CLOTHING TAG stories - a continuous series.

COSTUME Tunji Dada STORY Ira Hadžić

Tunji and I met 2014 in NYC and initiated a collaboration: We would bring together our skills in text and textile / words and fabrics. In a whimsical way we shall challenge the hypocrisy of fashion and the dictatorship of labels.

This is how:

Narrative.
Life consists of narratives. They are everywhere. Narratives are doorways. In and out.
The storytelling dimension of this project dwells in the realisation that clothes too have their value insofar as they are mostly abstract creations in our thoughts, not merely things.

Format.
I was intrigued by the format of clothing tags that offer a condensed space initially intended as a kind of a tiny user’s manual. To publish a piece of fiction in this way, as a tag that is attached to the fabric that is attached to the body by a thread or in some cases safety pin, is an exciting new formula to work with. The format itself is satirical. The clothing tag becomes a key to an alternative, introspective vision to the wearer.

Tag the First.
The first tag story I wrote was inspired by Kumari Devi. I found out about her during my stay in Nepal a while ago and was instantly captivated by this local reality that seemed like some sort of incredible fairytale.
Kumari Devi is a female goddess living in a body of a young girl until her first menstruation arrives. What follows the biological period is a social transition period that is also a full stop on so many levels. How might the life of a former Kumari look after losing her deity status and becoming not only mortal but also a teenager?

 

CLOTHING TAG stories - a continuous series.

COSTUME Tunji Dada STORY Ira Hadžić

Tunji and I met 2014 in NYC and initiated a collaboration: We would bring together our skills in text and textile / words and fabrics.
In a whimsical way we shall challenge the hypocrisy of fashion and the dictatorship of labels.

This is how:

Narrative.
Life consists of narratives. They are everywhere. Narratives are doorways. In and out. The storytelling dimension of this project dwells in the realisation that clothes too have their value insofar as they are mostly abstract creations in our thoughts, not merely things.

Format.
I was intrigued by the format of clothing tags that offer a condensed space initially intended as a kind of a tiny user’s manual. To publish a piece of fiction in this way, as a tag that is attached to the fabric that is attached to the body by a thread or in some cases safety pin, is an exciting new formula to work with. The format itself is satirical. The clothing tag becomes a key to an alternative, introspective vision to the wearer.

Tag the First.
The first tag story I wrote was inspired by Kumari Devi. I found out about her during my stay in Nepal a while ago and was instantly captivated by this local reality that seemed like some sort of incredible fairytale.
Kumari Devi is a female goddess living in a body of a young girl until her first menstruation arrives. What follows the biological period is a social transition period that is also a full stop on so many levels. How might the life of a former Kumari look after losing her deity status and becoming not only mortal but also a teenager?

CLOTHING TAG stories - a continuous series.

COSTUME Tunji Dada STORY Ira Hadžić

Tunji and I met 2014 in NYC and initiated a collaboration: We would bring together our skills in text and textile / words and fabrics.
In a whimsical way we shall challenge the hypocrisy of fashion and the dictatorship of labels.

This is how:

Narrative.
Life consists of narratives. They are everywhere. Narratives are doorways. In and out. The storytelling dimension of this project dwells in the realisation that clothes too have their value insofar as they are mostly abstract creations in our thoughts, not merely things.

Format.
I was intrigued by the format of clothing tags that offer a condensed space initially intended as a kind of a tiny user’s manual. To publish a piece of fiction in this way, as a tag that is attached to the fabric that is attached to the body by a thread or in some cases safety pin, is an exciting new formula to work with. The format itself is satirical. The clothing tag becomes a key to an alternative, introspective vision to the wearer.

Tag the First.
The first tag story I wrote was inspired by Kumari Devi. I found out about her during my stay in Nepal a while ago and was instantly captivated by this local reality that seemed like some sort of incredible fairytale.
Kumari Devi is a female goddess living in a body of a young girl until her first menstruation arrives. What follows the biological period is a social transition period that is also a full stop on so many levels. How might the life of a former Kumari look after losing her deity status and becoming not only mortal but also a teenager?

CLOTHING TAG stories - a continuous series

COSTUME Tunji Dada STORY Ira Hadžić

Tunji and I met 2014 in NYC and initiated a collaboration: We would bring together our skills in text and textile / words and fabrics.
In a whimsical way we shall challenge the hypocrisy of fashion and the dictatorship of labels.

This is how:

Narrative.
Life consists of narratives. They are everywhere. Narratives are doorways. In and out.
The storytelling dimension of this project dwells in the realisation that clothes too have their value insofar as they are mostly abstract creations in our thoughts, not merely things.

Format.
I was intrigued by the format of clothing tags that offer a condensed space initially intended as a kind of a tiny user’s manual. To publish a piece of fiction in this way, as a tag that is attached to the fabric that is attached to the body by a thread or in some cases safety pin, is an exciting new formula to work with. The format itself is satirical. The clothing tag becomes a key to an alternative, introspective vision to the wearer.

Tag the First.
The first tag story I wrote was inspired by Kumari Devi. I found out about her during my stay in Nepal a while ago and was instantly captivated by this local reality that seemed like some sort of incredible fairytale.
Kumari Devi is a female goddess living in a body of a young girl until her first menstruation arrives.
What follows the biological period is a social transition period that is also a full stop on so many levels. How might the life of a former Kumari look after losing her deity status and becoming not only mortal but also a teenager?