Gleb Maiboroda
Nadia demonstrating a medical robe of Swiss army, XX century: in front of the medical library, Riga 2018
Nadia wearing her own medical robe, Riga 2018
Feeling the end drawing near, Mikas called Jelena, whom he seemed to have loved despite his general attitude toward women, and said in a deep masculine voice, “Snaha, please do not disgrace me!” for he was deathly afraid of being buried in female dress. When Mikas died in the autumn of 1934, he was dressed in a manly costume and, with the approval of the Orthodox priest, was buried like a man at the Zabljak churchyard.

-René Grémaux
I n t r o d u c t i o n

The process of writing this document was the moment that I caught the link between my ideas and my personal work, in which making is an intuitive process and thinking (about the making) is a shared practice. Technical or meaningful efforts go hand in hand. Two different approaches to the subject, where one considers the intimacy of a touch and the other a certain degree of a distance for reflection, however are not imaginable without each other. What you are going to read now, I would rather consider a collection of the materials I have developed while working at the TxT department in the past three years. In these collected texts I want to propose a way to look at textiles from the perspective of autonomous bodies independent from their makers and users. Bodies, which sense and immediately react. Bodies, which can be worn, thrown, hung, misused, anything other than a sedentary state. Any textile body carries a knowledge, which can speak it out in the form of the reflection on its user’s actions. I believe the more we start to notice these specifics, the better we can recognise ourselves in our personal and shared surroundings.

Mixing cultural studies and personal relations with textiles, I have created a reader consisting of four essays on the body’s of textiles with a certain theme, political question, notion, et cetera. All texts follow up and appear in a particular speed and order, beginning with a napkin, followed by a uniform, then a curtain and ending with a quilt. Each essay tries to intersect experience with a cultural identity of the material. The napkin intersects with its brother-in-law the tablecloth, questioning the importance of both to be constantly cleaned in the closed system of a restaurant. Wearing a traditional uniform is linked to the experience of wearing your own skin and how both create an imago. The curtain distinguishes two autonomous archetypes: a domestic curtain and a trans-curtain, which challenge each other in their two-sided experiences and societal ambiguity. A modern quilt is seen as a modern painting; in fact, a uni-dimensional body, in which utilitarian qualities got replaced with the materialistic values of a contemporary art institute.
Craig Green, AW’18 Fold Shirt
Girl in Every Port, Customised US Marines Cotton Jacket. The deerskin leather patched were attached later for gun shooting. The hand-painted graphics were added by original owner. Circa 1910
John Galliano FW 1997, Tattoo Body Suit scan by Katerina Jebb for The Face