- Psychopolitics, Fashion design, Fashion Theory, Socially Responsible Design, Socially Engaged Craft, Occultism, Fashion Violence, and 81 moreFashion Supremacy, Sustainable Fashion, Hacktivism, Realdesign, Critical Fashion Design, Critical Social Psychology, Craft Thinking, Critical Making, Social Entrepreneurship & Innovation, Open Design, Fashiopolitics, Speculative Medievalism, Black Metal Theory, True Norwegian Black metal, Occulture, Esotericism, Critical Criminology, Political Realism, Hacking and Cracking, Political Philosophy, Gift Exchange, Embodied Cognition, Embodiment Theory, Feminist Theology, Liberation Psychology, Black Magick, Emotional Contagion, Affect (Cultural Theory), Affective Neuroscience, Social Cognition, Sexual Politics of Time, Chronopolitics, Psychology of Clothing, Social Psychology, Affect/Emotion, Contemporary occulture and esotericism, Western Esotericism, Old Norse Literature, Norse mythology, Tibetan Buddhism, Body and Soul, Passion, Passions of the Soul, soulfulness, Physical Therapy, Cognitive Therapy, Simulation, Art Theory and Politics, Art Theory, Comparative Politics, Comparative mythology, Mysticism, Spirituality & Mysticism, Spiritual Formation, Spiritual Leadership, Business Management, Strategic Design, Vitalism, History of Vitalism, History of clothing and fashion, History of Philosophy, Sexual Economies, Dr. Wilhelm Reich, Wilhelm Reich Studies, Orgonomy, Biosocial anthropology, Biopsychology, Neuroscience, Cognitive Neuroscience, Clinical Psychology, Fashion (Everyday Life Studies), Religion and Violence, Heavy Metal Music, Yoga Psychology, History of yoga, Yoga Philosophy, Deleuzo Guattarian Object relational Theory, Realism (Political Science), Machiavellianism, Statism, and Theatre Theoryedit
- Dr. Otto von Busch is Professor of Integrated Design, at Parsons School of Design, The New School, New York. In his r... moreDr. Otto von Busch is Professor of Integrated Design, at Parsons School of Design, The New School, New York. In his research he explores the emergence of a new hacktivist designer role in fashion, where the designer engages participants to reform fashion from a phenomenon of dictations, anxiety and fear, into a collective experience of empowerment and liberation.In such practice, design and craft is reverse engineered, hacked and shared among many participants as a form of civic engagement, building community capabilities through collaborative craft and social activism.
His work on fashion, DIY culture and craftivism draws upon political realism (RealDesign), religious studies and Buddhism, esotericism, occulture and the dark arts.
Please visit www.selfpassage.info for more worksedit
Fashion is about growth, feeling, and aliveness. It thrives in excess and abundance. With the everyday discourse around circular business, we buy sustainable fashion. But how can we shift focus to how we become sustainable and more... more
Fashion is about growth, feeling, and aliveness. It thrives in excess and abundance. With the everyday discourse around circular business, we buy sustainable fashion. But how can we shift focus to how we become sustainable and more fashion-able? This book discusses circular fashion models and how these can amplify the vitality and purpose of fashion. As fashion renegotiates its relationship with consumerism, designers must not forget how fashion plays with desires, passion, and flourishing. If fashion is any good, it must be vital, or it is nothing.
Research Interests: Critical Theory, Emotion, Fashion design, Civic Education, Affective Neuroscience, and 15 moreEnvironmental Sustainability, Gilles Deleuze and Felix Guattari, Affect/Emotion, Francisco Varela, Fashion Studies, Humberto Maturana, Vitalism, Sustainable Fashion, Dr. Wilhelm Reich, Circular Economy, Sustainment, Imaginal Psychology, Three Ecologies, Enlivenment, and Circular Fashion
Our desires for fashion, our addiction to cheap clothes, our fixation on surface looks. Can we find ways to make what we wear more positive? Here's a quirky, irreverent way to consider what's a more sustainable way to be with—and still... more
Our desires for fashion, our addiction to cheap clothes, our fixation on surface looks. Can we find ways to make what we wear more positive? Here's a quirky, irreverent way to consider what's a more sustainable way to be with—and still enjoy—fashion. This little book shows that fashion isn't shallow but connects us to the depths of existence. Especially today, fashion can tell us something about life, and this series of meditations and conversations between fashion "hacktivist" von Busch and Buddhist teacher Josh Korda shows how a Buddhist perspective on fashion can help us engage with clothes in wiser ways. It may seem a Buddhist approach to fashion would be about denying fashion and living an ascetic life in dull robes. However, Buddhism can teach us to be more present and take more pleasure in fashion. With practice and reflection, we can live a wiser life with the consumption of clothes.
Research Interests: Buddhism, Ethics, Fashion Theory, Critical Pedagogy, Engaged Buddhism, and 11 moreConsumerism, Consumption Studies, Tibetan Buddhism, Environmental Sustainability, Theravada Buddhism, Social sustainability, Fashion Studies, Fast Fashion, Vajrayana, Fashion and Clothing consumption, and Clothes Making
What if fashion was a state? What kind of state would it be? Probably not a democracy. Otto von Busch sees fashion as a totalitarian state, with a population all too eager to enact the decrees of its aesthetic superiority. Peers police... more
What if fashion was a state? What kind of state would it be? Probably not a democracy. Otto von Busch sees fashion as a totalitarian state, with a population all too eager to enact the decrees of its aesthetic superiority. Peers police each other and deploy acts of judgment, peer-regulation, and micro-violence to uphold the aesthetic order of fashion supremacy.
