The Value of Things by Sarah Gotheridge. MA Fashion & Textiles: Reseach Module

SARAH GOTHERIDGE STUDENT NO: N0127848 RESEARCH REPORT A DVA N C E D A R T A N D D E S I G N R E S E A R C H 2019-2021 NOTTINGHAM TRENT

UNIVERSITY

MODULE LEADER: KERRY GOUGH MODULE CODE: RSCH40001

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Title Page

The Value of Things Can the concept of value encourage connection to our clothes?

INVES T IG AT I ON

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Title Page

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Table of Content 4

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REVIEW

M ET HO DO L OG Y

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Reasearch Method Selection

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Authoethnography

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Grounded Research

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RE S EA RC H

PROC ES S

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Autoethnography Process

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Grounded Theory Process

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AN A L YS IS

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CO NC L US IO N

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Table of Content

DEFINIT IO N

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Appendices ET HIC S

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AB S T RAC T

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IN T RO DUC T IO N

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M ET HO DO L OG Y

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AR T IFAC T

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AUTO ET HNOG RA P HIC ST UDY

Table of Content

FAM IL Y

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COVER

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SEL EC T IO N

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Loss

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Choices

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Treasure

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A RT EFAC T S

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Chosen: Broken Animal Parade

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Gifted: Nana’s Cats

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Found: Bus Ticket

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DIS OVERY

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ILL US T RAT IO NS

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RE FERENC ES

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G RO UNDED

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B IBL IOG RA PHY

EX T R ACT S

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SEL EC T ED

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Value Definition

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Value Definition

‘The regard that something is held to deserve.’

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Introduction

Introduction

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Through ever decreasing benchmarks in price and quality, fast fashion has led to a decline in our perception of the value of the garments we wear.

Current consumer habits driven by the brands at the forefront of the industry, normalize the practice of ‘wear it once culture,’ disrupting the potential for any meaningful connection with our clothing to develop.

My masters project was born from the recollection of the party frocks of my childhood, a special item of clothing that elicited excitement and

joy. Worn repeatedly for every special occasion until they were eventually outgrown. The very antithesis of current attitudes towards clothing.

Initially my research sought to address this issue by examining the concept of value to inform the participants of my dressmaking workshops.

However, as my masters project has evolved, transforming my design practice and the nature of my work, it was necessary to increase the scope of this study to appeal to a wider audience.

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From the perspective of designer, researcher and activist it is my intention to use my work to educate the onlooker, through provoking thought on issues of quality, value and connection. To achieve this, it is imperative that the visualisation of my work is underpinned by sound theory and a deep understanding of the sentiment that initiated its creation. A mixed method approach of grounded theory and autoethnography will be used to investigate the concept of value, to

establish a deeper understanding of the circumstances and motivations behind the regard we have for cherished objects. This study asks: 1. Why do we value the things that we do?

2. Can the answer to that question be used to encourage a deeper sense of connection to the clothes we wear?

My research seeks to reinforce the concepts at the heart of my masters project in order to promote a more sustainable approach to fashion consumption.

Introduction

Introduction

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Literature Review

Literature Review

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My enquires started with the subject of material culture, initial investigations led me to the work of Daniel Miller, a key figure in the field. Miller (2008), theorizes the nature of materiality, highlighting the necessity and usefulness of things, but whilst emotional connection is touched upon, his work tends to delve into the sociological and cultural aspects of the items within our homes, evaluated from his stance as an anthropologist.

Research into the subject of emotional connection to objects does seem to be limited in comparison to other stands of material culture, an issue confirmed by Bell, T. and Spikins, P., (2018), who claim the field is in its infancy, with emotions seen as a less worthy line of enquiry, research usually focuses on the social, technological and political meanings of material culture.

Turkle (2007) states that we are familiar with the idea of objects being superfluous and perhaps a vain indulgence but less so with the notion that objects can become companions to out emotional lives or provocations to thought.

Literature Review

Norman (2007, p. 6) who’s background in psychology and product design provides some interesting insights, argues that the emotional side of design may be more critical to a product’s success than its practical elements. Asserting ‘objects in our lives are more than mere material possessions and bring meaning to our lives’. A view echoed by Jarrett (2013) who suggests our possessions embody our sense of self, becoming external receptacles for our memories.

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Literature Review Through the lens of psychology, research on emotional attachment seemed to focus on its negative connotations, with studies by Studies by Yap et al. (2018), Timpano et al. (2014) and Davis (2018) all relating emotional attachment to hoarding disorders with no discernible investigation within this field to contradict these results.

With limited findings, a cross-disciplinary approach to reading was instigated, focusing on a range of concepts that became the foundation for grounded theory enquiry (see Appendix).

Literature Review

Amongst these the ideology of emotional durability, provided the most insight.

Hofland (see Hinte 1997, p.19) defined the progression of our relationship to aging objects as cherished, nostalgic and antique the issue being, most products do not make it to the cherished stage. Design for longevity has been identified as the single largest opportunity to reduce the environmental impact of the fashion industry, The Wrap (2017), but consumers need to want to keep things for longer. As Chapman (2009) states, the sustainability crisis is a behavioural issue not just one of production and volume.

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My research will seek to build on these theories, examining the sentimental impetus needed to elevate our possessions to cherished status, to help prolong the life span of the clothes we wear. It is my own believe that the problem lies within our relationship to objects, not in the objects themselves.

“Clothes mean nothing until someone lives in them.”

D I A N A

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Introduction

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Methodology

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My original selection of autoethnography conducted to formulate concepts for exploration within a focus group has changed to reflect the evolution of my creative endeavours. A focus group did provide opportunity to gage the commonality of my own feelings and insight towards my possessions, perhaps initiating discussion and offering further input on the nature of value from a broader perspective.

Whilst there is no doubt that my research could have benefited from the shared experience (Denscombe 2010) of such discussion, initial reading into the subject matter of my study brought to light the magnitude of this undertaking.

To develop a sound grasp of the ideas pertaining to my research a different approach was needed, one that could fuse

process with logic to convey meaning and develop my understanding (Eaves 2014).

As a novice researcher with little knowledge of the theoretical fields pertinent to my study, grounded theory provided the framework to examine the subject matter and the extent to which relevant theories had already been developed Denscombe (2010).

Grounded theory could also equip me with the skills necessary to initiate practice-led research. (Hawkins, B., Wilson, B., 2017).

Combined with an autoethnographic study, this mixed method approach would allow for comparative analysis to help substantiate the accuracy of any findings. As Denscombe (2010) states, a shrewd combination of methodologies allows the researcher to exploit the individual strengths of each selection.

