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PRACTICE IN CONTEXT 3 HEDC6020

Objects & Things An Exploration of Bags through Thing Theory and Luxury Practice Charley Craske Submitted to Hereford College of Arts in partial fulfillment of the degree: BA (Hons) Contemporary Design Crafts 2025

Validated by the University of Wales, Trinity St David

Full word count: 7,154 Edited word count: 5,410

Contents page Preface....................................................................................................................... 3 Introduction................................................................................................................ 5 Part 1: An Introduction to Thing Theory...................................................................... 6 All things are objects, but not all objects are things............................................ 6 The importance of the void................................................................................ 7 The bag as a vessel........................................................................................... 8 Part 2: Analysis ......................................................................................................... 9 Introduction to Bags inside out exhibition.......................................................... 9 3 chosen bags of interest................................................................................ 11 Analysis......................................................................................................... 14 Through the lens of a luxury brand................................................................... 14 Through the lens of caretaker practices............................................................17 Through the lens of function.............................................................................19 Part 4: Conclusion....................................................................................................22 Applying thing theory to a bag.......................................................................... 22 At what point does an object become a thing and a thing become an object?.... 22 Figure list................................................................................................................. 24 References............................................................................................................... 26 Bibliography............................................................................................................. 28

Preface I have always been intrigued by the human connection to objects. As humans we tend to surround ourselves with stuff as a form of comfort, but why do we feel more connected to some objects than others? This is the transition between something being an ‘object’ or a ‘thing’.

Figure 1. Bags by the author.

My own creative practice involves creating objects, including bags, which have the potential to become ‘things’ through interaction and developed attachments with the user. They are designed to be used and valued rather than living their lives in boxes. My idea of a ‘thing’ is that it is an originally inanimate ‘object’ that we attach memories and meaning to through use or appreciation. I have chosen to look specifically at bags to gain a deeper understanding of their thingness and how I can impart this knowledge into my own future work. My aim is to produce bags that are highly functional but obtain a certain level of luxury to encourage caretaker practices that will enhance the thingness of them.

As an example of a ‘thing’ bag, I will draw attention to one of my own bags. This is a checkerboard Vans rucksack, there is nothing special or unique about it to the distant viewer, it is batch produced and available worldwide. It is a practical bag, it has a good amount of physical holding ability, but there is also emotional holding ability there. This bag has seen me through days of university, hikes up hills and across beaches, day trips to big cities and trips to the supermarket. It is reliable and always there to grab and fill in times of need or emergency. It lives on the back of my door ready for its next job in supporting me through the world both by carrying my physical objects and allowing me to develop further memories, therefore making the quite ordinary bag a ‘thing’ to me.

Figure 2. My own example of a ‘thing’ bag.

Introduction 4

"The quest for things may be a quest for a kind of certainty, but things is a word that tends, especially at its most banal, to index a certain limit or liminality, to hover over the threshold between the namable and unnamable, the figurable and the non figurable, the identifiable and the unidentifiable" (Brown, 2001, pg4)

In this essay, I will examine Martin Heidegger's ‘thing theory’ exploring the human relationship with bags and considering how the concept of luxury can influence our perception of a bag as either an ‘object’ or a ‘thing’. I will be exploring the exhibition “Bags Inside Out” which took place at the V & A museum from 2020-2022. This was a culmination of bags across different styles, eras and genres with a particular focus on luxury within the bag world. I will select 3 different examples from its extensive catalogue and analyse these through the lens of a luxury brand, caretaker practices, and functionality. Influential voices of Heine, Potavanich and Norman will inform my analysis. After developing my evaluation of these bags, I will apply ‘thing theory’ to the bags to answer the question: At what point does an object become a thing, and a thing become an object?

Part 1: An introduction to Thing Theory 5

All things are objects, but not all objects are things. “Things can be distinguished from objects...’Object’ tends to refer to neutral and inert physical lumps. Objects are present in a confrontational way- etymologically, the word means ‘thrown in front’, like an obstacle that needs to be overcome. Things have material resistance, but are there for us more than objects are.” (Tonkinwise, 2016) Objects are nouns; they are unconscious and inanimate. The philosopher Martin Heidegger describes an object “as that which stands before, over against, opposite us” (Heidegger, 1971, pg166). They are items that are difficult to make a personal connection with perhaps due to their everyday ordinariness, they are items that we don't necessarily consider precious or meaningful, they are just present in the moment. In contrast, ‘things’ are verbs; they are objects that have a state of ‘being’ attached to them. “The old high German word ‘thing’ means a gathering” (Heidegger, 1971, pg172), and that is precisely what things do, they gather meaning and we store our memories within them. We interact with ‘things’ in a more conscious way, acknowledging their presence and continuing to validate them as ‘things’ by building further meaning through use and association. The creation of ‘things’ starts right at the beginning of their production in the design stage, "Designers take ideas and realize them in material form, gathering them into something coherent enough to be a thing.” (Tonkinwise, 2016) From the beginning a connection is formed between the Maker and his item that is becoming a ‘thing’ through its construction and development. Heidegger discusses nearness throughout his text entitled ‘The thing’ and this nearness seems to be the deciding factor over what is an object and what is a ‘thing’. “Near to us are what we usually call things” (Heidegger, 1971, pg164), this is how we develop the connection and make use of the ‘thing’ as a gathering site, where in contrast an object stays further away from us both emotionally and physically.