Using four design projects as tools for inquiry, Von Busch explores the seductive desires of envy and violence within fashion drawing on political theories. He proposes that the violent conflicts of fashion happen not only in arid cotton fields or collapsing factories, but in the everyday practice of getting dressed, in the judgments, sneers, and rejections of others. Indeed, he suggests that feelings of inclusion and adoration are what make us feel the pleasure of being fashionable-of being seductive, popular, and powerful.
Exploring the conflicting emotions associated with fashion, Von Busch argues that while the current state of fashion is bred out of fear, The Psychopolitics of Fashion can offer constructive modes of mitigation and resistance. Through projects that actively work towards disarming the violent practices of dress, Von Busch suggests paths towards a more engaging and meaningful experience of fashion he calls “deep fashion.”
Using four design projects as tools for inquiry, Von Busch explores the seductive desires of envy and violence within fashion drawing on political theories. He proposes that the violent conflicts of fashion happen not only in arid cotton fields or collapsing factories, but in the everyday practice of getting dressed, in the judgments, sneers, and rejections of others. Indeed, he suggests that feelings of inclusion and adoration are what make us feel the pleasure of being fashionable-of being seductive, popular, and powerful.
Exploring the conflicting emotions associated with fashion, Von Busch argues that while the current state of fashion is bred out of fear, The Psychopolitics of Fashion can offer constructive modes of mitigation and resistance. Through projects that actively work towards disarming the violent practices of dress, Von Busch suggests paths towards a more engaging and meaningful experience of fashion he calls “deep fashion.”
Research Interests:
Fashion is the experience of pleasure we take in the gamble of dress. It is an emotional phenomenon that is embodied and intimately connected to biological processes in the body, our cognition, and in resonance with embodied social... more
Fashion is the experience of pleasure we take in the gamble of dress. It is an emotional phenomenon that is embodied and intimately connected to biological processes in the body, our cognition, and in resonance with embodied social dynamics. The fashion industry taps into the excitement and pleasure we feel in our bodies when being admired and adored by our peers. If we are unpack fashion as a gamble, sustainable fashion is not restricted to garments and their environmental impact, but we can radically reimagine how to play the game of fashion. What if the task of clothing designers is to design a new game that facilitates new social-emotional relationships between players?
(second edition - typos corrected)
(second edition - typos corrected)
Research Interests:
- What if we understood fashion as a bioelectrical energy and as a form of flirting? - What if fashion is not so much about clothes, but primarily a cognitive interface between living organisms, hungry for connection and love? - How... more
- What if we understood fashion as a bioelectrical energy and as a form of flirting?
- What if fashion is not so much about clothes, but primarily a cognitive interface between living organisms, hungry for connection and love?
- How would such shift in perception change our approach to fashion and sustainability?
The psychoanalyst, political theorist, biologist and pioneer of body therapies Wilhelm Reich framed a groundbreaking synthesis on the biosocial aspects of life. Reich never discussed fashion, but taking designerly inspiration from his work, this book argues fashion can be understood as a biological as much as social phenomenon; when fashion works at its best, we feel it in our bodies. The agency of fashion is not in the system, but in your body. Fashion is the organismic pleasure and excitement of growth and expansion, an energy sparkling with life, a form of biosocial flourishing, or more precisely: a vital vogue.
- What if fashion is not so much about clothes, but primarily a cognitive interface between living organisms, hungry for connection and love?
- How would such shift in perception change our approach to fashion and sustainability?
The psychoanalyst, political theorist, biologist and pioneer of body therapies Wilhelm Reich framed a groundbreaking synthesis on the biosocial aspects of life. Reich never discussed fashion, but taking designerly inspiration from his work, this book argues fashion can be understood as a biological as much as social phenomenon; when fashion works at its best, we feel it in our bodies. The agency of fashion is not in the system, but in your body. Fashion is the organismic pleasure and excitement of growth and expansion, an energy sparkling with life, a form of biosocial flourishing, or more precisely: a vital vogue.
Research Interests: Critical Theory, Neuroscience, Cultural Studies, Psychology, Cognitive Psychology, and 42 moreSocial Psychology, Fashion design, Social Sciences, Textiles, Critical Pedagogy, Sustainable Development, Critical Social Theory, Design Theory, Fascism, Affective Neuroscience, Gabriel Tarde, Emotion Regulation, Gilles Deleuze and Felix Guattari, Artistic Research, Emotional Contagion, Mimetic Theory, Umwelt, Jakob von Uexküll, Affect (Cultural Theory), Francisco Varela, Erich Fromm, Social Contagion, Fashion Studies, Humberto Maturana, Psychopolitics, Critical Design, Sustainable Fashion, Imitation, Political Realism, Biosociality, Orgone Energy, Dr. Wilhelm Reich, Speculative Design, Apparel Industry, Social Psychology of Fashion, Textile Research, Byung-Chul Han, Micro fascism, Craft Research, Fashion Technology, Biosocialpsychology, and Realdesign
This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a... more
This thesis consists of a series of extensive projects which aim to explore a new designer role for fashion. It is a role that experiments with how fashion can be reverse engineered, hacked, tuned and shared among many participants as a form of social activism. This ...