Methodology

Research Method Selection

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Methodology

Autoethnography

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The path of my masters has been one of increasing introspection and reengagement with my creative voice.

Autoethnography offered a method of externalising inner dialogue, Duncan (2004) to understand and develop the themes, central to the formulation of my masters proposal.

As described by Ellis and Bochner (see Throne 2004, p.49) the author uses the vulnerable self as subject, told through a variety of means, recalling deep untold experiences worthy of enquiry.

This seemed an appropriate methodology on which to ground and give substance to the concepts shaping my creativity (see Appendix p.42). One that possessed the power to engage an audience, through elements of nostalgia and commonality expressed through storytelling devices, (Adams, T., et al., 2017), reinforcing the visual impact of my work.

As defined by Roux (2016), autoethnography acknowledges and accommodates subjectivity, emotionality and researcher influence all of which will be necessary to conduct an in-depth, personal, exploration.

Freeman (2015) adds this form of selfreflection can lead to identification and learning through the examination of personal experience.

However, the personal and subjective nature of autoethnography has led critics to question its validity and scholarly rigour, as previously discussed (see Appendix p.61).

My findings will be supported with data gathered through grounded theory explorations.

Duncan (2004) stipulates that such studies are usually based on numerous sources of evidence, giving weight to personal narrative (see Appendix p.42).

Chun, T., et al (2019) define grounded theory as a structured, yet flexible methodology one that is especially suited for when little is known about a phenomenon.

Initial research indicated the concept of value spanned numerous fields including design theory, material culture, psychology, consumerism and anthropology. With a background in design the latter four areas were relatively new to me, grounded theory appeared to offer the means to approach them with more confidence. As stated by Charmaz, K. and Bryant, A., (2010) adopting grounded theory strategies enables researchers to further the theoretical reach of their studies and to make tacit meanings and processes explicit.

Denscombe (2010) advocates the need for researchers to start with an open mind, describing grounded theory as ‘a voyage of discovery’.

A statement that confirms my experience of the process, one that has led to the identification of numerous sources of data, from many fields of research, not previously encountered, that will serve to describe the nature of value from varied perspectives (see Appendix p.76).

Denscombe (2010) goes on to describe the downside to grounded research, that being the difficulty it presents in planning. It is virtually impossible to predict the sample size or length of time needed to generate it. This too has proved to be true, the process of research taking far longer than I initially anticipated.

Methodology

Grounded Theory

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Research Process

Autoethnography Process

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My autoethnographic study commenced with a rationale, introducing the factors that formulated the hypothesis behind my masters project. It was important to determine the reasoning in my own mind before embarking on the research, to consolidate the various elements at play and articulate my intent (see Appendix p.37).

Personal artefacts were nominated for examination. Nista [n.d.], stipulates the importance of artefact selection as a primary resource to provide a concrete,

tangible dimension to research. These were systematically selected, to induce emotional responses and their associated memory (see Appendix p.44). Items belonging to my grandmother were chosen for their capacity to evoke the deepest feelings.

This also provided a baseline on which to assess the relevance of any other factors involved in my formation of attachment to the objects, as all three artefacts were profoundly intrenched in my affection for her.

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Autoethnography Process A further consideration was also implemented to determine if the manner in which the artefact was acquired, impacted personal connection (see Appendix p.47). The resulting three final artefacts were defined as chosen, gifted and found, speculating that the results of this particular line of enquiry could be related to consumer drivers and engagement for further study.

Research Process

To provide context to the reader, a brief family history was described along with a summary of the artifact’s significance to myself (see Appendix p.48). It was my intention to describe the three artifacts by formulaic means, to create a framework for analysis but as I began each account, the stories evoked began to take on their own form which proved conducive in creating the authentic narrative required.

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On first draft, the writing was allowed to flow, conveying everything that came to mind, without consideration for spelling, punctuation, structure or analysis. Once completed each account was corrected, edited and refined. Critical reflection was then applied to analyse the nature of the thoughts and feelings associated with the content of the written piece, and any concerns I was experiencing through drafting such a personal account.

Critical reflection as defined by Fooks (See Morley 2008), provides the means of examining potentially restrictive forms of thinking, to deconstruct and reconstruct our internalized dialogue. Findings were then evaluated alongside insights gained from grounded theory and investigations into research methodology (see Appendix p.51).

The written process brought to light issues that can arise through the personal nature of autoethnography. Namely the difficulty of recollecting painful events and the associated feelings of loss and grief, in this case over the passing of a beloved relative (see Appendix p.48). To write with true authenticity it felt necessary to become immersed in the story being told in order to gain real insight into past events, emotionally that proved very challenging.

Research Process

Dilemmas over the representation of other individuals involved in the narrative also proved problematic, raising ethical issues that conflicted the need to portray an accurate account with the potential to instigate further acrimony with those whose role in this story, when told from my perspective would not cast them in a good light (see Appendix p.58).

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Research Process 26

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After careful consideration, the decision was taken to omit these events from my narrative, having concluded that on this occasion, my feelings towards the artifact in question had not been altered by the experience.

Had the opposite have been true, it would have felt dishonest not to elaborate on the full story.

Valuable data could have been established from such an account; indeed, the transitory nature of feelings could be worth investigating in the future to strengthen my current findings.

My autoethnographic study was completed with an analysis of the findings (see Appendix p.71), concluding with a summary, considering the effectiveness of the undertaking in relation to my design practice (see Appendix p.75).

To aid visualization of the artifacts, imagery was used extensively throughout the final draft of the autoethnographic study.

This was deemed essential to engage the reader and illustrate the ordinary qualities of the selected objects, central to this study to highlight the nature of value.

Research Process

Autoethnography Process

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Research Process

Grounded Theory Process

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Initially progress with grounded theory was slow, inexperience of the subjects, made it difficult to find the data needed.

After a steep learning curve, the problem gradually resolved itself as the vocabulary necessary to unearth information became more familiar.

Grounded research offered a means of learning the skills needed to formulate effective research strategies.

Described by Booth et al. (2016), the craft of research draws on specific practices that enable us to develop and refine our projects.

Examining the terminology relating to my chosen fields generated more immediate results by providing a more informed starting point, expediating the process.

During a period of extensive reading, various new categories of investigation were discovered. From which quotes pertaining to the nature of my study were extracted.

My research question appeared to sit at the cross section of numerous fields, all of which offered fresh perspectives and theories to underpin my autoethnographic study (see Appendix p.76).