The importance of the void

Heidegger expands his thoughts into ‘things’ by beginning to question if it is the ‘thing’ itself or the possibilities and opportunities that the ‘thing’ presents to the user that make it a ‘thing’. To do this he uses the example of a jug. Tonkinwise explains that “the essence of the jug is less its physical shape, than the negative space made present by the jugs form...what differentiates a jug from any other sort of thing, is the way it “jugs,” the way it plays a role in an everyday ritual.” (Tonkinwise, 2016). "We become aware of the vessels holding nature when we fill the jug. The jugs bottom and sides obviously take on the task of holding. But not so fast! When we fill the jug with wine, do we pour the wine into the sides and bottom? At most, we pour the wine between the sides and over the bottom" (Heidegger, 1971, pg166) Heidegger argues that it is not the jug itself, its walls and base, that do the holding of the liquid. But in fact, the empty space, the void, that allows the liquid to be contained. Without the void of the jug the liquid would have nowhere to go, it would simply be repelled by the outer of the jug and be lost. Therefore, the value of function can be found in the emptiness of the jug, the part that does not exist, and the ability that this jug must be able to hold something within itself makes it a thing. Thinking scientifically, we know that what is happening is the air inside the vessel is being displaced by the liquid, therefore the void is never empty. “To fill a jug means to exchange one filling for another” (Heidegger, 1971, pg167). This resonates with the idea of the gathering site and the ability to build on memories, keeping the ‘thing’ alive. The only difference being our emotional ability to continue to fill the void of the ‘thing’ long after the physical void of the jug has been filled. The physical filling of the void of a vessel could well explain why we as humans are so well connected to them as ‘things’. “The vessel can be seen to interact with its contents to create new meaning... Heidegger has examined the idea of the self as a vessel” (Clifford, 2020). As humans we are natural gatherers and tend to surround ourselves with stuff, often putting objects and ‘things’ into boxes or vessels in an unspoken ritual. By filling the void, we are satisfying our need for fulfilment and protecting our memories in the process in an act of safety.

The bag as a vessel

"Contemporary vessel makers make work that takes on more metaphorical or symbolic qualities- the vessel as a signifier, a container of meanings and ideas.” (Cooper, 2009) Any item that has the potential to hold something within itself can be classed as a vessel, Heidegger uses his example of a jug as a vessel to explore his concept of thing theory. Whilst Cooper suggests that makers are more aware of the symbolism behind the vessels that they make, this seems to apply more so to ceramic and metal vessels. A bag is often seen as an item of utility rather than a metaphorical gathering site. At first glance we consider a bag to be an everyday object, a necessity of sorts. We use them to carry our shopping, our personal belongings and even our rubbish. "Heidegger appears to view the idea of a vessel in ontological terms as 'a gathering site' for meaning; beyond its merely functional value" (Clifford, 2020). This begs the question; is it purely the functionality that we value in our bags? Clifford notions that by placing objects within the 'vessel' you are gathering meaning. Relating this to the bag as a vessel is very true, the bag is a gathering site for personal objects that the owner needs and uses but also carries sentimentality in some cases. It is always said that you can tell a lot about a person from their bag, no two are the same and they are all as individual as the person who uses them. You can capture the person, reason and place within the bag. But do we place more value on the bag itself as a gathering site or the objects we place inside? Could they be intrinsic to each other? In the busy hustle and bustle of everyday life "this holding potential of bags goes relatively underacknowledged." (Chandler, 2021) and we often use them without too much thought into why we put certain objects or ‘things’ into them. There is the physical holding ability as well as the emotional holding ability to consider here. As we use a bag it becomes part of us as we carry it through day-to-day life as a companion of sorts, but we also become part of the bag as we fill it with our belongings and memories.

Part 2: Analysis

Introduction to Bags Inside Out Exhibition "Bags: Inside Out provides a giddying example of their versatility, how they afford us different identities, carrying us and our lives, holding and containing us." (Chandler, 2021) Bags inside out was an "exhibition about the iconography and luxury status of bags, rather than everyday materiality and practicality." (Chandler, 2021) shown at the V&A London, 2020-2022. Its aim was to showcase the bag as an important part of our culture and not just as a popular fashion accessory. I will be using this exhibition as a subject for analysis of the attitudes surrounding the use of bags within our culture.

Figure 3. ’Bags Inside Out’ exhibition displays.

The exhibition was curated by Lucia Savi, a curator at the Design Museum, London. Approximately 300 bags were on display which were split into 3 different sections, each one highlighting an important aspect of the culture surrounding bags.

Section 1, entitled ‘Function and Utility’ aimed to “examine bags as practical objects designed to hold our belongings” (V&A, 2020) This section included examples of bags and luggage where function was of the most importance, this included Winston Churchill’s red dispatch box, a gas mask bag and a Louis Vuitton trunk from the 1900s that had traveled 9

the world with a previous owner, Emilie Grigsby. “The selection is eclectic, with some fascinating objects from around the world” (Julius, 2021), but it does pose the question; Are we removing the bags function by placing it in an exhibition? The second section begins to explore ‘It’ bags and was entitled ‘Status and Identity’. Corinne Julius comments in her review that “This remarkably dull section panders to celebrity culture and is clearly aimed at visitor's social media response.” (Julius, 2021) This section lays out in front of the audience every bag they wish to own but never could. High end luxury brands dominate this section, and include names such as Hermès, Fendi, Marc Jacobs and Louis Vuitton. Slogan bags also played a part and highlighted “the use of bags as a blank canvas for... personal statements and political messages” (V&A, 2020) They highlight the ability to quickly spread a message because of the portability of the bag. The third and final section is more interactive and delves into the production of the bags entitled ‘Design and Making’. Focusing around “a ‘maker’s table’ will allow visitors to get up close and personal with bag making processes and materials alongside newly commissioned interviews with designers and makers.” (V&A, 2020) This section features more experimental pieces and looks at the process of sampling and prototyping.