Research Interests: Critical Theory, Parasitology, Sociology of Religion, Political Philosophy, Ethics, and 84 moreHumanities, Fashion design, Fashion Theory, Reflective Practice, Social Entrepreneurship, Design practice, Professionalism, Popular Culture, Participatory Design, Subcultures, Critical Pedagogy, Cybernetics, Countercultural Studies, Symbiosis, Linux, Gilles Deleuze, Design History and Theory, Michel Serres, Design Innovation, Post-Colonialism, Critical design practice, Hacktivism, Viral internet marketing, Philosophy of Design, Art Criticism, Environmental Sustainability, Gilles Deleuze and Felix Guattari, Bruno Latour, Artistic Research, Design Theory and Philosophy, Civic Engagement, Design Critical Thinking, Social sustainability, Mimetic Theory, Postmodern Literary Theory and Popular Culture, Free Software, Emergence, Donna Haraway, Symbiogenesis, Prosumer, Co-design/Co-creation/participatory design, Co-creation, Open Source, Hacking, Social Innovation, Protest Movements, Post-subcultures theory, Text, Appropriation, Critical Design, Fashion Hacktivism, Rebel Movements, Sustainable Fashion, Political Theroy, General Systems Theory, Cathedrals, Protest and resistance, Skillshare, Gnu, Design Politics, Diffraction, Subvertising, Craftivism, Ability, Trend Analysis, Textual Poaching, Poaching, Socially Engaged Art, Politics of Fashion, Textile and Apparel Industry, Critical Making, Socially Engaged Arts, Social Aspects of Sustainability, Social Entrepreneurship & Innovation, Bazaars, Socially Responsible Design, Socially Engaged Craft, Prototyping and Infrastructuring, Democratic Innovation, Democratic Design, Insurgency and counterinsurgency, Couture Sewing, Amateurism and Professionalism in Fashion, Critical Fashion Design, and Adbusters
Expanded methodology chapter on activist design research originally from Fashion-able thesis (2008) - published through Lulu in 2008
Research Interests: Fashion design, Fashion Theory, Research Methodology, Design Creativity, Design Methods, and 30 moreDesign Theory, Design Research, Social Activism, Design Innovation, J S Bach, Activist Art, Cultural power and resistance, Activism, Art and Activism, Design activism, Arts and Crafts, Social Innovation, Protest Movements, Social Design, Fashion Research, Dissent, Design Politics, Design Methodology, Social Entrepreneuership, Craftivism, Curriculum Design and Development, Fugue, Change Agent, Political dissent, Fashion design research, Socially Engaged Art, Fashion, Design As Politics, Godel, Escher & Bach, and fashion activism
Fashion, like magic, requires rituals as much as labor. And just like successful magic, the labor in fashion is always hidden or veiled: it always is at work under cover, or it might lose its seductive power. However, labor being hidden... more
Fashion, like magic, requires rituals as much as labor. And just like successful magic, the labor in fashion is always hidden or veiled: it always is at work under cover, or it might lose its seductive power. However, labor being hidden does not mean it is simply a matter of ignorance from the consumer side. No, the hiding of labor in fashion is a culturally and systemically induced ignorance: some part shipped overseas, others hidden under the gilded varnish of glamour.
This book aims to provoke new perspectives on the many forms of labor engaged in fashion, from sweatshops to interns and bloggers. But the books also suggests other concepts by which we can understand the production of fashion, perspectives which may open new forms of fashion praxis.
This book aims to provoke new perspectives on the many forms of labor engaged in fashion, from sweatshops to interns and bloggers. But the books also suggests other concepts by which we can understand the production of fashion, perspectives which may open new forms of fashion praxis.
Research Interests: Labor Economics, Social Work, Fashion design, Fashion Theory, Participatory Design, and 21 moreCritical Pedagogy, Design Research, Work and Labour, Labor History and Studies, Hannah Arendt, Textile Production, Social Innovation, Fashion Research, Fashion and Politics, Labor Activism, Labor Studies, Hanna Arendt, Apparel Industry, Pedagogy of the oppressed, Hackathons, Ethical Fashion Production, Critical Making, Fashion Production Management, Critical Fashion Design, fashion activism, and fashion hacking
A collectively written book about the politics of fashion. - As Hannah Arendt wrote, what is most difficult is to love the world as it is, as it is plagued by evil and suffering. Yet, as Arendt astutely acknowledges, it is this same love... more
A collectively written book about the politics of fashion. - As Hannah Arendt wrote, what is most difficult is to love the world as it is, as it is plagued by evil and suffering. Yet, as Arendt astutely acknowledges, it is this same love that shapes our human togetherness. The Fashion Praxis Collective would add that it is the same love that shapes fashion as a social phenomenon.
This book provokes new perspectives, challenges existing concepts, and generates new ways of seeing/understanding the varieties of fashion(s); as signs and symbols, concrete human relationships and intentions, gestures and movements. As boundaries, fronts and conflicts, but also as passions and com-passions. As systems and industries, as modes of social industriousness of being together.
This book provokes new perspectives, challenges existing concepts, and generates new ways of seeing/understanding the varieties of fashion(s); as signs and symbols, concrete human relationships and intentions, gestures and movements. As boundaries, fronts and conflicts, but also as passions and com-passions. As systems and industries, as modes of social industriousness of being together.
