Synne Skjulstad

How interdisciplinary design practices intersect as a powerful communicational core in fashion is given little attention in design studies. Even as fashion design is a design domain in its own right, this paper argues that our conceptions of power in fashion need to more fully include fashion as a matter of communication design. This paper argues that power is enacted via combinations of material and immaterial articulations of design practices in fashion. Design practices are essential in shaping the tastes, styles, and desires at the heart of fashion, thus rendering fashion design as an expanded field that reaches far beyond material garments. This discussion paper proposes an expanded conception of fashion design, one that includes a mesh of networked media and design practices central to fashion. Via analysis of the fashion collective Vetements, these intersections are regarded as a locus of both economic and aesthetic power.

We analyse the challenges and changing charac- ter, production and consumption of the emerging genre fashion  lm through a genre as ecology ap- proach. This approach accounts for the complex- ity of various rhetorical practices used within the creative industries, such as fashion. We  nd that digital mediation compels genre innovation in networked cultures in the mediation of fashion. We examine three fashion  lms to ascertain how they function as cultural production within web- and mobile-based communication and networked articulations. These need to be understood as part of distributed, polyvocal and multimodally medi- ated digital branding and advertising strategies that have largely not been addressed as genre by media and communication studies. Genre ecology is proposed as an addition to typological and de- velopmental models of (media) genre innovation.

Abstract: The paper discusses the work of Instagram artist Douglas Abraham as a techno- cultural construct, and how the intersections between fashion and art photography in his work reveal some of the conditions for image practices embedded in Instagram. His profile name on Instagram is bessnyc4, having been expelled from the platform four times. A close study of Abraham’s work informs our understanding of how cultural practices relating to fashion photography, brand management and censorship are performed on the platform. Close attention is given to artistic approaches to the mediation of fashion, as this is central to Abrahams’ artistic practice. The article analyzes a selection of Abraham’s works published on Instagram. The analysis is rooted in a media aesthetics approach to mediation. In such a perspective, attention is given to mediation as processes involving the perception and sense-making activities of a situated subject, and encounters between the spectator, the work and its cultural and meditational references. The very materiality of the media involved - in this case, Instagram - is central to the analysis. The article also draws on design theorist Anne Balsamo’s notion of techno-culture, as she predominantly conceives communication technology as cultural artefacts. Instagram as such a cultural artefact is thus central in providing the conditions within which fashion photography is negotiated.

Project based work and the management of large urban development projects increasingly requires co-ordination of multiple actors responsible for specified parts of a wider design process. This co-ordination also extends to the modes of representation involved in and across projects ...

Compendium: A Hypertext Approach for Participatory, Real Time, Hybrid Knowledge Capture & Publishing Jeff Conklin, Albert Selvin, Simon Buckingham Shum and Maarten Sierhuis Fluid Annotations on the Web with Open Hypermedia Niels Olof Bouvin, Polle T. Zellweger, Henning Jeh��j and Jock Mackinlay Visualizing guided tours with W3D Signe Herbers Poulsen, Mads Fjord-Larsen, Frank Allan Hansen and Bent Guldbjerg Christensen Open 3D Spatial Hypermedia as Roomware Components for Interactive Workspaces Peter ��rb��k, Michael ...

In the Nordic countries, web-based simulations are now widely used as an addition to the print-based marketing and exchange of domestic properties. Our interest in this chapter is to analyse how domestic dwellings are mediated online via digital representations. These representations draw on a range of digital tools and simulations of their professional uses in architecture, urbanism and web design. We approach these representations as mediating artefacts that clearly ask consumers to engage in an imaginative rendering of the unbuilt. The digitally designed and digitally mediated artefacts project not simply visions of the unbuilt, but envision what is to be built. In many cases they also include properties as having been sold prior to physical construction. We situate our analysis within the practices of buying and selling real estate. The digitally mediated exchange of such properties falls within the ambit of advertising discourse. This is a discourse that has persuasion as its primary aim. It seeks to draw and direct the activity of users towards the pre-purchase of future dwellings; an activity that is not merely a material one but also imaginary.