Figure 4. The makers Table.

3 chosen bags of interest To further the exploration of the question, at what point does an object become a thing, and a thing become an object? I will conduct an analysis of 3 bags from the exhibition. The 10

‘Birkin’ bag by Hermès, the ‘I am NOT a plastic bag’ Tote by Anya Hindmarch, and the ‘International Woman’ suitcase by Tracey Emin for Longchamp.

Figure 5. Jane Birkin’s Birkin bag. By Hermès.

Named after and designed in collaboration with the actress and singer Jane Birkin, and produced by the French luxury Fashion house Hermès, this bag has built a reputation for itself as one of the most sought-after bags of all time. “Women are crazy about the bags...They consider a Birkin bag an object d’art- and pay accordingly” (Bond Rafferty, 2009) The Birkin is a tote bag, but it is the high attention to detail, specially selected highquality materials, and time-consuming hand stitching that makes this bag stand out amongst every other tote bag on the market. Limitation plays a key role in the popularity of the Birkin Bag and other Hermès products; buyers are invited to purchase items after showing loyalty to the brand starting with smaller purchases slowly working their way up to the more costly products.

Figure 6. I am NOT a plastic bag. by Anya Hindmarch.

‘I am NOT a plastic bag’ is a tote bag created by Anya Hindmarch, a fashion accessory designer, and released in 2007. “This simple and cheap limited-edition tote bag was designed in collaboration with We Are What We Do” (V&A, 2019) It is a basic cotton bag with a slogan written across the front of it highlighting that it is NOT a plastic bag. “The bags were primarily sold in Sainsbury’s supermarkets for £5 each” (V&A, 2019) and were at the beginning of the now popular reusable shopping bag revolution. They showed the public that by investing in a product that can be reused they are buying into a new culture that is changing the way we think about our purchasing habits and what our idea of luxury can look like.

Figure 7. International Woman suitcase. By Tracy Emin.

The third bag, although still functional, would be classed more as a piece of art or a collectable. Limited to only 200 editions, this bag titled ‘International Women’ was a collaboration between Tracey Emin and the French handbag maker Longchamp, based on their highly functional ‘Le Pliage’ bags. “In Emin’s story, an ‘International Woman’ travelled from one city to another, in search of an ‘International Love’ with an ‘International Man’” (V&A, 2007) This is the basis of her design which uses traditional patchwork and appliqued textiles in its construction. Each bag includes a hand finished rosette which “also included a handwritten name of a street, city, or hotel which reminded the artist of a romantic moment or encounter from her own life” (V&A, 2007) There is a juxtaposition within the design of this bag, despite being based on a popular and proven functional bag, the limited numbers and its rarity contradict this.

Analysis 13

The three bags that have been chosen cover three very different types of bags. There is the high-end luxury (Birkin), the everyday reusable (I am NOT a plastic bag), and the artistic conceptual (International Women). As this selection is broad, the analysis stage should begin to help us understand the point at which an object becomes a thing, and a thing becomes an object. Through the Lens of a luxury brand “Luxury products can be identified by their characteristics (as means to an end) or by their consequences (ends) such as purchasing motives and consumer values. This categorization corresponds to the means-end theory, which suggests that consumers select a certain product or product characteristics as a mean to achieve a certain end goal.” (Heine, 2012) In his paper, Heine suggests that “luxury products may be defined as 'things that increase people's prestige'” (Heine, 2012), they alter the way others perceive you and how you perceive yourself. A Birkin is a well sought after bag and carries a high level of prestige with it. Birkin owners have paid a lot of money for their bags but in many cases, they have worked hard for them too by showing dedication and loyalty to the Hermès brand. You cannot just walk in to a shop and buy one of their bags, you must be invited to purchase one “When buying a brand new Hermès style, it’s best to reach out directly to stores and boutiques, who will assist your search... you might wait months or years for the right style to become available.” (Vouge, 2024) As the buyer you must set out your product expectations showing that you have carried out lengthy research into the brand and that you are invested in the process, and willing to make a considered purchase.

Figure 8. Display stand in Hermès.

Buyers work their way up the luxury ladder to the most prestigious items, but it is accessed through buying items of less value initially. “Accessible luxury used to be positioned at a 14

much higher level, with higher entry points in terms of price.” (Mcneil & Riello, 2016, pg232) By dropping the entry level price, brands are reaching out to a wider audience and therefore able to gain a bigger following. Not everyone can walk into Hermès and buy their highest priced items, but they can buy something of smaller value whilst still becoming engaged and investing in the brand. This is also true for Emin’s artwork where you begin buying smaller value items such as prints of her original artworks before climbing that luxury ladder to show interest in more significant work. This is a form of gatekeeping which the artist or brand uses to protect themselves and influence the distribution of their products.

Figure 9 & 10. The ‘I'm NOT a plastic bag’ and the plastic bag it was replacing.