Research Interests: Critical Theory, Fashion design, Fashion Theory, Social Entrepreneurship, Design practice, and 41 moreParticipatory Design, Praxis, Critical Pedagogy, Critical Thinking, Strategic Management, Critical Social Theory, Design Research, Critical Management Studies, Consumerism, Resistance (Social), Gilles Deleuze, Friedrich Nietzsche, Apparel Production, Gabriel Tarde, Work and Labour, Strategic Design, Labor History and Studies, Hannah Arendt, Co-design/Co-creation/participatory design, Social Innovation, Critical Design, Viral Marketing, Fashion Hacktivism, Fashion Research, Creative Economy, Political Realism, Fashion and Politics, Labor Activism, Subvertising, Textile arts, Silvia Federici, Mondragon, Resistance Studies, Politics of Fashion, Textile and Apparel Industry, Political Fashion, Critical Making, Social Entrepreneurship & Innovation, DIY Design, Identity Productions, and Design and Politics
In recent years, designers, activists and businesspeople have started to navigate their social worlds on the basis of concepts derived from the world of computers and new media technologies. According to Otto von Busch and Karl Palmås,... more
In recent years, designers, activists and businesspeople have started to navigate their social worlds on the basis of concepts derived from the world of computers and new media technologies. According to Otto von Busch and Karl Palmås, this represents a fundamental cultural shift. The conceptual models of modern social thought, as well as the ones emanating from the 1968 revolts, are being usurped by a new worldview. Using thinkers such as Michel Serres, Gilles Deleuze and Manuel DeLanda as a point of departure, the authors expand upon the idea that everyday technologies are profoundly interconnected with dominant modes of thought. In the nineteenth century, the motor replaced the clockwork as the universal model of knowledge. In a similar vein, new media technologies are currently replacing the motor as the dominant 'conceptual technology' of contemporary social thought. This development, von Busch and Palmås argue, has yielded new ways of construing politics, activism and innovation. The authors embark on different routes to explore this shift. Otto von Busch relates the practice of hacking to phenomena such as shopdropping, craftivism, fan fiction, liberation theology, and Spanish social movement YOMANGO. Karl Palmås examines how publications like Adbusters Magazine, as well as business theorists, have adopted a computer-inspired worldview, linking this development to the dot.com boom of the late 1990s. Hence, the text is written for designers and activists, as well as for the general reader interested in cultural studies.
Research Interests: Critical Theory, Sociology, Information Science, Philosophy, Humanities, and 39 moreHistory of Ideas, Social Sciences, Computer Engineering, Participatory Research, Social Entrepreneurship, Action Research, Participatory Design, Design for Social Innovation, Critical Pedagogy, History of Science, Strategic Management, Critical Management Studies, Resistance (Social), Gilles Deleuze, Michel Serres, Hacktivism, Social History, Gilles Deleuze and Felix Guattari, Design Critical Thinking, Hacking, Meshworks, Social Innovation, Social Design, Critical Design, Viral Marketing, Shoplifting, Subvertising, Craftivism, Matrix, Marketing in Creative Industries, Manuel DeLanda, Politics of art, Resistance Studies, Black Spots, Critical Making, Art Teory, LOCK Picking, Culture Jamming and Adbusting, and Craft Thinking
In July 2013, Malmö, Sweden, a group of asylum seekers and undocumented migrants initiated a march from Malmö to Stockholm called Asylstafetten. The marchers demanded that their stories of migration, asylum and undocumentedness be heard... more
In July 2013, Malmö, Sweden, a group of asylum seekers and undocumented migrants initiated a march from Malmö to Stockholm called Asylstafetten. The marchers demanded that their stories of migration, asylum and undocumentedness be heard and transferred into action. Many activities were organised for the duration of the 34 day-long march including the crafting workshops. Through essays and conversations with participants of the march, this publication portrays multiple narratives about the workshops; the spaces they occupied, the practices and ideas they generated as well as their political potential to come.
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I juli 2013, Malmö, tog en grupp asylsökande och papperslösa migranter initiativet till en vandring från Malmö till Stockholm – Asylstafetten. Vandrarna krävde att deras berättelser om migration, asyl och papperslöshet skulle höras och transformeras till handling. Ett flertal aktiviteter organiserades under den 34-dagars långa marschen, där hantverks-workshoppar ingick. Genom texter och konversationer med deltagare i vandringen, porträtterar den här publikationen flera skildringar av dessa workshoppar; platserna de intog, utövandet och idéerna de frambringade liksom dess kommande politiska potential.
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I juli 2013, Malmö, tog en grupp asylsökande och papperslösa migranter initiativet till en vandring från Malmö till Stockholm – Asylstafetten. Vandrarna krävde att deras berättelser om migration, asyl och papperslöshet skulle höras och transformeras till handling. Ett flertal aktiviteter organiserades under den 34-dagars långa marschen, där hantverks-workshoppar ingick. Genom texter och konversationer med deltagare i vandringen, porträtterar den här publikationen flera skildringar av dessa workshoppar; platserna de intog, utövandet och idéerna de frambringade liksom dess kommande politiska potential.
