Lucy Orta’s work considers the home as something that is dynamic and humans as nomadic. These objects become Architecture , fashion, and products all in one, merging the boundaries between them. You can simply pick up your home and while wearing it as a jacket, settle somewhere else.
Here is an interesting paper called “Dress for Stress Wearable technology and the social body” by Susan Elizabeth Ryan
This paper considers the work of artists, designers, and activists who, since the 1990s, have worked with body covering as survival mechanism and social tool. Individually or within collectives, they call their work art, design, or activism; or all three. The result is a “body of records” of technological, biological, and performable wearables that have not received the attention they deserve, both as art and design, and as vehicles for ideas about threats to species survival and collective experience.
For example, in the early 1990s artists created wearable artworks in the form of survival attire embedded in localized performative events concerned with social connection under adverse circumstances. Lucy Orta is prominent among such practitioners, who formulate clothing the body as critical, social, and ethical practice within an ambient “culture of fear.” (Fig. 1).
I call such work “critical garment discourse” (abbreviated as CGD), a term I propose to mean work in the form of fashion or clothing that concerns not just the body, but notions of dress–and dress, not just as historically viewed or normatively considered, but as experienced, situated and located, and empowered as a medium capable of significant commentary.