoming resourceful with what was available. Clothing was created from any fabric available, recycled or new and often by hand.
Daughter of thrifty, hardworking immigrants, I was unwittingly continuing in this tradition. Coupled with this was the Indonesian influence, reflected in the wrapped skirts and sarongs. Also, I once glanced through a book of photographs of early Maori dress, which was in the transition from traditional to incorporating the pioneering influence. The photos etched in my brain and reflected in my designs. The scrunched fabric represents pioneering dresses hitched out of the way while carrying out tasks such as washing clothes.
My works represent toil, “making do” and the blending of cultures. The colours reflect the faded images of the past. The styles pick up how clothes were worn, re-cut, sometimes used inside out for children’s clothes and finally, used to make braided mats or patchwork quilts. Just like the pioneering women’s work and traditions that inspired them, my works reflect hard work, conservation and innovation.
Ingrid Broekhals.
“A woman’s work is free, so why make it easy”. New Zealand Cottage Gardening summed it up, clearly conveying how women have been constrained throughout history. There was always more work to be done or another child on the way. Who decreed that they had to wear corsets and huge skirts? Life seemed to be constant toil. A pioneering woman’s activities were to benefit the family, rather than celebrating the self with frivolous recreational activities. Their legacy to us is free weekends to pursue a large range of interests.
Why do I create the folds in my fabrics? Why do I use the scraps? Why wraps?
I have been sewing since I was 7, from making doll’s clothes, learning to follow patterns, through to design school, and now to original creations. But it was more than this. My parents moved from the gentile life in pre-WWII Indonesia, where servants attended to every need, to the harsh reality of surviving a war, through to 1950’s grass roots, post-war New Zealand. Adopting this new culture meant that immigrants worked extremely hard to make ends meet, becoming resourceful with what was available. Clothing was created from any fabric available, recycled or new and often by hand.
Daughter of thrifty, hardworking immigrants, I was unwittingly continuing in this tradition. Coupled with this was the Indonesian influence, reflected in the wrapped skirts and sarongs. Also, I once glanced through a book of photographs of early Maori dress, which was in the transition from traditional to incorporating the pioneering influence. The photos etched in my brain and reflected in my designs. The scrunched fabric represents pioneering dresses hitched out of the way while carrying out tasks such as washing clothes.
My works represent toil, “making do” and the blending of cultures. The colours reflect the faded images of the past. The styles pick up how clothes were worn, re-cut, sometimes used inside out for children’s clothes and finally, used to make braided mats or patchwork quilts. Just like the pioneering women’s work and traditions that inspired them, my works reflect hard work, conservation and innovation.
Ingrid Broekhals.
Design Statement
“A woman’s work is free, so why make it easy”. New Zealand Cottage Gardening summed it up, clearly conveying how women have been constrained throughout history. There was always more work to be done or another child on the way. Who decreed that they had to wear corsets and huge skirts? Life seemed to be constant toil. A pioneering woman’s activities were to benefit the family, rather than celebrating the self with frivolous recreational activities. Their legacy to us is free weekends to pursue a large range of interests.
Why do I create the folds in my fabrics? Why do I use the scraps? Why wraps?
I have been sewing since I was 7, from making doll’s clothes, learning to follow patterns, through to design school, and now to original creations. But it was more than this. My parents moved from the gentile life in pre-WWII Indonesia, where servants attended to every need, to the harsh reality of surviving a war, through to 1950’s grass roots, post-war New Zealand. Adopting this new culture meant that immigrants worked extremely hard to make ends meet, becoming resourceful with what was available. Clothing was created from any fabric available, recycled or new and often by hand.
Daughter of thrifty, hardworking immigrants, I was unwittingly continuing in this tradition. Coupled with this was the Indonesian influence, reflected in the wrapped skirts and sarongs. Also, I once glanced through a book of photographs of early Maori dress, which was in the transition from traditional to incorporating the pioneering influence. The photos etched in my brain and reflected in my designs. The scrunched fabric represents pioneering dresses hitched out of the way while carrying out tasks such as washing clothes.
My works represent toil, “making do” and the blending of cultures. The colours reflect the faded images of the past. The styles pick up how clothes were worn, re-cut, sometimes used inside out for children’s clothes and finally, used to make braided mats or patchwork quilts. Just like the pioneering women’s work and traditions that inspired them, my works reflect hard work, conservation and innovation.
Ingrid Broekhals.
“A woman’s work is free, so why make it easy”. New Zealand Cottage Gardening summed it up, clearly conveying how women have been constrained throughout history. There was always more work to be done or another child on the way. Who decreed that they had to wear corsets and huge skirts? Life seemed to be constant toil. A pioneering woman’s activities were to benefit the family, rather than celebrating the self with frivolous recreational activities. Their legacy to us is free weekends to pursue a large range of interests.
Why do I create the folds in my fabrics? Why do I use the scraps? Why wraps?
I have been sewing since I was 7, from making doll’s clothes, learning to follow patterns, through to design school, and now to original creations. But it was more than this. My parents moved from the gentile life in pre-WWII Indonesia, where servants attended to every need, to the harsh reality of surviving a war, through to 1950’s grass roots, post-war New Zealand. Adopting this new culture meant that immigrants worked extremely hard to make ends meet, becoming resourceful with what was available. Clothing was created from any fabric available, recycled or new and often by hand.
Daughter of thrifty, hardworking immigrants, I was unwittingly continuing in this tradition. Coupled with this was the Indonesian influence, reflected in the wrapped skirts and sarongs. Also, I once glanced through a book of photographs of early Maori dress, which was in the transition from traditional to incorporating the pioneering influence. The photos etched in my brain and reflected in my designs. The scrunched fabric represents pioneering dresses hitched out of the way while carrying out tasks such as washing clothes.
My works represent toil, “making do” and the blending of cultures. The colours reflect the faded images of the past. The styles pick up how clothes were worn, re-cut, sometimes used inside out for children’s clothes and finally, used to make braided mats or patchwork quilts. Just like the pioneering women’s work and traditions that inspired them, my works reflect hard work, conservation and innovation.
Ingrid Broekhals.