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Analysis Grounded theory research provided a wealth of data on which to corroborate the ideas generated through the process of autoethnographic investigation. This helped balance the emotive, personal nature of autoethnography with sound theoretical understanding. My autoethnographic study evolved into an account more concerned with storytelling than structure, choosing my words specifically to evoke a sense of place, significance and emotion to both myself and the reader. It does, however, feel more authentic to my personal history and pertinent to the values underpinning my masters project.

Perhaps this is the nature of an autoethnographic study, Turner (2013) who describes the transformative qualities of this method of research from starting point to finished article, suggests this could be the case. A statement echoed by Ellis et al., (2011) who refer to the fluidity, flexibility and shape-shifting aspects of the autoethnographic process.

Analysis

I do not feel practised enough to confirm this with much authority, but I do feel that the personal nature of this form of qualitative research lends itself to a more organic developmental approach. One that cultivates deep understanding of the subject matter on a very profound level, or at least that has been my experience on this occasion. Perhaps this is one of the benefits of autoethnography, this deeply reflective practice has the potential

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as described by Custer (2014) to drastically alter the writers perception of the past, inform their present, and reshape their future.

Considering the artefacts without constraints, unearthed insight into the nature of my attachment, that through the passing of time, had been relegated to distant memory (see Appendix p.55).

Reflective practice evoked further recollections and gave context to the resulting discoveries.

The artefacts worked as an instigator, the initial seed of recollection propagating the next.

Through this practice, perceived notions of events were re-examined. Realisation brought about new understanding and challenged previously made assumptions (see Appendix p.67).

Analysis

The resulting account of each artefact provided data, that feels authentic and as accurate as memory will allow. And whilst awareness of the subjective nature of my account does lead me to question the absolute reliability of my findings, precision of detail is less important than the emotions and attachment they evoke. In this instance, personal elaboration or subjectivity do not negate my findings. Each story unveils the reasoning behind my personal attachment and that can only ever be subjective.

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Conclusion It is clear from this study that our belongings can elicit a deep level of feeling and attachment.

They become infused with our distinctive histories, evoking memories of experiences, people and places and in doing so render themselves indispensable to us. Their significance defined by something far greater than their aesthetic or monetary value, our personal treasures can provide comfort, happiness, reassurance, consistency and keep the memories of those we have lost alive.

The regard we have for these cherished objects does not diminish with age but can strengthen over time as their continued presence in our lives further cements their standing. If something as intrinsically disposable as a bus ticket can hold such meaning, then surely it is not beyond the realms of possibility to consider that our clothes could too if we let them. Clothing our bodies as they do, our garments are perfectly placed to become vessels for our memories, but for that to happen they need to share in our experience through regular, long term wear.

Conclusion

This investigation leads me to believe that it is possible to overcome the current predominant experience of fashion consumption by shifting our perspective and re-evaluating our relationship with fashion as it currently stands. When we become conscious of the depth of feeling it is possible to have for the things we treasure, why would we want to accept anything less than that?

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Armed with this understanding, consumers could transcend the self-serving limitations imposed and perpetuated by the fast fashion industry and adopt more meaningful practices.

I believe this research has helped substantiate the concepts at the heart of my masters project, strengthening my comprehension of the subject matter, my resolve as a design practitioner and my commitment to educating myself and others. Within the context of my design practice this study provides insight that will help shape the nature of my work and its visualisation, moving beyond the remit of my position as a designer maker and seeking to enlighten through exhibitions and participatory workshops, created to engage, stimulate debate and bring about change.

In terms of this studies success in answering my research question, I feel that my findings provide the foundation for further enquiry as opposed to delivering a definitive answer. One which has the potential to facilitate future investigation based on the body of theoretical knowledge gained and evolve symbiotically alongside my design practice.

As such the results of this enquiry will be used to formulate the framework for a focus group to expand upon the views expressed in my autoethnographic study. It is hoped that this will provide a more comprehensive account of the nature of value that has the potential to encourage more informed consumer practices with the aim of extending garment life span.

Conclusion

This research has identified lines of enquiry that could play a crucial part in the development of my theory, which requires further investigation. To ascertain the true validity of my findings, it will be imperative to explore perceived value and attachment through the shared experience of others.

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Ethics Approval ET HIC S

T RA INING

ET HIC S

C HEC KL IST

Appendix

ET HIC S

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Q U I Z

ON

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COMP L E T E D

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7 T H

7 T H

7 T H

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A P R I L

A P R I L 2 0 2 1

2 0 2 1

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The Value of Things AN

AUTO ETH NOGRA PH IC

S TU DY

INTO

THE

THINGS

WE

LOVE

AND

THE

NATURE

OF

VALUE .

D AT E O F P U B L I C AT I O N

DEVISED & WRITTEN BY

20th April 2021

by Sarah Gotheridge

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Abstract

Appendix

Fast fashion has damaged consumer perception of the value of garments. With a business model built on the high turnover of cheap fashion, clothing designed with limited lifespans has become the norm, creating a culture of garment disposability where the new is constantly sought. But human beings do have an innate desire to possess things that seems to run contrary to this practice, with many collecting mementos, everyday objects that are imbued with meaning and are subsequently cherished.

Could the examination of such objects provide insight into the nature of their value to us?

Could that insight be used to challenge current consumer behavior and be used to promote a more sustainable approach to the consumption of fashion, encouraging longevity and value?

The author of this autoethnographic study will select and examine three personal artifacts to investigate the nature of perceived value and attachment.

It is hoped that the resulting study will answer the questions posed and in doing so define a strategy to inform the authors design and educational practice.

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Appendix

Introduction

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We live in a world consumed by the influence of fast fashion. The catastrophic environmental and human impact of this is now well documented, but with the continuous decline in price points and the resulting deterioration of garment quality, our perception of fashion has been inextricably altered.

A 2015 survey by the UK charity Barnardo’s found garments are worn an average of seven times before disposal. This figure dropped to three for a similar study conducted in

China, (Thomas 2019). With no incentive for customers to keep and value their clothes, they have been rendered almost disposable in nature. As summarised by Fletcher (2016), perhaps no other industry has perfected the cycle of invention, acceptance and discard quite as successfully as fashion.

But human beings do have an innate desire to possess things, children as young as six, exhibit the ‘endowment effect’, placing extra value on an object simply by virtue of it being, or having been, theirs (Jarrett 2013).

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And as our lives unfold our possessions embody our sense of self, becoming external receptacles for our memories.

Many people collect mementoes of their lives, esoteric souvenirs that carry meaning and memories only for their owners. Everyday objects become mementoes because of the time and emotion invested in them (Petrelli et al. 2008).

If we can develop such strong attachments and attribute meaning to everyday objects could we not do the same with our clothes to help promote a more sustainable approach to fashion consumption? Is it possible to

encourage consumers to want what they have and revel in the power, imagination and possibilities that can offer (Fletcher 2016), instead of continually seeking the new?

