Originally a part of the 1960’s American Craft revival , Art to Wear should be viewed historically alongside the great studio movements of that time in clay, glass, metal, fiber and  jewelry.   They all flourished in a climate of self expression and innovation where established values, patterns and lifstyles were questioned and reinvented.  What better vehicle than the body to put forth this agenda.

The Art to Wear movement is unique for several reasons.  There is an underlying focus on content.  Whether autobiographical, socially, politically or environmentally motivated, the pieces have information to convey. The movement is further defined by a deep commitment to process.  Traditional skills such as crochet, knitting, weaving, feltmaking, quilting, surface design including shibori and other resist dying techniques are used in new and innovative ways. 

The pieces stress function and seek the participation of the wearer as a form of empowerment.  At the same time the garments are conceived as objects with an independent integrity of their own.  In addition, much of the work in its form, construction and process reflects exposure to ethnic cultures with their rich textile traditions.  Finally, excellence of craftsmanship has set the standard high for these museum quality pieces.  Never before have the roles of artist, designer and craftsman been so fully assumed by a single individual.

Jewelry that is conceived and handmade by a single artist or craftsperson is often referred to as “studio jewelry.” This kind of jewelry is quite different from commercial jewelry that is created by machine according to industrial standards.

Studio jewelry is usually one-of-a-kind, or limited edition, and expresses the makers’ ideas, much like a painting or sculpture, while commercial jewelry, whether fine or costume, adheres to fashion trends. Studio jewelry is usually cutting-edge rather than traditional, striking a very special bond between the maker and wearer.