Research Interests:
In design, it is commonly held that it is a virtue to speak the language of possibilities and to ask speculative ‘what if?’ questions. This tends to be translated into a design practice that privileges creative conjectures about ideal... more
In design, it is commonly held that it is a virtue to speak the language of
possibilities and to ask speculative ‘what if?’ questions. This tends to be translated into a design practice that privileges creative conjectures about ideal end states. Conversely, designers are rarely encouraged to think creatively about how a recalcitrant social world may scupper their grand designs. In response to this, we argue that the contemporary debate on design could do with a healthy dose of political realism. The lofty ideals of democratic design cannot be realised without recognising
the harsh realities of power.
possibilities and to ask speculative ‘what if?’ questions. This tends to be translated into a design practice that privileges creative conjectures about ideal end states. Conversely, designers are rarely encouraged to think creatively about how a recalcitrant social world may scupper their grand designs. In response to this, we argue that the contemporary debate on design could do with a healthy dose of political realism. The lofty ideals of democratic design cannot be realised without recognising
the harsh realities of power.
Research Interests:
Research Interests:
This article interrogates the proposition, recently put forward by design thinking advocates Tim Brown and Roger Martin, that democratic capitalism needs design thinking. More specifically, it assesses three problematics that emerge when... more
This article interrogates the proposition, recently put forward by design thinking advocates Tim Brown and Roger Martin, that democratic capitalism needs design thinking. More specifically, it assesses three problematics that emerge when design thinking moves from corporate settings to the public sphere of democratic deliberation. The text thus discusses the potential for design thinking to be used as a tool for the exercise of cybernetic control in the context of a mounting dissent with social injustice, and the extent to which it may be deployed as a means to “guide” democracy. Furthermore, it posits that the expectations placed on design thinking reflect the design profession’s agnostic approach to realpolitik.
Research Interests: Business, Organizational Behavior, Business Administration, Sociology, Political Theory, and 15 moreDesign Management, Cybernetics, Strategic Management, Design Theory, Capitalism, Democracy, Design thinking, Cultural power and resistance, Deliberation, Critical Design, Design Strategy, Dissent, Injustice, Organizational Aesthetics, and Arts and Humanities
Research Interests: Critical Theory, Civil Engineering, Ethics, Design, Design for Social Innovation, and 15 moreCritical Pedagogy, Consumerism, Evaluation, Critical design practice, Machiavelli, Critical Design, Design Criticism, Design for Sustainability, Design Rationale, Design Politics, Co design, Grameen Bank, Dilemma, Democratic Innovation, and Design As Politics
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We don’t know fashion as much as we feel fashion. This perspective puts emotion and other affective perspectives as the basis for the understanding of fashion. If people are forced to appear before others, fashion plays with both positive... more
We don’t know fashion as much as we feel fashion. This perspective puts emotion and other affective perspectives as the basis for the understanding of fashion. If people are forced to appear before others, fashion plays with both positive and negative emotional valance. Users of fashion seek positive emotions, such as affirmation, and fear other social responses, such as rejection, or worse: bullying. This pulls most consumers to the barren landscapes of identifying fashion as merely another word for minimal viable and acceptable sameness.
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Many fashion theorists have approached fashion as a form of sartorial ‘code’, signifying meaning and being a system of communication or a specific visual language. From this reading of fashion, semiotic systems of codes define fashion,... more
Many fashion theorists have approached fashion as a form of sartorial ‘code’, signifying meaning and being a system of communication or a specific visual language. From this reading of fashion, semiotic systems of codes define fashion, and consumers learn to decipher the meanings projected through the system. Among fashion practitioners however, the analytical tool of semantic codes does not seem to have attracted much attention, and there are only a few examples where theory and practice share a common applicable approach. Yet, a literal usage of the concept might offer new action spaces for practitioners, as it could be hybridized with another practice of coding: programming. This was examined during a design workshop the author held at Gallery Room 103 in Auckland in Spring 2009, called Fashion Fianchettos. The workshop used live draping and algebraic topology to experiment with new ways of disseminating fashion, as a set of mathematical functions and minimal codes of new draping...
Research Interests:
Design designates; it guides and leads us towards specific types of behaviors. Designers serve to defend and propel the interests of the client, who wants to lead their customers or users into a relationship of dependence and addiction.... more
Design designates; it guides and leads us towards specific types of behaviors. Designers serve to defend and propel the interests of the client, who wants to lead their customers or users into a relationship of dependence and addiction. Through the clever use of devices, apparatuses and affordances, design sorts and consolidates human behaviors to propel the status quo. However, there can be many forms of resistances, and one form is hacking – the manipulation of the mechanisms which guide and exclude, such as locks. In this way, the craft of manipulation is the central feat of hacking. It is the material intervention of trespassing into systems in order to change and tune them towards becoming counter-systems. This text examines how hacking can be used to manipulate systems of exclusion into more inclusive systems; affecting the designed guidance devices in order to propel both sustainability and social justice.
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Varfor revolterar manniskor? Ar de hjaltar eller vandaler? Det handlar om manniskor som ockuperar mark, vagrar lyda order, bildar clownarmeer, virkar egna Guccivaskor eller startar en egen bank. De gor motstand och ifragasatter, ibland... more
Varfor revolterar manniskor? Ar de hjaltar eller vandaler? Det handlar om manniskor som ockuperar mark, vagrar lyda order, bildar clownarmeer, virkar egna Guccivaskor eller startar en egen bank. De gor motstand och ifragasatter, ibland med sitt eget liv som insats.