Could an open dialogue between object, maker and consumer help construct meaning?

A question posed by Marius Kwint et al.

(1999). And if so could a better understanding of our attachment to objects, encourage a deeper connection to the clothing we own?

As Chapman (2015) stated, designers must learn to embrace human unpredictability before they can attempt to effectively enrich and elongate subject– object engagement.

Appendix

Introduction

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Appendix

Methodology

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This autoethnographic study is an investigation into the nature of value through the examination of three carefully selected personal artifacts. The work of Frank (see Wall 2008, p.39) describes autoethnography as a way of telling a story that invites personal connection rather than analysis which although complements the emotive nature of this study, to reinforce my understanding of the subject matter I feel it necessary to link my personal narrative to concepts

from academic literature as suggested by Holt (see Wall 2008, p.39). Therefore, I will be comparing my findings with my explorations into grounded theory, which in line with the principles of triangulation (Denscombe 2002), will be used to determine and improve the accuracy of my study. As a novice researcher I believe this mixed methods approach will give validity to my study and help ensure the generation of rich qualitive data.

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Artifact Selection DEFINING

PA R A ME T E R S

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CH O I CE

Appendix

I am perhaps more sentimental than most. Objects within my possession are imbued with meaning and connection, each capable of telling a story of their significance. A point echoed by the work of Diesendruck and Perez (see Bell and Spikins 2018), who described objects as mnemonic devices, providing significant reminders of people, places and events.

As such it was a difficult decision to select just a few objects to form the focus of this autoethnographic study, which I felt necessary to analyse my choices in depth.

I had already established several contenders through their use as imagery within my design practice, but as these were chosen for their aesthetic qualities as much as there meaning, for the purpose of this study I did not want the limitation of visual appeal to infringe upon my selection.

To fully investigate my perceived value of the things I hold dear, my choices needed to stimulate a deep level of introspection. Emotional attachment needed to be the prime motivator for each choice, with that in mind items once belonging to my Nana fit these criteria definitively.

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Artifact Selection DEFINING

PA R A ME T E R S

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As I own many of my Nana’s possessions, further consideration was necessary to narrow my choice. Initially I established parameters for selection, based on the following questions:

• What means the most to me?

• Why does it mean so much to me?

• What evokes the strongest memories?

Each of these questions was designed to reacquaint me with the objects story, to systematically eliminate those with only tenuous links to my Nana, (although I am aware that could have created a different line of enquiry, worthy of investigation).

Whilst this method did generate a collection of suitable objects for consideration it was the last question that ultimately brought about my final selection. The manner of initial ownership was further categorized as chosen, gifted and found resulting in the selection of three artefacts with equal emotional value, which could also be investigated to determine if the nature of acquisition had any bearing on perceived value.

Appendix

• How did I come into possession of the item?

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Appendix

Family Background

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I last saw my Nana as she was in the summer of 2009, smiling and waving to me from her golden yellow front door after my then fiancé and I had driven her home, after visiting us for tea. That afternoon we chatted, ate fish and chips, drank tea with the batch of buns she had made for us and as was the norm, I tried and failed to get her to sit down with us after tea instead of washing the pots and attempting to clean my entire kitchen to her own exacting standards.

The next day I received a call informing me that my Nana had suffered a massive stroke and had been rushed to hospital.

She was found by my Dad that afternoon, collapsed in her hallway where she had lain for hours. She had been hoovering, her breakfast still waiting to be eaten on her kitchen bench.

She died three days later aged 91 and that is as much as I can bring myself to write about her passing.

Recollecting the pain of that time is more than I can bear. I was and will forever remain devasted by her loss.

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My Mum was an only child, meaning my sister and I, had our Nana all to ourselves. Even more so as our Grandad passed away shortly before I was born. Subsequently she directed all her love and attention towards us. Throughout our childhood we saw her almost every day, she was always in our lives.

When she died it was our responsibility to organise her affairs.

My Nana’s possessions were divided up between the three of us, the things as Miller (2010) proposed, that came closest to our ideal view of her, were chosen. Through amicable discussion and compromises over certain items namely, her jewellery box, button tin and paintings we each left with our little pieces of her. It has been argued (Hallam, E. and Hockey, J. 2006, p.36) that if personhood and social identity are fashioned through the body and the material objects with which the body is associated, then it is through these objects that the deceased are kept within memory. Everything within the walls of my Nanas home was filled with memories of her.

Appendix

C H O IC ES

Family Background

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Appendix

Family Background

52

The items that I chose and those that have since found their way to me have become my most treasured possessions, if my house were on fire, it would be these objects that I would save above all else.

Some take pride of place, displayed on shelves (her display shelves) within my home, some are tucked away in draws (her actual draw linings) and some are even in my freezer (I kept that last batch of buns she baked and froze them), but all are a comfort to me.

As Miller (2010) states, ‘You can’t control the way in which you separate from a living body, but you certainly can control the objects which were associated with it’.

Appendix

T R E AS U R E

FIG URE

1 8.

M Y

NA NA ’ S

L AST

B ATCH

O F

B U N S ,

F R O Z E N

I N

2 0 0 9 .

53

C H 54

FIGURE

1 9.

CO L L EC T IO N

O F

B E S W I CK

A N D

S Y L VAC

F I G U R I N E S .

Broken Animal Parade SEL E CT E D

A R T E FACT S

O SEN

Appendix

On the high windowsill in the wood panelled hallway of my Nana’s 1930’s semi, resided her collection of Beswick and Sylvac animal figurines. They were arranged like a procession, alluding to her taste, her history and a time gone by, a deliberate collection and a form of expression, capable of revealing an authentic voice as the work of Miller (2008) suggests.

Nearly all of them were broken, many on numerous occasions, victims of her haphazard dusting, she would frequently knock them off. She kept a ceramic lidded pot, specifically for the purpose of collecting the lost limbs, ready for my Mum to glue them back together, which she did in batches once the pot was full.

My Nana would bring the maimed ornaments round to our house, wrapped individually in newspaper, along with the pot of ceramic body parts and my mum would diligently re-attach them with Araldite glue the scent of which would linger in the house for days.

As a child I detested that smell, but as an adult the smell of epoxy resin is cause for instant reminiscing of the two of them sat around the kitchen table, my mum mixing the two solutions together with a cocktail stick whilst she subtly scolded my Nana for her carelessness. At which my Nana would ‘blow’ (our way of describing our Nana’s manner of sighing, which really was more of a blow than a sigh) in protest.

