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Images for clothing; more images...

Videos, UC QuakeStudies

A video about Hallensteins offering free clothing to Christchurch residents after the 4 September 2010 earthquake. The video includes footage of over 1000 people queuing outside the Hallensteins store on the corner of High Cashel Streets in the hopes of getting free clothes. It also includes an interview with Tina Taylor, a member of the public affected by the earthquake, and Graeme Popplewell, Hallensteins Managing Director.

Images, UC QuakeStudies

A photograph of mannequins lying on the footpath outside the R.N.A clothing store on Colombo Street. The mannequins are dressed in adventure gear. USAR codes have been spray-painted on the glass door and window of the store. A yellow sticker has also been stuck to the door, indicating that access to the building is restricted.

Images, UC QuakeStudies

A photograph of the earthquake-damage to the Quinn's clothing store on Papanui Road. The front wall of the building has crumbled, the bricks and other rubble falling onto the footpath and street below. The inside of the second storey can now clearly be seen from the street.

Images, UC QuakeStudies

A photograph of earthquake repairs underway in the quad of Christ's College on Rolleston Avenue. A sign on the gate read, "Quake repairs, keep out". Tape reading, "Danger keep out" has been draped across both gates . In the background is a crane, several workers in high-visibility clothing, and building supplies.

Images, UC QuakeStudies

The feet of a fallen mannequin rest against a shop window. The photographer comments, "It is enough to make your toes curl. This is a mannequin that has been on its back since this clothing store was cleared out after the Christchurch earthquake. The store, which is in the earthquake red zone, has been off limits and untouched in the for two years".

Images, UC QuakeStudies

A photograph of a member of the Wellington Emergency Management Office Emergency Response Team inside an earthquake-damaged house. The wall to the left has collapsed and has been covered with plastic sheeting. Bricks and other rubble cover the floor of the room. A chest of drawers with clothing still inside has toppled to the left and is resting on the rubble.

Images, Canterbury Museum

One multi-coloured polka dot heart on a denim backing; attached by the same fabric are 128 messages written on card by visitors to the design store Hapa located in the Re:START Mall in Cashel Street. The heart was produced for Hapa by Christchurch based clothing label MisteR. The denim is looped over a dowel rod for hanging. This large multicol...

Videos, UC QuakeStudies

A video of an interview with Laurence Mote about the wall of containers in Sumner. Shipping containers line the south side of Main Road in Sumner, protecting road users from potential rock fall from the cliffs above. Mote bikes past the containers every day on his way to work. He talks about the risks facing cyclists along Main Road and in greater Christchurch, including pot holes and narrow roads. He advises cyclists to wear bright clothing and lights, and for cars to slow down and give cyclists room.

Images, UC QuakeStudies

A photograph of the back page of a Christchurch City Council form. The form allowed contractors to apply for the authorisation to enter the Christchurch Red Zone after the 22 February 2011 earthquake. Information on the back reads, "What does this authorisation mean for me? I am wearing appropriate personal protection clothing and equipment. At all times DO NOT enter any red placarded building. You may enter a yellow placarded building for a period of time (no longer than 30 minutes) and follow the instruction of the escorts. A green placarded building may be accessed for longer periods. Please note: do not enter any buildings which are not for the purpose of your authorisation".

Audio, Radio New Zealand

Shapeshifting is a conference organised by AUT featuring local and international guest speakers, academics, and innovators involved in the world of fashion and textiles. The conference is the first of its kind in the world, and its function isn't about discussing ways to build brands and to talk about trends, but a chance to think outside the box; a means to inspire, network and spark discourse. Sonia Sly talks to Christina Cie about the Christchurch Earthquake and its impact on clothing and identity for the community at large, US artist Nick Cave takes his 'body' of work into extraordinary musical and performing heights with 'Sound Suits' and Co-Director Andreas Mikellis discusses the way in which the notion of 'fashion' is changing and the importance of looking to the future.

Images, Alexander Turnbull Library

Text across the top reads 'Wearing burqas and veils could limit job prospects...' The cartoon shows a crowd of people hidden under a huge burqa-like cloth. A man peers from both ends of the crowd and one of them says 'Well, we work behind a veil and STILL have jobs... And so do all our mates!' The man at the other end gives a cheerful thumbs up. There is a great deal of whispering about 'jobs for the...' and 'split contracts'. Above is a notice that reads 'Council job contract meeting'. Context - Complaints have been laid with the Auditor-General's Office about the Christchurch City Council's handling of consultants' contracts (to do with the rebuilding of the city after the earthquakes). City councillors have been questioning the council's awarding of more than $2.8 million of contracts to consultants. The burqa has been in the news lately with bus-drivers refusing to accept women in burqas on their buses. Quantity: 1 digital cartoon(s).