On the boundary of abundance, of extra resources, energy or time, the sugar of aliveness is added to the everyday—play, decoration, the sweet tastes of aesthetics and sensory pleasures. This is the sugar of plenty, the culinary multitudes... more
On the boundary of abundance, of extra resources, energy or time, the sugar of aliveness is added to the everyday—play, decoration, the sweet tastes of aesthetics and sensory pleasures. This is the sugar of plenty, the culinary multitudes of candied lavishness, the fabulousness of fashion. Is fashion a passion, a hunger, is it food or medicine, or perhaps nourishment and poison in one?
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A growing consensus is emerging that the modus operandi of the fashion system is in need of change. Yet for change it requires not only incentives but the agency and power to transform. Designers must ask what kind of power is needed to... more
A growing consensus is emerging that the modus operandi of the fashion system is in need of change. Yet for change it requires not only incentives but the agency and power to transform. Designers must ask what kind of power is needed to change, and how such power can be mobilized, cultivated and leveraged.
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It may seem obvious that the best way to challenge today’s accelerated and unfettered consumerism is with frugality and calls for more lasting experiences—for example, through ‘slow fashion’. However, this ascetic response of austerity... more
It may seem obvious that the best way to challenge today’s accelerated and unfettered consumerism is with frugality and calls for more lasting experiences—for example, through ‘slow fashion’. However, this ascetic response of austerity and self-denial seems at odds with the more passionate connections of dress and desire. It seems reasonable to aim for lasting and emotionally durable designs. Yet as with our passions and love in general, making emotions last is no easy thing. Or rather, it seems almost natural that suffering can be lasting and chronic, however unwanted (such as depressions), yet euphoria and bliss can only exist as ephemeral waves of elation. By definition, passions appear unsustainable and unquenchable.
Research Interests: Fashion design, Fashion Theory, Love, Critical design practice, Romantic Relationships, and 11 moreEnvironmental Sustainability, Philosophy of Love, Affect/Emotion, Georg Simmel, Affect (Cultural Theory), Theories of Love, Passion, Sustainable Fashion, Dr. Wilhelm Reich, Sexual Economies, and Flirting
Cheap and accessible fashion from large retailers has, over the last decades, been thought of as a “democratic” form of consumerism. While embraced by masses of people with substantial environmental costs, many designers and researchers... more
Cheap and accessible fashion from large retailers has, over the last decades, been thought of as a “democratic” form of consumerism. While embraced by masses of people with substantial environmental costs, many designers and researchers have questioned this mode of fast production and consumption. Designers try to create more sustainable models of consumption, often combined with ideas of other forms of consumer “inclusion” than cheap accessibility, yet they seldom define exactly what kind of inclusion is meant and what kind of desires they tap into. Using the example of nightclubs, this article asks some fundamental questions about the relationship between inclusion and exclusion in fashion, exclusivity and ability, and how to help cultivate a deeper interrogation of the dynamics these poles.
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The 2017 exhibition Rei Kawakubo/Comme des Garçons – Art of the In-Between at the Metropolitan Museum in New York exposed the rich work of the iconic Japanese fashion designer Rei Kawakubo to a larger western audience. As the title of the... more
The 2017 exhibition Rei Kawakubo/Comme des Garçons – Art of the In-Between at the Metropolitan Museum in New York exposed the rich work of the iconic Japanese fashion designer Rei Kawakubo to a larger western audience. As the title of the exhibition indicates, Kawakubo's work does not fit well within some of the classic conceptual assumptions around fashion, but can be placed as something 'in-between'. The show and printed museum guide were arranged around a series of conceptual dichotomies that Kawakubo's work transgressed. Yet these transgressions also exposed the arbitrariness of central distinctions in fashion and questioned how universal key concepts in fashion really are. In examining the printed guide to the Kawakubo show, this text challenges the intercultural applicability of concepts such as 'fetish' and 'copy' across cultural spheres in fashion studies, and questions the universal application of such concepts to unpack meanings and practices in fashion.
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Fashion is a mimetic phenomenon. It thrives in the pleasures and desires of imitation. As sociologist Yuniya Kawamura notices in her book Fashion-ology, early sociologists, such as Veblen, Tarde, and Simmel, all regard fashion as a... more
Fashion is a mimetic phenomenon. It thrives in the pleasures and desires of imitation. As sociologist Yuniya Kawamura notices in her book Fashion-ology, early sociologists, such as Veblen, Tarde, and Simmel, all regard fashion as a “concept of imitation.” Even if their specific theories differ, Veblen, Tarde, and Simmel saw fashion as an imitative “flow” most dominantly from the superior to inferior, and this became known as the “trickle-down” theory. Even if these ideas have been complemented by many other sociological, psychological, and communicative models, imitation is a central trope in the analysis of fashion, yet little attention has been put to the microdynamics of imitation. Or to put it more poignantly, little attention has been put to the human price of the process of trickle-down, to the fact that rivalry, exclusion, and bullying play a part in the demarcation between fashionable and unfashionable, or to the fact that the distinction between “in” and the “out” is as much conceptual as social and spatial. Using the mimetic theory of René Girard may help put a spotlight on this dynamic and put scapegoating as a central trope in the othering of the style and person who is considered “out”: an aesthetic form of scapegoating. As will be made explicit, the ambiguous meanings and significations of dress act as a perfect alibi for such rejections and violence, as the “shallowness” of fashion makes it much harder for the victim to point toward the transgression and retaliate.