55

Nana’s Cats

Appendix

SELECTED

56

A RT EFAC T S

The object of my Nana’s that I coveted above all else was her ceramic cat and kittens.

My Nana loved those cats and they lived in a special place on the mantelpiece in her living room about the open fire that I spent so much of my time in front of during my childhood, perched on her leatherette pouffe, stoking the coals.

When my Nana passed away my Mum took charge of the cats, moving them to her own living room mantlepiece. My sister and I knew that would be the case as we each loved them in equal measure. Over the years my sister and I had many discussions

regarding who out of the two of us would eventually inherit the cats, offering each other numerous trade-offs and incentives to ensure future ownership. It was often done in jest but underneath we were both resolute on the matter.

The work of Cialdini (2007) raises the phenomenon of scarcity, whereby we value things more because they are less available to us. There was only a fifty percent chance of me owning the cats which decreased to zero when I became estranged from my parents for reasons that are too personal and lengthy to discuss here.

Appendix

GI F TE D FIG URE

20 .

C E R A MI C

CAT

A N D

K I T T E N S .

57

Nana’s Cats SELECTED

A RT EFAC T S

It was I whom eventually acquired the cats, during a brief reprieve from the turmoil which has kept my family apart for so many years. They were given to me by my Dad. And here is where I face a dilemma as the writer of this account. How descriptive should I be about that event? As Ellis explains (see Wall 2008), in autoethnography the writer tells a story that allows the reader to feel part of it by revealing intimate detail and emotion about the human experience. Which can result, according to Wall (2008), in anxiety centred around the ethical dilemmas on representation of other individuals involved in the narrative.

Appendix

The solution to this issue has been the subject of much contemplation. I have questioned my own intent as honestly as I am able, allowing for the possibility that thoughts and feelings can change over time. Analysing the relevance of this event to the nature of my subject matter, asking: Will a vivid description of that time, add another dimension to my research? Could it open the door to further discourse?

Am I letting my personal feelings on the subject influence my decision making?

58

I think perhaps this is the downside of autoethnography, it is not always easy to make objective decisions on topics that affect us emotionally. Indeed the issue of objectivity appears to be a matter of debate in autoethnography with many conflicting opinions on the subject. Denzin (see Reed-Danahay, D., 2021) raises the importance of not adopting

the stance of ‘an objective outsider’, whilst Denscombe (2002) declares objectivity to be impossible. In contrast Chang (2016), advocates the need for objectivity.

I tend to agree with Denscombe, it seems contradictory to be objectivate when writing about personal experience, an inherently subjective practice, or as Ellis (2000, p. 39) describes it, an autobiographical style of writing that displays multiple layers of consciousness connecting the personal to the cultural.

In terms of my account of how my Nana’s cats came to be in my possession, on reflection, disclosure of that story has the potential to cause further acrimony within my family, so I feel it is enough to say they did not come to me under the best of circumstances. As Turner (2013) states within autoethnography ultimately it is the choice of the author what to tell and what not to tell.

Appendix

On the subject of representation, I concur with Turner (2013) that it is important to be mindful of the impact our words can have on others. When writing about those involved in our story, I do believe we need to do it respectfully and give serious consideration to the ramifications of divulging what is after all in this case, my personal interpretation of an emotive issue. Hokkanen (2017, p. 3) raises this point, warning of the potential for experiences involving our emotions which are often taken as highly personal, intrapsychic phenomena, to cast doubt on the sociological contribution to a discussion.

59

Appendix 60

FIG URE

21.

CE R A MI C

CAT

A N D

K I T T E N S .

SELECTED

A RT EFAC T S

And in this case, as the manner of their acquisition has had no impact on my feelings towards my Nana’s cats. It is their ownership that remains important to me not how that came to be.

Although I understand that my admitted, omission of information could cast doubt on the validity of my account and lead the reader to question the results of my analysis.

Which raises another potential issue with autoethnography, the writer is asking the reader to have faith in their ability to convey and review their own personal account and the accuracy of that undertaking could prove difficult to ascertain. As summarised

by Allen-Collinson, J. and Hockey, J., (2008), the credibility of the genre as scholarly work has often been subject to severe contestation by reviewers and editors.

Throne (2019) however, describes autoethnography as a sound, coherent and systematic approach, using personal experience to generate rich data, as worthy as any other research. A view corresponding with that of Muncey (2005, p.84)) who stated, autoethnography is as personally and socially constructed as any form of research, but at least the author can say ‘l’ with authority and can respond immediately to any question that may arise from the story.

Appendix

GIF TE D

Nana’s Cats

61

F O 62

FIG URE

22.

MY

N A N A ’ S

B U S

T I CK E T.

Bus Ticket SEL E CT E D

A R T E FACT S

U ND

Appendix

The one item of my Nana’s that did not require any compromise was her shopping trolley.

Neither my Mum nor sister were the least bit interested in acquiring, the tartan plastic trolley that accompanied her everywhere. I on the other hand thought it might come in very useful, which indeed it did. I had not learnt to drive at that time and was forever struggling with shopping bags.

After several years of my continued use I thought it was time to have a clear-out of the receipts and rubbish that had been accumulating at the bottom of the trolley. I always check receipts before I dispose of them, just in case and on doing so, I found one that stopped me in my tracks.

Amongst my rubbish was a bus ticket that I knew was from a journey taken by my Nana a year before she passed away. I have never felt such an intense emotional reaction to a simple piece of paper. That bus ticket has become as precious to me as any of my treasures from her, a fact I know she herself would find ridiculous. But the ticket printed with the details of her journey, placed her in an exact space in time and there is something about that I find immeasurably comforting. The details in conjunction with what I know of her routine paint a vivid picture of a moment of her life that I was not there to witness for myself.

As Marius Kwint et al. (1999) suggest, objects form records, analogues to living memory, they become history like the fragments that speak to the palaeontologist or geologist.

63

Bus Ticket SEL E CT E D

A R T E FACT S

Appendix

At 10.50 am on the 29th August 2008 my Nana was travelling on The Spondon Flyer, on her way home from doing a big shop at Somerfield and Birds in the village in which I grew up, having calculated that the date fell on a Friday. As a creature of habit, I can take an educated guess at the contents of her shopping trolley a litre tub of Walls Soft Scoop icecream, tins of Del Monte peach slices, multipacks of Twix, Kit-Kats and Walkers crisps, a bag of chocolate limes and a nice selection of sweet and savoury goods from Birds. I know where she alighted the bus and her exact route home, I know she would have felt hot and bothered by the heat of that day (another fact I was able to establish) and would more than likely have been wearing one of her summer headscarves, her light mac, a white twinset, a cotton floral skirt and a string of co-ordinating popper beads. It is a journey she would have taken a thousand times, but two years after her passing, finding that bus ticket allowed me to experience that moment with her, if only in my imagination. It felt like a gift.