On the opposite end of the scale, we have the ‘I am NOT a plastic bag’, “Sustainability has become a new keyword in luxury, with many luxury brands claiming that their products are long-lasting... thus limiting waste and harm to the environment” (Mcneil & Riello, 2016, pg266) Whilst the £5 tote bag may not have a high monetary value, the luxury of this product is highlighted by its ability to be reused over and over again unlike the plastic bag that had become a throw away item of convenience in society. It allows the user to have a lower impact on the environment but also carries their shopping in a more prestigious bag that has had time and effort put into the making of it.

“Luxury is partially created by the use of materials associated with it...plastic has had trouble being accepted as a noble material...The visual and tactile signs of luxury are closely associated with value. They are the triggers that make us believe

that one object is worth more than another with the same functional characteristics” (Sudjic,2008, pg128) Sudjic explains the importance of material choice in the delivery of luxury goods. Essentially the plastic carrier bag and the ‘I am NOT a plastic bag’ have the exact same functional characteristics, they are both used in the same way and perform the same task successfully. At the time of release in 2007, plastic bags were free, so why were people suddenly willing to pay for this alternative? It was due to the material choices and connoted meaning of this revolutionary bag. It was nicer to use and enhanced the owners shopping experience.

Figure 11. An example of how Tracy Emin adds luxury to her limited addition pieces through signing them.

Emins bag ‘International Woman’ has two elements associated with a luxury brand. First there is a “sense of exclusivity by limiting production...luxury brands understand that it is better to create a sense of absence, to convince their customers to pay more to obtain one of the rare goods that they sell.” (Mcneil & Riello, 2016, pg258) Being limited to only 200 editions there was a high demand for this bag with a very limited chance of successful purchase. This is a marketing technique used by many of the luxury brands and it creates this fear of missing out (FOMO) culture which in turn drives people to be more likely to purchase items and often at an inflated price.

“The relationship between luxury and handcraft...craftmanship has become associated with the idea of taking care...Traditionally, luxury was signified by conspicuous or elaborate workmanship” (Sudjic,2008, pg118) Emin's bag examples the collaboration of an artist and a Luxury brand and how both feed in to each other, creating an end product that not only 16

has the backing of being part of this well-known brand but also the exclusivity and personality of the artist.

Through the Lens of caretaker practices “Caretaker practice refers to consumers' tendency to imbue objects they perceive as luxurious with emotions and feelings, employing themselves as 'caretakers'. Within this role, they perform caring responsibilities and treat items with affection and respect.” (Potavanich, 2015, pg169) The Birkin bag, being a high-priced luxury item, can often see caretaker practices being adopted in the care and use of the item. “These bags are treated with care and have durability, as people attach emotional value to the story behind how they obtained their Hermès bag.” (Vogue, 2024) Whether the bag has been purchased or inherited there is a story behind how it has come into the owner's life. From the very beginning this bag works as a gathering site for memory which increases the connection that we have with it.

Figure 12. Handling the Birkin bag wearing white gloves as a caretaker practice.

In an interview with Potavanich, Emily states “My luxury handbag is not just a bag; it goes beyond that... it is my little baby. I have to take care of it... (Potavanich, 2015, pg173) as humans we tend to attach feelings and emotions to inanimate objects which changes our

outlook on them. The Birkin bag is a strong example of this want and need to take care of the item to prolong its existence.

Figure 13. A selection of celebrities using the ’I’m NOT a plastic bag’ as part of their daily lives.

On the other hand, expense is not always our main reason for wanting to take care of an object. Potavanich discovers “It is not the price of the product that makes them luxurious; rather it is the relationship [we] develop[s] with such items that help to define them as luxuries.” (Potavanich, 2015, pg171). The ‘I am NOT a plastic bag’ becomes a well-used companion to the shopper, faithfully carrying their groceries home from the shops every time they make a purchase. The user creates a relationship with the bag, and it becomes part of their everyday rituals to the point where without it they can begin to feel lost and notice a missed presence without it. This bag became popular amongst celebrities who embraced the reusable bag as a bag of utility in their everyday life. This allowed the bag to gain significant press coverage which enhanced the overall impact that it had. This coverage also framed the celebrities in a positive light which showed them supporting the wider eco-friendly movement, therefore becoming visible caretakers of the earth through the use of reusable bags.

As a piece that has a stronger connection to fine art than the rest, Tracey Emins' bag carries with it a story that, although personal to her, many others can resonate with and feel the need to care for it because of this. Her bag tells a story and is evidence of how “An object serves as a marker of relationship and emotional connection”. (Turkle,2011, pg5) 18

Figure 14. Close up of Tracey Emin’s suitcase showing the use of words and phrases to tell the story.

“A captivating narrative must play on our deepest desires, dreams and fears in order to hold us in its grasp, enchanted and helpless. Like a puppeteer, an accomplished storyteller commands the psyche by artfully tweaking appropriate strings to cultivate subtle emotional responses within onlookers” (Chapman, 2005, pg121) Emin is a storyteller who is using her artwork to share these stories with us as the viewer. She grasps our attention with the story by telling us enough but leaving space for questions and our own imagination to explore deeper. The use of narrative increases our connection and encourages the viewer to “have entered into a kind of relationship, which transcends sheer materialism; this means that the luxury items have become more than just objects in the participants lives” (Potavanich, 2015, pg175)

Through the Lens of function "On one hand there is a tension between the functional and non-functional aspects of vessels themselves" (Clifford, 2020) Despite the form of a vessel being designed as functional for holding and containing, Clifford highlights that this is challenged by makers. Material choice can affect the functionality of the vessel, for example, we are considering the bag to be a textile vessel, but would a bag still be a bag if it were made from ceramics? Or would it become a vase? When we consider this, it is obvious that material has a huge impact on the functionality of an item. Although we often associate bags as being a functional vessel, designed to be used, there are times where this does come into question. Of the three bags we are discussing they all have varying degrees of function. At the top, with the highest level of function, sits the ‘I am 19

NOT a plastic bag’ which was designed first and foremost to be used. In the middle sits the Birkin, a bag that is functional as a bag but the applied caretaker practices around luxury, combined with its collectability sometimes limits its usage. And the final bag by Tracy Emin, although it could be used, due to its strictly limited numbers and decreased durability is probably the least functional bag. Functionality can be perceived differently depending on the questions that are being asked. What was its intended function? Was it designed to be used or was it designed to be displayed?