Research Interests: Cultural Studies, Fashion design, Fashion Theory, Mimesis, Cultural Theory, and 14 moreCritical design practice, Social Exclusion, Mimetic Theory, Fashion Studies, Social Innovation, Psychopolitics, Imitation, Commodity Fetishization, Social Conflict, Textile and Apparel Industry, Struggle for Social Justice, Fashion Violence, social combat, and mimetic violence
Fashion suX is an artistic research project of imaginative utopia creation in the tradition of Thomas More. But instead of an imaginary society on an island, the project explores how a radically different fashion culture could emerge in... more
Fashion suX is an artistic research project of imaginative utopia creation in the tradition of Thomas More. But instead of an imaginary society on an island, the project explores how a radically different fashion culture could emerge in the footsteps of hardcore and Straight Edge metal. The project specifically examines the underground fashion and craft movement that called themselves suXers (sometimes referred to as " sustainable fashion Straight Edge"). Radically opposing the "do-good " ethics of consumerist sustainability, the suXers embody an ethic that imbues not only clothes and lifestyle but also an infuriated ryection of the fashion system's sartorial betrayal. Opposition needs other motivations than pure virtue, and anger can be one such motivation, as exemplified by the suXers.
Research Interests: Critical Theory, Cultural Studies, Musicology, Political Philosophy, Ethics, and 44 moreVisual Studies, Popular Music Studies, Fashion design, Design, Ethics, and Responsibility, Social Entrepreneurship, Textiles, Critical Pedagogy, Political Science, Utopian Studies, Metallurgy, Resistance (Social), Futurism, Design Innovation, Subversion, Viral internet marketing, Punk Culture, Environmental Sustainability, Open Innovation, Social sustainability, Mimetic Theory, Utopianism, Cultural power and resistance, Black Metal, Repair and Maintenance, Fashion Studies, Arts and Crafts, DIY culture, Anti-Consumption, Black Metal Theory, Veganism, Imitation, Conservation and Restoration, Lifestyle, Sir Thomas More, Craft Studies, Trend Analysis, Maker Culture, Anti-theory in ethics, Thomas More, Textile and Apparel Industry, Social Entrepreneurship & Innovation, Straight Edge, Utopian and Dystopian Literature, and Anti-establishment
In an everyday perspective of resistance, there is a tendency to favor human action and agency, both in the exercise of power or in the acts of resistance. The aim of this study is to examine material agency in everyday power-dynamics... more
In an everyday perspective of resistance, there is a tendency to favor human action and agency, both in the exercise of power or in the acts of resistance. The aim of this study is to examine material agency in everyday power-dynamics and to open a methodology of resistance studies in the realm of physical objects, designs and materials. In correlation to a "new materialist'' perspective on power, resistance works to build affinity between humans and nonhuman agency and disrupt materially-supported subordination. In this study, a materialist methodology is introduced, with examples of how consumer objects are transformed to interfere with consumer relationships to become tools far cultivating resistant capabili ties. As a case, the study examines a handbag made from a cookie box, produced by the Spanish activist "movement " Yomango, where the material properties of the metal bpx are mobilized to become active in the re sistance. From a materialistperspective, the handbag becomes more than-a symbolic prop for human-led activists and joins the ranks of co-resistors.
Research Interests: Critical Theory, Social Movements, Communication, New Media, Fashion design, and 51 moreFashion Theory, Practice theory, Actor Network Theory, Critical Pedagogy, Anarchism, Strategic Management, Paulo Freire, Consumerism, Gilles Deleuze, Materialism, Postmodernism, Marxist theory, Gabriel Tarde, Viral internet marketing, Consumer Culture, Autonomy, Dispositions, Vilem Flusser, Design thinking, Bruno Latour, Open Innovation, Affect (Cultural Theory), Post-Anarchism, Jane Bennett, Innovation Studies, Affect, Strategic Innovation, Fashion Studies, Social Innovation, New Materialism, Design studies, Critical Design, Consumer Studies, Resistance, Lifestyle, Fashion accessories, Political Oppositions, Dispositif (Apparatus-Theory), Manuel DeLanda, Accessory Design, Sara Ahmed, Counterfeit, Feminist new materialism, Resistance Studies, Social Entrepreneurship & Innovation, Design and Political Theory, Accessory Fashion Design, Costume and Accessory Designing, Handbag, Political design, and Jane Bennett Vibrant Matter
This article introduces designers to the dilemma that arises when twin aspects of social innovation—social means and social ends—do not align. Some academics have noted the antisocial , anti-political, and anti-inventive effects emerging... more
This article introduces designers to the dilemma that arises when twin aspects of social innovation—social means and social ends—do not align. Some academics have noted the antisocial , anti-political, and anti-inventive effects emerging from the spread of microfinance practices. We discuss the tendency for social design and innovation literature to focus on design processes rather than outcomes, and introduce ideas from realist political theory to account for the corruptibility of social innovations. We suggest that designers can prevent the corruption of social outcomes by shifting from idealist " what if " scenarios to realist " who whom? " questions instead.