64

F O

Appendix

U ND FIG URE

23 .

M Y

N A N A

W E A R I N G

H E R

P O P P E R

B E A D S

2 0 0 6 .

65

Appendix 66

FIG URE

2 4.

M Y

NA NA , S

L O ST

L I MB

P OT ,

CO MP L E T E

W I T H

B R O K E N

L E P R E CHAU N .

Discovery T HE

PAS T

During the last decade of her life my Nana would have frequent clear outs, trying to remove the obligation of us having to deal with her things after she had gone, a subject we absolutely would not hear of. ‘It’s all got to go’ she would say motioning to the displays of knick-knacks around the house. I took that to mean that she was not attached to any of her things, a believe I have long since held, but recently I found something that that made me question my interpretation of her words.

Inside her pot of animal limbs was a little note she had handwritten with the words,’ Jill bought me this’, (Jill is my Mum). I had

forgotten about this practice of hers. She cared enough about her possessions to keep records of her receipt of them, she cared enough to have them continually mended.

None of her ceramic animals were ever thrown away, even when their broken limbs could no longer be fixed. Her three-legged Zebra and two-legged Giraffe remained on the windowsill.

I have them to this day. Despite her proclamations the only thing she threw away was the clutter in her cupboards and drawers. She could no more part with her possessions than I could, not the ones that mattered.

Appendix

RE- EVALUAT ING

67

Discovery

Appendix

RE- EVALUAT ING

68

T HE

PAS T

This discovery raises another issue with the validity of autoethnography, namely the fallibility and deeply subjective nature of memory, (Freeman 2015). Until my discovery and subsequent revaluation of the evidence available I had made assumptions, however it could be argued that my new perspective is itself based on assumptions albeit educated ones, that stem from my own unconscious bias (Poerwandari 2021). To counteract the potential for this phenomenon, I have taken a very analytical approach to my writing

within this piece. Constantly reflecting on the thoughts flowing onto the page, questioning their relevance, meaning and accuracy. As Lake (2015), states, the relationship between reflective practice and autoethnography is an important one, the former giving credence to a form of research sometimes judged as lacking in academic rigour.

Perhaps personal recognition of our own subjective limitations and self-awareness of our thought processes can help provide that rigour.

Appendix FIG URE

2 5 .

T H R E E -L E G G E D

Z E B R A .

69

70

FIG URE

2 6.

SYL VAC

B U N N Y

W I T H

R E AT TACH E D

E A R S .

Analysis A

C RI T I CA L

R E F L E CT I ON

Appendix

Fundamentally it is the stories associated with each of my artifacts that generate their value to me. Whilst these stories all relate to my Nana, my affection for her and my need to possess physical remnants of her life in the absence of her being, to answer the questions broached by this study, analysis of each story needs to consider the nature of the memory it represents and the manner in which a memory is trigged (Petrelli et al. 2008).

As previously mentioned, the broken ornaments were placed on the windowsill in my Nana’s home, where they remained in their procession until I removed them after her passing.

The image of them in situ is one that is permanently ingrained in my memory, they paint a picture of her home, their proximity to the kitchen eliciting the memory of the aroma of buns baking in the oven, the image of her in the kitchen preparing dinner, the sound of Children’s BBC emanating from the television. The location of our evening meal, a sign of the season in which the memory was placed, front room for summer, back room for winter. The setting providing a sense of warmth, safety, love and contentment, conjuring the image of the woman whom I loved so dearly.

71

Analysis

Appendix

A

72

C RI T I CA L

R E F L E CT I ON

Her broken ornaments now take pride of place in my living room a tangible connection to those memories, each broken leg an indicator of my Nana’s touch, proof of her existence in this world. Those much-coveted cats reside alongside them, the recollection of my longing for them greater than the memory of them within her home, perhaps because of their lack of interaction with her. Perhaps the breakages reinforce the place of the ornaments within my remembrance, Hintzman (1976) describes repetition as one of the most powerful variables affecting memory. Or it could just be a matter of placement, the cats lived on the mantlepiece of her living room, in which I spent most of my time staring at the television or the coal fire, as much as I loved them, at the time the cats just blended into the background.

The bus ticket generates a different type of story, one made from fragments of memory of my Nana’s routine, redefining the mundane as something to be treasured.

It is also a reminder of her fierce independence and need to remain busy and useful, which she achieved right until the moment of her passing. In her early nineties she had only just started to walk with a stick and relied on the bus service for transportation. Prior to that, well into her eighties she cycled and walked everywhere. The bus ticket symbolises her sense of purpose, evoking recollections of her daily life, one that revolved around shopping, making plans for meals, housework and most of all, taking care of us her family.

F I GU RE

27.

MY

NAN A , S

O RNA M ENT S,

DIS P L AY E D

ON

H E R

S H E L V E S

I N

MY

L I V I N G

R OO M.

73

Appendix 74

FIG URE

2 8.

M Y

NA NA ,

SAT

AT

T H E

K I TCH E N

TA B L E

O F

MY

CH I L D H OO D

H O ME

1 9 9 1 .

Conclusion VAL UE

O F

VA L UE

This study demonstrates the complexity of emotional attachment, highlighting the multitude of factors and events necessary to plant the seeds of value, onto an object.

The story of each of my artefacts is a deeply personal one, the meaning I attribute to them is pertinent to me and me alone. I am aware that an alternative selection of objects may have generated a different account of meaning. However, I think there are threads of similarity, that could be used to implement the framework for further investigation into the influences, behind the development of value and our subsequent connection to things that could proof beneficial. Nostalgia, history, security, love and loss and the need to preserve our personal experiences

and relationship with others can become embedded in the things we possess. For that to happen we need to keep and use the things we have. Connection cannot be encouraged without the continued interaction needed to generate the memories needed to foster our attachment. The human desire to possess could be utilised to enlighten consumers, reminding them of the power our objects can hold.

We all have our own personal treasures, each with their unique, esoteric stories that reflect the fabric of our lives. Perhaps those stories could be unlocked to extoll the virtue of real value, a reminder that if something is not worth keeping it probably was not worth having in the first place.

Appendix

TH E

75

Grounded Theory Cross-disciplinary, grounded theory research unearthed the following key extracts.

These findings were used to develop understanding of the nature of value from a theoretical perspective, to further my own academic development and underpin the concepts at the heart of my research. Providing a rich source of qualitive data on which to ground the insight gained from my autoethnographic study.

