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Society

Creative archives are both about people and for people. The archive includes traces of those who produced its contents, and provides spaces for audiences to consider its meaning and content.

  • Can different people or ‘voices’ be identified in the archive?
  • What should our species be archiving at this time in our, and the planet’s, evolution?
  • What is your response to what you encounter?
  • Can the archive inspire new work for new audiences?

Original sketch for ‘Dress For Our Time’, 2015 (Illustration by Helen Storey) Helen Storey and pattern maker Mark Tarbard in the studio creating ‘Dress For Our Time’, Autumn 2015 (Photo by Kathy Anne Lim) ‘Dress For Our Time’ global data visualisation, 2016 (Image by Holition) ‘Dress For Our Time’ at St Pancras International, 2015 (Photo by David Betteridge; modelled by Louise) ‘Dress For Our Time’ in process, September 2015 (Photo by Helen Storey) ‘Dress For Our Time’ at The Science Museum, London, 2016 (Photo courtesy of The Board of Trustees of the Science Museum, London) ‘Warrior Woman’: ‘Dress For Our Time’ at the UN, 2016 (Photo by David Betteridge; modelled by Louise) ‘Warrior Woman’ and Helen Storey: ‘Dress For Our Time’ at the UN, 2016 (Photo by David Betteridge; modelled by Louise) ‘Dress For Our Time’ at the UN, 2016 (Photo by David Betteridge; modelled by Louise) The ‘Dress For Our Time’ UNHCR tent in its original form (Photo by Erin Thompson) ‘Dress For Our Time’ under the arches at St Pancras International, 2015 (Photo by Helen Storey; modelled by Louise) ‘Dress For Our Time’ in St Pancras International subway, 2015 (Photo by Helen Storey; modelled by Louise) ‘Dress For Our Time’ outside St Pancras International at night, 2015 (Photo by Helen Storey; modelled by Louise) ‘Dress For Our Time’ outside the UN, 2016 (Photo by Helen Storey; modelled by Louise) ‘Dress For Our Time’ outside the UN, 2016 (Photo by Helen Storey; modelled by Louise) Louise sitting inside the UN wearing ‘Dress For Our Time’, 2016 (Photo by Helen Storey) ‘Dress For Our Time’ outside the UN, 2016 (Photo by Helen Storey; modelled by Louise) ‘Dress For Our Time’ invigilator’s badge, 2015 (by Helen Storey) ‘Dress For Our Time’ inside the UN, 2016 (Photo by Helen Storey; modelled by Louise) Dress For Our Time’ in the woods, 2015 (Photo by Helen Storey; modelled by Louise) Helen Storey takes ‘Dress For Our Time’ to Glastonbury, 2016 (Photo by Claire Lewis) Glastonbury, 2016 (Photo by Helen Storey) Dressing Malian singer-songwriter Rokia Traoré in ‘Dress For Our Time’ backstage at Glastonbury, 2016 (Photo by Claire Lewis) Dressing Malian singer-songwriter Rokia Traoré in ‘Dress For Our Time’ backstage at Glastonbury, 2016 (Photo by Claire Lewis) Dressing Malian singer-songwriter Rokia Traoré in ‘Dress For Our Time’ backstage at Glastonbury, 2016 (Photo by Helen Storey) Malian singer-songwriter Rokia Traoré wearing ‘Dress For Our Time’ backstage at Glastonbury, 2016 (Photo by Helen Storey) Malian singer-songwriter Rokia Traoré wearing ‘Dress For Our Time’ backstage at Glastonbury, 2016 (Photo by Helen Storey) ‘Dress For Our Time’ facing St. Pauls, London, 2015 (Photo by David Betteridge; modelled by Louise) ‘Dress For Our Time’ facing the celestial sphere at the UN, 2016 (Photo by David Betteridge; modelled by Louise) ‘Dress For Our Time’ facing the celestial sphere at the UN, 2016 (Photo by David Betteridge; modelled by Louise) ‘Dress For Our Time’ (Photo by Helen Storey) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Gretel Ensignia and courtesy of St Pancras International) ‘Dress For Our Time’ logo, 2015 ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Gretel Ensignia and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Gretel Ensignia and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Gretel Ensignia and courtesy of St Pancras International) Helen's latest work at Za'tari refugee camp, Jordan, September 2017, where the tent that was used in Dress for our Time came from. Two years on Helen launches a new, accredited, perfume training workshop for refugee women, with fragrance partners Givaudan (Images by Givaudan) Helen's current work at Za'tari refugee camp, Jordan, , September 2017, where the tent that was used in Dress for our Time came from. Two years on Helen launches a new, accredited, perfume training workshop for refugee women, with fragrance partners Givaudan (Images by Givaudan) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) The ‘Dress For Our Time’ invigilators at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) A visitor writes their response to ‘Dress For Our Time’ on an Invigilator’s overall at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) A visitor writes their response to ‘Dress For Our Time’ on an Invigilator’s overall at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International) ‘Dress For Our Time’ at St Pancras International, 2015 (Photo by David Betteridge; modelled by Louise) ‘Dress For Our Time’ at St Pancras International, 26th November 2015 (Photo by Sam Lane and courtesy of St Pancras International)