Yanni Florence - Animal Life
Forty six photographs by Yanni Florence that in the city light and streets captures the animal figure and print in fashion and the bodies that inhabit it. Accompanying essay by Archeologist Grey Deftereos. Hard back bound book with animal print end papers.
“All this pertains to the perception that appearance reflects upon the wearer, their state of mind, their perception of self and how they are choosing to present themselves to others. Clothes are like sentences in a language and what they communicate is a large part of the performance of self within a larger syntax. With animal prints the wearer conflates the aspects of the totem with the self, or the self they are at that time performing. They, in a sense, become the embodiment of the animal, or at least that reading is there for others to make. Wearing animal prints is also, tacitly, a kind of animism, the belief that the spirit of animals and living beings are present throughout all time within inanimate objects. Some aspect of wearing animal prints is the conflation of the self with characteristics of the animals portrayed, and most often – aside say, from the portrayal of kittens, (but then again) - this is sexual.” Greg Deftereos, How to Wear Animal Prints. Published by M.33 (Melbourne).
56 pages, 290 x 210mm, hardcover, M.33 (Melbourne).Â
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Yanni Florence - Animal Life
Forty six photographs by Yanni Florence that in the city light and streets captures the animal figure and print in fashion and the bodies that inhabit it. Accompanying essay by Archeologist Grey Deftereos. Hard back bound book with animal print end papers.
“All this pertains to the perception that appearance reflects upon the wearer, their state of mind, their perception of self and how they are choosing to present themselves to others. Clothes are like sentences in a language and what they communicate is a large part of the performance of self within a larger syntax. With animal prints the wearer conflates the aspects of the totem with the self, or the self they are at that time performing. They, in a sense, become the embodiment of the animal, or at least that reading is there for others to make. Wearing animal prints is also, tacitly, a kind of animism, the belief that the spirit of animals and living beings are present throughout all time within inanimate objects. Some aspect of wearing animal prints is the conflation of the self with characteristics of the animals portrayed, and most often – aside say, from the portrayal of kittens, (but then again) - this is sexual.” Greg Deftereos, How to Wear Animal Prints. Published by M.33 (Melbourne).
56 pages, 290 x 210mm, hardcover, M.33 (Melbourne).Â
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Forty six photographs by Yanni Florence that in the city light and streets captures the animal figure and print in fashion and the bodies that inhabit it. Accompanying essay by Archeologist Grey Deftereos. Hard back bound book with animal print end papers.
“All this pertains to the perception that appearance reflects upon the wearer, their state of mind, their perception of self and how they are choosing to present themselves to others. Clothes are like sentences in a language and what they communicate is a large part of the performance of self within a larger syntax. With animal prints the wearer conflates the aspects of the totem with the self, or the self they are at that time performing. They, in a sense, become the embodiment of the animal, or at least that reading is there for others to make. Wearing animal prints is also, tacitly, a kind of animism, the belief that the spirit of animals and living beings are present throughout all time within inanimate objects. Some aspect of wearing animal prints is the conflation of the self with characteristics of the animals portrayed, and most often – aside say, from the portrayal of kittens, (but then again) - this is sexual.” Greg Deftereos, How to Wear Animal Prints. Published by M.33 (Melbourne).
56 pages, 290 x 210mm, hardcover, M.33 (Melbourne).Â