Figure 15. Tracy Emin’s bag on display behind glass at the V & A.

“Function is commonly associated with utility but often we do not consider what we mean by 'functional'. Fine art could be perceived as functional, its function performing a critically important cultural purpose." (Bodenham, 2018, pg293) This broader outlook on functionality contradicts what we have so far considered. Bodenham argues that function is something that is individual and personal to each object, they were all designed with a purpose but one is not the same as another. Considering this theory, we cannot therefore rely on function alone as a reliable analysis of the bags themselves. It implies that all the bags have the same level of function but for different reasons. The ‘I am NOT a plastic bag’ is functional through use, the Birkin through projecting luxury and value on the owner whilst visually promoting the brand and the Tracy Emin bag as a storytelling piece that captivates the audience. Affordance would be a better form of analysis here, “The term affordance refers to the relationship between a physical object and a person” (Norman, 2013, pg11) The 20

affordance looks at the potential that the object has rather than just its intended function. It is the “relationship between the properties of an object and the capabilities of the agent that determine just how the object could possibly be used.” (Norman, 2013, pg11) Affordance is unique to the individual and what one person may consider functional another may not.

Figure 16 & 17. Two contrasting uses of a Birkin bag. On the left, Jane Birkin's overflowing bag. On the right is a special edition Birkin kept behind enclosed glass for protection and security.

An example of this could be the Birkin bag, if the user only intends to carry small quantities of items within the bag for short periods of time on a special occasion, then this bag affords functionality in this way. In contrast if you intend to carry many items that are heavier, for use as an everyday bag that is placed on various surfaces including the floor then the Birkin bag does not have the affordance of function for the same individual but would for another. By looking at the affordance rather than the function we gain a better understanding of how this concept can influence our perception of the bag and how it is unique to the individual. Part 4: Conclusion The purpose of this paper was to consider how looking at aspects such as luxury, caretaker practices, and function shape our opinion of whether we see the bag as an ‘object’ or a ‘thing’. Applying thing theory to a bag

From the analysis of the 3 bags, it is clear to see that these are more than just everyday items of convenience, they each have special attributes and qualities that, whether functional or not, we can connect to. “Why do women need so many bags? You get one, it holds all of your junk, aren't you done?” “Fashion is not about utility, Nate. An accessory is merely a piece of iconography used to express individual identity.” (The Devil Wears Prada, 2006) Bags are used as an extension of ourselves, they are signifiers to our thoughts and feelings and the way we wish to project ourselves to the world. This quote from The Devil Wears Prada highlights the cultural significance of the bag and its iconographical qualities that we saw highlighted earlier by Chandler. "A bag is undoubtedly an index to the body, animated through use and physicality. Ultimately, it is for carrying things. For personalizing. For stuffing, scratching and scuffing- a 'potential space (merkin 2014: 207) without this interplay of wearer and contents, a bag is just a bag" (Chandler, 2021). Chandler expresses the way that we put ourselves into the bags, we use them as a gathering site to collect not just physical items but also our emotional memories. "Steven Connor reminds us: 'we are beings apt to feel unbearably light without "our things" (Connor 2013: 15). They are wearable evidence of our attachments." (Chandler, 2021). We use the void of the bag to store items and emotions of importance, allowing us to keep them near to us. The void “holds by keeping and retaining what it took in” (Heidegger, 1971, pg169), every scuff, every scratch a moment or memory locked into the bag.

At what point does an object become a thing and a thing become an object? "Things are mid-sized, tangible forms that have impacts on the world" (Tonkinwise, 2016) They are items that can be interacted with on a personal level which allows them to become animate ‘things’ in our minds that we connect with. Tangible means to be perceptible by touch, this denotes that we build the bond with an object physically by leaning into it therefore forming it into a ‘thing’. "Bruno Latour exerts..."Things do not exist without being full of people" and that considering humans necessarily involves the consideration of things." (Brown, 2001, pg12) It seems that the human connection and ‘things’ are intrinsically linked, and one cannot function without the other. According to Brown, removing the ability of human interaction strips the ‘thing’ of its ‘thingness’ and returns it to its state as an object.