Emotional Durability We have inadvertently designed away the more poetic and enduring characteristics of material culture. In so doing, we formulated a transient and unstable platform of goods upon which the hopes and dreams of users must precariously balance. Consumers are unable to develop and sustain attachments with objects lacking such characteristics as the objects do not possess the diversity and pluralism of character required to healthily sustain enquiry.

Appendix

CHAPMAN, JONATHAN: EMOTIONALLY DURABLE DESIGN: OBJECTS, EXPERIENCES AND EMPATHY

76

Through the broad range of examples outlined by Philips, we can see that the term cherishability means numerous things, including unpredictable, symbolic, sentimental, adaptive, enduring, personal and dependent, to name but a few. Cherishability is a useful term, a banner beneath which numerous creative product life-extension strategies may fall. Cherishability is a powerful signifier of an object’s capacity to be cherished, loved and cared for by whatever means; in this way it is a valuable term for measuring the degree of dependency perceived in a given object. Like empathy, cherishability

will, indeed, become an increasingly relevant design consideration in the sustainable marketplace of the future; though before this can happen, greater experimentation is needed regarding the creative methods through which it may be implemented.

Chapman, Jonathan: Emotionally Durable Design: Objects, Experiences and Empathy

To speak of love as existing within the material domain conjures notions of obscurity and fanaticism. Despite this, it cannot be ignored that the emotional instability of humans provides a wild card element to the development of attachments with objects.

Furthermore, it appears clear that the human development of empathic relationships with objects is powerfully influenced by this characteristic instability. Designers must learn to embrace human unpredictability before they can attempt to effectively enrich and elongate subject– object engagement. Today, most people are comfortable in the misguided belief that love is an emotion exclusive to the human species. However, love is an intrinsic facet of mainstream material culture and has been for some time.

Love interlaces the material fabric of one’s life; whether it is the love of a Renaissance painting, stewed apples and custard, a compact disc (CD) reminiscent of old friends, or even the love of your new G5 Mac, love abounds in both the made and unmade worlds.

Chapman, Jonathan. Emotionally Durable Design: Objects, Experiences and Empathy

A favourite object is a symbol, setting up a positive frame of mind, a reminder of pleasant memories, or sometimes an expression of oneself. And this object always has a story, a remembrance, and something that ties us personally to this particular object, this particular thing. Visceral, behavioural, and reflective: These three very different dimensions are

Appendix

Design Theory

77

interwoven through any design. It is not possible to have design without all three. But more important, note how these three components interweave both emotions and cognition.

Norman, Don: Emotional Design: Why We Love (or Hate) Everyday Things

Slow Design can be defined as follows: A design process that is deeply conscious of the lifespan of its end product pre, during and post-consumer, and the materials and processes used in the creation of the product. Slow Design aims to result in products that carry a message of ecological soundness and consumer enjoyment.

Bridget Harvey: Is Slow Design a Viable Modern Production Method?

The Psychology of Aesthetics The psychology of aesthetics and the arts is the study of our interactions with artworks; our reactions to paintings, literature, poetry, music, movies and performances; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world – of natural and built environments, design objects, consumer products and, of course, people.

Pablo P. L. Tinio and Jeffrey K. Smith: The Cambridge Handbook of the Psychology of Aesthetics and the Arts

Appendix

Psychology Between what a man calls me and what he simply calls mine the line is difficult to draw. We feel and act about certain things that are ours very much as we feel and act about ourselves.

William James: The Principles of Psychology

78

Our relationship with stuff starts early. The idea that we can own something, possess it as if a part of ourselves, is one that children grasp by the age of two. And by six, they exhibit the ‘endowment effect’, placing extra value on an object simply by virtue of it being, or having been, theirs.

Christian Jarrett: The Psychology of Stuff and Things

Material possession attachment is a multi-faceted property of the relationship between a specific individual or group of individuals and a specific, material object that an individual has psychologically appropriated, decommodified, and singularized through person-object interaction. Nine characteristics portray attachment: (1) attachment forms with specific material objects, not product categories or brands; (2) attachment possessions must be psychologically appropriated; (3) attachments are self-extensions; (4) attachments are decommodified and singularized; (5) attachment requires a personal history between person and possession; (6) attachment has the property of strength; (7) attachment is multifaceted; (8) attachment is emotionally complex; and (9) attachments evolve over time as the meaning of the self changes. Attachment is conceptually distinct from: general trait materialism, product category involvement, and evaluative affect toward the possession.

Susan Schultz Kleine: An Integrative Review of Material Possession Attachment

We cannot hope to understand consumer behaviour without first gaining some understanding of the meanings that consumers attach to possessions. A key to understanding what possessions mean is recognizing that, knowingly or unknowingly, intentionally or unintentionally, we regard our possessions as parts of ourselves.

Appendix

Consumerism

Russell W. Belk. Possessions and the Extended Self

79

Above all, the slow approach means the simple, but in current times revolutionary, affirmation that it is not possible to produce and appreciate quality if we do not allow ourselves the time to do so, in other words, if we do not activate some kind of slowdown. However, slow does not only mean this. It also means a concrete way of actually putting this idea into practice. It means cultivating quality: linking products and their producers to their places of production and to their end-users who, by taking part in the production chain in different ways, become themselves co-producers.

Francesca Rossi, Giulia Simeone & Marianna Recchia. Slow + Design | Manifesto + Abstracts

Material Memory In western traditions, objects serve memory in three main ways. Firstly, they furnish recollection; they constitute our picture of the past. Since objects are instrumental to the formation of consciousness, enabling the self to prise its sense of separation from the world, they are prominent among our mental debris.

Secondly, objects stimulate remembering, not only through the deployed mnemonics of public monuments or mantlepiece souvenirs, but also by the serendipitous encounter, bringing back experiences that otherwise would have remained dormant, repressed or forgotten.

Thirdly, objects form records: analogues to living memory, storing information beyond individual experience. Entering us through the senses they become history.

Appendix

Marius Kwint: Material Memories Design and Evocation

80

Material Culture We find it familiar to consider objects as useful or aesthetic, as necessities or vain indulgences.

We are on less familiar ground when we consider objects as companions to our emotional

lives or as provocations to thought. The notion of evocative objects brings together these two less familiar ideas, underscoring the inseparability of thought and feeling in our relationship to things. We think with the objects we love; we love the objects we think with.

Sherry Turkle: Evocative Objects: Things We Think With

Because of cultural constructs and personal interests, we tend to examine carefully things that have sense and interest for us; we remove things from the inexhaustible canvas that forms the background of our field of perception, and we circumscribe them with forms suggested by the names for them in our language, by the notions we have acquired, and by our own personal projections.