Audio, Radio New Zealand

ANDREW LITTLE to the Prime Minister: What are the priorities for the Government in assisting communities affected by yesterday’s earthquake? MATT DOOCEY to the Minister of Finance: What advice has he received about the economic impact of the Kaikōura earthquake? EUGENIE SAGE to the Minister of Transport: What updates can he give on the transport sector’s response to earthquake damage to State Highway 1 and the rail line between Seddon and Cheviot? GRANT ROBERTSON to the Minister of Finance: What is his initial assessment of the fiscal impact of yesterday morning’s earthquake and what, if any, new or changed Budget allocations is he considering in response to the earthquake? PAUL FOSTER-BELL to the Minister of Civil Defence: How is the Government supporting people affected by the Kaikōura earthquake? RON MARK to the Minister of Civil Defence: Can the Government assure New Zealanders on our level of preparedness for all natural disasters? SUE MORONEY to the Minister of Transport: What roads and public transport services are currently not operational following damage from the earthquake yesterday and when is it expected access and services will be restored? BRETT HUDSON to the Minister of Transport: What action is the Government taking to repair damaged transport infrastructure following the Kaikōura earthquake? GARETH HUGHES to the Minister of Broadcasting: Will she join with me to acknowledge the work of all media in New Zealand, which is so important in times of natural disaster and crisis; if so, will she consider increasing our public broadcaster Radio New Zealand’s funding in Budget 2017? CLAYTON MITCHELL to the Minister of Civil Defence: What progress has been made, if any, on new civil defence legislation which focuses on large and significant events such as the Christchurch and Kaikōura earthquakes? ALASTAIR SCOTT to the Minister of Health: What updates has he received on the Government’s health response to the Kaikōura earthquake? CLARE CURRAN to the Minister of Civil Defence: What actions have been taken by Civil Defence to ensure those people in the areas worst hit by the earthquake have enough food, clothing, water, and shelter?

Research papers, University of Canterbury Library

With origins in the South Bronx area of New York in the early 1970s, hip-hop culture is now produced and consumed globally. While hip-hop activities can be varied, hip-hop is generally considered to have four forms or “elements”: DJing, MCing, b-boying/b-girling, and graffiti. Although all four elements of hip-hop have become a part of many youth work initiatives across the globe, public debate and controversy continue to surround hip-hop activities. Very little research and literature has explored the complexities involved in the assembling of hip-hop activities in youth work sites of practice using these hip-hop elements. This study attends to the gap in hip-hop and human service literature by tracing how hip-hop activities were assembled in several sites of youth work activity in Christchurch, New Zealand. Actor-network theory (ANT) is the methodological framework used to map the assemblage of hip-hop-youth work activities in this study. ANT follows how action is distributed across both human and non-human actors. By recognising the potential agency of “things”, this research traces the roles played by human actors, such as young people and youth workers, together with those of non-human actors such as funding documents, social media, clothing, and youth venue equipment. This ethnographic study provides rich descriptions or “snapshots” of some of the key socio-material practices that shaped the enactment of hip-hop-youth work activities. These are derived from fieldwork undertaken between October 2009 and December 2011, where participant observation took place across a range of sites of hip-hop-youth work activity. In addition to this fieldwork, formal interviews were undertaken with 22 participants, the majority being youth workers, young people, and youth trust administrators. The ANT framework reveals the complexity of the task of assembling hip-hop in youth work worlds. The thesis traces the work undertaken by both human and non-human actors in generating youth engagement in hip-hop-youth work activities. Young people’s hip-hop interests are shown to be varied, multiple, and continually evolving. It is also shown how generating youth interest in hip-hop-youth work activities involved overcoming young people’s indifference or lack of awareness of the hip-hop resources a youth trust had on offer. Furthermore, the study highlights where hip-hop activities were edited or “tinkered” with to avoid hip-hop “bads”. The thesis also unpacks how needed resources were enlisted, and how funders’ interests were translated into supporting hip-hop groups and activities. By tracing the range of actors mobilised to enact hip-hop-youth work activities, this research reveals how some youth trusts could avoid having to rely on obtaining government funds for their hip-hop activities. The thesis also includes an examination of one youth trust’s efforts to reconfigure its hip-hop activities after the earthquakes that struck Christchurch city in 2010 and 2011. Working both in and on the world, the text that is this thesis is also understood as an intervention. This study constitutes a deliberate attempt to strengthen understandings of hip-hop as a complex, multiple, and fluid entity. It therefore challenges traditional media and literature representations that simplify and thus either stigmatise or celebrate hip-hop. As such, this study opens up possibilities to consider the opportunities, as well as the complexities of assembling hip-hop in youth work sites of practice.