"The quest for things may be a quest for a kind of certainty” (Brown, 2001, pg4). ‘Things’ make us feel fulfilled and connected to the world around us therefore creating a sense of safety. “Things create meaningful worlds in which we humans' dwell; not just material worlds filled with objects” (Tonkinwise, 2016) After considering the research and with a deeper understanding, the differentiating factor between an object and a thing is the affordance we apply to it and its nearness in relation to us. Heidegger talks about nearness throughout his essays and how this affects our perception of an object as an object or an object as a ‘thing’. An object needs human interaction to become a ‘thing’ and develop a connection with the user, this is how ‘things’ become animate in our minds. As an item that we carry near to us, a bag, no matter its function, luxury, or point of origin, can be classed as a ‘thing’. “Bags also serve as the portable manifestation of a woman's sense of self, a detailed and remarkably revealing map of her interior, an omniumgatherum of myriad aspects of her life” (Merkin, 2006). A bag provides a void and a gathering site for us to use as we travel through life, it is safe and certain, and an expression of our individuality. Nearness can be consistent, or it can be paused and become less frequent. A bag may not be used every day, it might be stored away for a while and the nearness removed. Whilst the nearness has been removed it enters a temporary state of reverting back to an ‘object’ that we still have a strong connection to. This shows us that thing theory is a hybrid state where items move between ‘object’ and ‘thing’ depending on their nearness, however the attachment and affordance remain no matter the state of its ‘thingness’. This permanent affordance allows the transition back to ‘thing’ to be instantaneous when the nearness resumes. To conclude, affordance is what makes an ‘object’ a ‘thing’, and the nearness is what mobilizes it in our lives, therefore, the bag is a ‘Thing’. Figure list • • •

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Figure 1. Bags by the author for practice 5 module. Photograph by Matt Davis Figure 2. My own example of a ‘thing’ bag. Photograph by myself. Figure 3. One of the ’Bags Inside Out’ exhibition displays. https://www.vam.ac.uk/articles/inside-the-bags-inside-out-exhibition Accessed: 22/01/2025 Figure 4. The makers Table as part of the interactive third section. Supported by Mulberry. https://www.mulberry.com/gb/v&a Accessed: 22/01/2025 23

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Figure 5. Jane Birkin’s Birkin bag, exhibited at ‘Bags Inside Out’ https://www.dezeen.com/2020/12/21/bags-inside-out-exhibition-va-curator-picks/ Accessed: 22/01/2025 Figure 6. I am NOT a plastic bag, designed by Anya Hindmarch. https://www.anyahindmarch.com/pages/im-not-a-plastic-bag Accessed: 22/01/2025 Figure 7. International Woman suitcase by Tracey Emin. https://collections.vam.ac.uk/item/O137131/international-woman-suitcasetracey-emin/ Accessed: 22/01/2025 Figure 8. Display stand in Hermès showing the range of bags they produce. https://www.nytimes.com/2019/04/09/fashion/hermes-birkin-resale-secondarymarket.html Accessed: 22/01/2025 Figure 9 & 10. The ‘I'm NOT a plastic bag’ and the plastic bag it was replacing. https://www.thetimes.com/article/i-had-the-5-eco-it-bag-in-2007-now-ive-got-the10-tote-hurrah-2z9rbgrpq and https://www.about.sainsburys.co.uk/sustainability/plan-for-better/ourstories/2017/bags-of-help-for-good-causes-and-the-planet Accessed: 22/01/2025 Figure 11. An example of how Tracy Emin adds luxury to her limited addition pieces through signing them. https://www.artspace.com/tracey_emin/always-me-1623longchamp-bag-by-tracey-emin-hand-signed-and-dated-by-tracey-emin Accessed: 22/01/2025 Figure 12. Handling the Birkin bag wearing white gloves as a caretaker practice. https://www.abc.net.au/news/2023-07-18/jane-birkin-handbag-influence-luxuryhermes-hepburn-princess-di/102610118 Accessed: 22/01/2025 Figure 13. A selection of celebrities using the ’I’m NOT a plastic bag’ as part of their daily lives. https://www.anyahindmarch.com/pages/im-not-a-plastic-bag Accessed: 22/01/2025 Figure 14. Close up of Tracey Emin’s suitcase showing the use of words and phrases to tell the story. https://www.bonhams.com/auction/28242/lot/199/traceyemin-born-1963-and-longchamp-international-woman-suitcase-limited-edition2004/ Accessed: 22/01/2025 Figure 15. Tracy Emin’s bag on display behind glass at the V & A. https://www.elle.com/uk/life-and-culture/a37384312/tracey-emin-meeting-idol/ Accessed: 22/01/2025 Figure 16 & 17. Two contrasting uses of a Birkin bag. On the left, Jane Birkin's overflowing bag. On the right is a special edition Birkin kept behind enclosed glass for protection and security. 24

https://www.hellomagazine.com/hfm/culture/725542/jane-birkin-original-bag-ondisplay/ and https://www.nytimes.com/2016/06/05/fashion/hermes-birkin-mostexpensive-bag-ever-sold.html Accessed: 22/01/2025

References BODENHAM, P. (2018) Ceramics and locational identity: investigating the symbolism of material culture in relation to a sense of place. Craft research (Vol 9 Number 2 pg293) Available from: https://research.ebsco.com/c/nb72z2/search/details/qirixh7grn?db=vth&limiters=None& q=ceramics%20and%20locational%20identity Accessed: 13/06/2024 BOND RAFFERTY, J. (2009) In the bag. Art + Auction (Vol. 33 Issue 3, p58-60) Available from: https://research.ebsco.com/c/nb72z2/search/details/p3c4yju7wf?db=vth&limiters=None &q=BOND%20RAFFERTY%2C%20J.%20%282009%29%20In%20the%20bag.%20Art%20% 25