Remo Bodei: The Life of Things, the Love of Things

Research into the dynamics between affiliative emotions and the material world provides a new avenue to our understanding of personally significant artefacts. Here we consider objects as sources of positive affiliative emotions, focusing specifically on their role as attachment objects. We argue that affiliative emotions in general, and attachment in particular, are an essential element of the interpretation of past material culture.

We live today in a world of ever more stuff – what sometimes seems a deluge of goods and shopping. We tend to assume that this has two results: that we are more superficial, and that we are more materialistic, our relationships to things coming at the expense of our relationships to people. We make such assumptions, we speak in clichés, but we have rarely tried to put these assumptions to the test.

Appendix

Taryn Bell & Penny Spikins: The Object of my Affection: Attachment, Security and Material Culture

Daniel Miller: The Comfort of Things

81

Stuff is ubiquitous, and problematic. But whatever our environmental fears or concerns over materialism, we will not be helped by either a theory of stuff, or an attitude to stuff, that simply tries to oppose ourselves to it; as though the more we think of things as alien, the more we keep ourselves sacrosanct and pure. The idea that stuff somehow drains away our humanity, as we dissolve into a sticky mess of plastic and other commodities, is really an attempt to retain a rather simplistic and false view of pure and prior unsullied humanity.

Daniel Miller: Stuff

Material Culture: Fashion There is a clear distinction between designing and making clothes. I encourage my students to design through making, because it is important to teach a process in which they negotiate the dynamic relationship between materials, ideas and the sensibility that emerges from their bodies and hands.

Pascale Gatzen

Material culture studies thus recognize that material objects do not exist in an opposition or in isolation from our lives but are closely interconnected with the social context in which they are used, appropriated, appreciated (or not, for that matter) and eventually discarded. In this respect, the focus shifts from consumption to usership

Appendix

Kate Fletcher: The Craft of use

82

Clothes mark our mutability, paralleling the vicissitudes of our lives in their own subtle, shifts of colour, sheen and quality over time. The insight that follows from this is pressing and plain and all the more true for it: our clothes age and we age in them too. Moment

by moment, we erode and attenuate, our claim to life loosening like a seam that can no longer hold. In new clothes we disguise our mortality but even the best of them wear. In the thinning of the threads, the gradual blanching of a former brilliance, our clothes speak truth to the deception that we could ever have thought that we might stay as we once were forever.

Shahidha Bari: Dressed: A Philosophy of Clothes

Traces of wear, shortened hemlines, and careful mends can be found even on haute couture designs. These alterations signify the lasting economic and emotional value of clothing and, in some cases, challenge the concept of fashion as a strictly ephemeral, disposable commodity.

Unless such imperfections are intentional — as they are in deconstructed fashion — these garments are often overlooked within museum collections. If they are selected for exhibition, curators rely on the expert work of a conservator, a gallery’s low lighting, or strategic placement to cleverly obscure flaws. In recent years, however, as interest in the “biographies” of garments has grown, fashion historians have begun to reassess imperfect objects. Studies of specific items may reveal intriguing histories about their wearers and/or makers, poignant reminders of the deeply personal and physical relationships we have with our clothes.

Clothes are at once the most intimate thing we own and the most public. Intimate, because they are next to our skin, soaking up secretions, absorbing perfume, covering or revealing as custom, culture or personal taste dictates. Public because they are often the first thing people notice about us. Displaying a staggering amount of information about our gender, culture, class, profession, status, morality and creativity.

Yet usually we fling them on without a thought for the wealth of meaning they carry.

Appendix

Cheri Fein: Fashion Institute of Technology: Fashion Unraveled

Lucy Adlington: Stitches in Time

83

Illustrations Figure 1. Nominated For Examination, Bedroom Wallpaper.

Figure 2. Myself Wearing My Party Frock, Christmas Day 1976.

Figure 3. Nominated For Examination, Crown Derby Brooches.

Figure 4. A Selection Of The Reading Material.

Figure 5. Nominated For Examination, Christmas Cake Receipe.

Figure 6. Nominated For Examination, Broken Limb Pot. Figure 7. Nominated For Examination, Broken Horse.

Figure 8. Nominated For Examination, Frozen Buns.

Figure 9. Nominated For Examination, Intact Panda.

Figure 10. Intact Panda. The Only Unbroken Figurine My Nana Owned.

Figure 11. Two-Legged Giraffe.

Illustrations

Figure 12. Decapitated Beswick Fox.

84

Figure 13. Beswick Donkey, Broken By Myself Not By My Nana.

Figure 14. Sample Cyanotype, Created Using My Nana’s Figurines.

Figure 15. Mended Giraffe.

Figure 16. My Nana, Whitstable Beach 2006.

Figure 17. Cutlery Drawer Lining.

Figure 18. My Nana’s Last Batch Of Buns, Frozen In 2009.

Figure 19. Collection Of Beswick And Sylvac Figurines.

Figure 20. Ceramic Cat And Kittens.

Figure 21. Ceramic Cat And Kittens.

Figure 22. My Nana’s Bus Ticket.

Figure 23. My Nana Wearing Her Popper Beads 2006.

Figure 24. Lost Limb Pot, Complete With Broken Leprechaun.

Figure 25. Three-Legged Zebra.

Figure 26. Sylvac Bunny With Reattached Ears.

Figure 28. My Nana, Sat At The Kitchen Table Of My Childhood Home 1991.

UN LESS

OT HERWISE

S TAT ED

A L L

A R T I FACT S

P I CT U R E D

Illustrations

Figure 27. My Nana,S Ornaments, Displayed On Her Shelves In My Living Room.

O N CE

BELONGED TO MY NANA. ALL PHOTOGRAPHS WERE TAKEN BY MYSELF APRIL 2021, EXCEPT FOR

FIGURE 2. TAKEN FROM MY FAMILY ALBUM.

85

References Adams, T.E., Ellis, C., Jones, S.H., 2017. Autoethnography [eBook]. In: The International Encyclopedia of Communication Research Methods. American Cancer Society, 2017, pp. 1–11. Available at: https:// onlinelibrary.wiley.com/doi/abs/10.1002/9781118901731.iecrm0011 [Accessed 10 April 2021].

Allen-Collinson, J., Hockey, J., 2008. Autoethnography as “valid” methodology? A study of disrupted identity narratives [online]. The International Journal of Interdisciplinary Social Sciences, 3(6), pp.209–218. Available at: https://researchportal.bath.ac.uk/en/publications/autoethnography-as-validmethodology-a-study-of-disrupted-identit [Accessed 15 April 2021].

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MY NANA

Dedication

FOR DOROTHY

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