2B%20Auction%20%28Vol.%2033%20Issue%203%2C%20p58-60%29%20 Accessed: 13/06/2024 BROWN, B. (2001) Thing Theory. Critical enquiry, vol.28 (Autumn 2001) (pg 1-22) Available at: https://is.muni.cz/el/phil/jaro2018/DVE055/um/Brown_Thing-theory_2001.pdf Accessed: 07/10/2024 CHANDLER, K. (2021) Bags: Inside Out, curated by Lucia Savi: Victoria and Albert Museum, London, 12 December 2020–16 January 2022. Craft research (Vol. 12 Issue 2, p 347-351) Available from: https://research.ebsco.com/c/nb72z2/search/details/34ro3z4upb?db=vth&limiters=None &q=bags%20inside%20out Accessed: 13/06/2024 CHAPMAN, J. (2005) Emotionally durable design: Objects, experiences and empathy. London, Earthscan. CLIFFORD, F. (2020) Vessels: Breaking open the Discourse on Contemporary Blacksmithing. Batchlor of Arts. University of Wales Trinity St. David. COOPER, E. (2009) Contemporary ceramics. London, Thames and Hudson HEIDEGGER, M. (1971) Poetry, Language, Thought. New York: Harper and Row. (pg166,172,164,167) HEINE, K. (2012) The concept of luxury brands. 2nd edition. Available from: https://upmarkit.com/sites/default/files/content/20130403_Heine_The_Concept_of_Luxur y_Brands.pdf Accessed: 13/06/2024 JULIUS, C (2021) Mixed bag. Crafts (Issue 287, p87-87) Available from: https://research.ebsco.com/c/nb72z2/search/details/fo6hmdkokf?db=vth&limiters=None &q=JULIUS%2C%20C%20%282021%29%20Mixed%20bag.%20Crafts%20%28Issue%202 87%2C%20p87-87%29%20 Accessed: 13/06/2024 MCNEIL, P & RIELLO, G. (2016) Luxury: A rich history. Oxford, Oxford university press (pg232, 258, 266) MERKIN, D. (2006) sometimes a bag is not just a bag. Available at: https://www.nytimes.com/2006/02/26/style/tmagazine/sometimes-a-bag-is-not-just-abag.html Accessed: 27/11/2024 NORMAN, D. (2013) The design of everyday things. Cambridge, MA. The MIT Press POTAVANICH, T. (2015) The concept of luxury from a consumer culture perspective. Doctor of Philosophy. University of Manchester. 26

SUDJIC, D. (2008) The language of things. London, Penguin Group (pg128) The Devil Wears Prada (2006) Directed by David Frankel [film]. Los Angeles, CA: Fox 2000 Pictures TONKINWISE, C. (2016) Thinging, Things. The Bloomsbury Encyclopedia of Design. Vol 3. London: Bloomsbury Academic. (pg 320-321) Available at: https://www.bloomsburyvisualarts.com/encyclopedia-chapter?docid=b9781472596154&tocid=b-9781472596154-BED-T026&st=thinging+things Accessed: 13/06/2024 TURKLE, S. (ed.) (2011) Evocative objects: Things we think with. London, the MIT press (pg5) V&A (2020) Bags: Inside Out [Press release] Available from: https://etnnet.org/berichte/bags-inside-outexhibition-at-the-victoria-albert-museum-london-gb2111-2020-12-09-2021.html?file=files/ETN/news/2020_10/VA_Bags_Release%20June.pdf Accessed: 27/11/2024 V&A (2019) 'I'm not a plastic bag' tote bag. Available from: https://collections.vam.ac.uk/item/O1484398/im-not-a-plastic-bag-tote-bag-hindmarchanya/ Accessed: 27/11/2024 V&A (2007) International Women. Available from: https://collections.vam.ac.uk/item/O137131/international-woman-suitcase-tracey-emin/ Accessed: 27/11/2024 VOUGE (2024) Everything You Need To Know About Buying An Hermès Bag. Available from: https://www.vogue.co.uk/article/buying-an-hermes-bag Accessed: 27/11/2024

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2B%20Auction%20%28Vol.%2033%20Issue%203%2C%20p58-60%29%20 Accessed: 13/06/2024 BROWN, B. (2001) Thing Theory. Critical enquiry, vol.28 (Autumn 2001) (pg 1-22) Available at: https://is.muni.cz/el/phil/jaro2018/DVE055/um/Brown_Thing-theory_2001.pdf Accessed: 07/10/2024 CHANDLER, K. (2021) Bags: Inside Out, curated by Lucia Savi: Victoria and Albert Museum, London, 12 December 2020–16 January 2022. Craft research (Vol. 12 Issue 2, p 347-351) Available from: https://research.ebsco.com/c/nb72z2/search/details/34ro3z4upb?db=vth&limiters=None &q=bags%20inside%20out Accessed: 13/06/2024 CHAPMAN, J. (2005) Emotionally durable design: Objects, experiences and empathy. London, Earthscan. CLIFFORD, F. (2020) Vessels: Breaking open the Discourse on Contemporary Blacksmithing. Batchlor of Arts. University of Wales Trinity St. David. COOPER, E. (2009) Contemporary ceramics. London, Thames and Hudson. GRABNER, M. The Thingness of Air. Available at: https://fernwey.com/thingnessofair Accessed: 13/06/2024 HEIDEGGER, M. (1971) Poetry, Language, Thought. New York: Harper and Row. HEINE, K. (2012) The concept of luxury brands. 2nd edition. Available from: https://upmarkit.com/sites/default/files/content/20130403_Heine_The_Concept_of_Luxur y_Brands.pdf Accessed: 13/06/2024 Hello catwalk city, 2024, The story behind the Birkin bag told by Jane Birkin herself [Video online] Available from: https://www.youtube.com/watch?v=n794iLd4V7s Accessed: 6/10/2024 Hermès, 2018, Story of an exceptional saddle-maker at Hermès | Hermès Footsteps Across The World [Video online] Available from: https://www.youtube.com/watch?v=MkCJUl4WtDU&list=PLD1GFq3N1R85Kul2rRCESwurIKWTEkT8&index=12 Accessed: 5/10/2024 Hermès, 2018, The Hermès’ bag, a mother-daughter tradition | Hermès Footsteps Across The World [Video online] Available from: https://www.youtube.com/watch?v=Eetv4OUYAnE&list=PLD1GFq3N1R85Kul2rRCESwurIKWTEkT8&index=14 Accessed: 5/10/2024 28

Hermès, 2019, Luxury is that which can be repaired | Hermès Footsteps Across The World [Video online] Available from: https://www.youtube.com/watch?v=mrvGt9NYURY&list=PLD1GFq3N1R85Kul2rRCESwurIKWTEkT8&index=15 Accessed: 5/10/2024 Hermès, 2019, Manufacto: shaping one’s life by making objects | Hermès Footsteps Across The World [Video online] Available from: https://www.youtube.com/watch?v=cxomWX6KlBg&list=PLD1GFq3N1R85Kul2rRCESwurIKWTEkT8&index=16 Accessed: 5/10/2024 HODGEMAN, J. (2020) The agency of the vessel: How contemporary craft can change our current relationship with water. Batchlor of Arts. University of Wales Trinity St. David. JULIUS, C (2021) Mixed bag. Crafts (Issue 287, p87-87) Available from: https://research.ebsco.com/c/nb72z2/search/details/fo6hmdkokf?db=vth&limiters=None &q=JULIUS%2C%20C%20%282021%29%20Mixed%20bag.%20Crafts%20%28Issue%202 87%2C%20p87-87%29%20 Accessed: 13/06/2024 KALANTIDOU, E. (2016), Dwelling. The Bloomsbury Encyclopedia of Design. Vol 3. London: Bloomsbury Academic. (pg 446-447) Available from: https://www.bloomsburyvisualarts.com/encyclopedia-chapter?docid=b9781472596178&tocid=b-9781472596178-BED-D126&st=KALANTIDOU Accessed: 13/06/2024 MCNEIL, P & RIELLO, G. (2016) Luxury: A rich history. Oxford, Oxford university press MERKIN, D. (2006) sometimes a bag is not just a bag. Available at: https://www.nytimes.com/2006/02/26/style/tmagazine/sometimes-a-bag-is-not-just-abag.html Accessed: 27/11/2024 NORMAN, D. (2013) The design of everyday things. Cambridge, MA. The MIT Press POTAVANICH, T. (2015) The concept of luxury from a consumer culture perspective. Doctor of Philosophy. University of Manchester. SUDJIC, D. (2008) The language of things. London, Penguin Group The Devil Wears Prada (2006) Directed by David Frankel [film]. Los Angeles, CA: Fox 2000 Pictures TONKINWISE, C. (2016) “Thinging, Things”. The Bloomsbury Encyclopedia of Design. Vol 3. London: Bloomsbury Academic. (pg 320-321) Available at: https://www.bloomsburyvisualarts.com/encyclopedia-chapter?docid=b29

9781472596154&tocid=b-9781472596154-BED-T026&st=thinging+things Accessed: 13/06/2024 V&A (2007) International Women. Available from: https://collections.vam.ac.uk/item/O137131/international-woman-suitcase-tracey-emin/ Accessed: 27/11/2024 V&A (2019) 'I'm not a plastic bag' tote bag. Available from: https://collections.vam.ac.uk/item/O1484398/im-not-a-plastic-bag-tote-bag-hindmarchanya/ Accessed: 27/11/2024 V&A (2020) Bags: Inside Out [Press release] [Accessed: 27/11/2024] Available from: https://etn-net.org/berichte/bags-inside-outexhibition-at-the-victoria-albert-museumlondon-gb21-11-2020-12-092021.html?file=files/ETN/news/2020_10/VA_Bags_Release%20June.pdf Accessed: 13/06/2024 Victoria and Albert Museum, 2020, Making bags: Mulberry | V&A [Video online] Available from: https://www.youtube.com/watch?v=NYN0m1UWj9o&list=PLe2ihXndm5js1FmuVp34ApE9 9FfYjXMcx&index=2 Accessed: 5/10/2024 Victoria and Albert Museum, 2021, Exhibition highlights | Bags: Inside Out curator tour | V&A. [Video online] Available from: https://youtu.be/v4JvmemIqz0 Accessed: 5/10/2024 Victoria and Albert Museum, 2021, Making bags: Elvis & Kresse | V&A. [Video online] Available from: https://www.youtube.com/watch?v=TQc-jG4hLKU Accessed: 5/10/2024 Victoria and Albert Museum, 2021, Making bags: Bill Amberg | V&A. [Video online] Available from: https://www.youtube.com/watch?v=sr Accessed: 5/10/2024 VOUGE (2024) Everything You Need To Know About Buying An Hermès Bag. Available from: https://www.vogue.co.uk/article/buying-an-hermes-bag Accessed: 27/11/2024 Vogue, 2024, How Hermès Bags Are Made | Vogue [Video online] Available from: https://www.youtube.com/watch?v=Z7LJrU4443Q Accessed: 5/10/2024