Research Interests: Critical Theory, Ethics, Social Entrepreneurship, Marxism, Participatory Design, and 30 moreService Design, Design for Social Innovation, Critical Pedagogy, Microfinance, Consumerism, Realism (Political Science), Critical design practice, Co-Design, Open Innovation, Machiavelli, Neoclassical realism, Social sustainability, Co-design/Co-creation/participatory design, Social Innovation, Social Design, Machiavellianism, Critical Design, Design Criticism, Design for Sustainability, Design Politics, Microfinance in India, Grameen Bank, Socially Engaged Art, Microfinance and women's empowerment, Social Entrepreneurship & Innovation, Democratic Innovation, Social Resitance, Design As Politics, Microloans, and Realdesign
This article interrogates the proposition, recently put forward by design thinking advocates Tim Brown and Roger Martin, that democratic capitalism needs design thinking. More specifically, it assesses three problematics that emerge when... more
This article interrogates the proposition, recently put forward by design thinking advocates Tim Brown and Roger Martin, that democratic capitalism needs design thinking. More specifically, it assesses three problematics that emerge when design thinking moves from corporate settings to the public sphere of democratic deliberation. The text thus discusses the potential for design thinking to be used as a tool for the exercise of cybernetic control in the context of a mounting dissent with social injustice, and the extent to which it may be deployed as a means to “guide” democracy. Furthermore, it posits that the expectations placed on design thinking reflect the design profession’s agnostic approach to realpolitik.
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By leaving the studio and using crafts to teach and promote capabilities, as well as taking on systems and structures by hand, we hack into reality itself.
Research Interests: Action Research, Research Methodology, Digital Media, Design Methods, Critical Pedagogy, and 20 morePolitical Science, Design Research, Artisan Production, Critical design practice, Design-based research, Folk arts, Public Engagement, Arts and Crafts, DIY culture, Craftivism, Tinkering, Arts and Crafts Movement, Maker Culture, Critical Making, Craft As Research, Craft Research, whittling, civic crafts, wood whittling, and Wood Crafts
What is it about the return of harnesses and chokers in correlation with the 2014 move from “athleisure” to the black, tattooed and moody “health goth” trend? Is it some form of nihilist answer to the dark times, or is there something... more
What is it about the return of harnesses and chokers in correlation with the 2014 move from “athleisure” to the black, tattooed and moody “health goth” trend? Is it some form of nihilist answer to the dark times, or is there something more sinister at play, something which may reveal fashion under a new (dark) light? This short text introduces a "left-hand-path" perspective on fashion - fashion as the search for esoteric power.
Research Interests: Fashion design, Yoga, Magic and the Occult (Anthropology Of Religion), Occulture, Occultism, and 15 moreNeo-Paganism, Fashion Studies, Western Esotericism, Kundalini, Cults, H. P. Blavatsky, Left-Hand Path, Politics of Fashion, LaVey, Cult Celebrations, Fashion Criticism, Power Yoga, Religion Design, Health Goth, and Athleisure
Research Interests: Cultural Studies, Fashion design, Peace and Conflict Studies, Violence, Bullying, and 20 moreSchool Bullying, Social Exclusion, Design Critical Thinking, Fashion (Everyday Life Studies), Peacebuilding, Fashion Studies, Peace and Conflict Resolution, Structural Violence, Psychopolitics, Social Regulation, Fashion and Politics, Social Death, Cultural Studies, Fashion Theory, Fashion, Politics of Fashion, Behavioral Regulation, Fashion Violence, Fashion Supremacy, Realdesign, and Critical Fashion Design
Research Interests: Design, Political Participation, Urban Politics, Participatory Design, Actor Network Theory, and 29 moreDesign for Social Innovation, Urban Planning, Collaboration, Sustainable Urbanism, Urban Studies, Strategic Planning, Realism (Political Science), Urban Sociology, Co-Design, Participatory Design (Education), Urban Policy, Bruno Latour, Urban And Regional Planning, Design Critical Thinking, Participatory Planning, Urban Renewal, Social Innovation, Urban Design, Social Design, Political Realism and Idealism, Design Criticism, Political Realism, Local Governance & Participatory Planning, Codesign, Collaborationism, Critical Making, Inner City, Politics of Design, and Realdesign
Research Interests: Evolutionary Biology, Cultural Studies, Media Studies, Fashion design, Fashion Theory, and 28 moreViolence, Comics Studies, Bullying, Graphic Novels, School Bullying, Emotion Regulation, Social Exclusion, Mimetic Theory, Darwin, Comics and Graphic Novels, Fashion (Everyday Life Studies), Microaggressions, Fashion Studies, Memes, Elizabeth Grosz, Critical Design, Imitation, Alan Moore, Social Regulation, Social Dynamics, Fashion and Politics, Design Politics, Social Death, Cultural Studies, Fashion Theory, Social Exclusion and Social Inequalities, Fashion Violence, Fashion Supremacy, and Critical Fashion Design
A common perspective on design, primarily suggested by cultural critic Vilem Flusser, is to see design as a lever or a process producing leverage. In his famous collection of essays, The Shape of Things (1999), the lever is a recurring... more
A common perspective on design, primarily suggested by cultural critic Vilem Flusser, is to see design as a lever or a process producing leverage. In his famous collection of essays, The Shape of Things (1999), the lever is a recurring metaphor. Following Flusser, the lever may serve as a great point of departure in a discussion on the egalitarian ideals of participatory design and the universalist imperative to design " for all. " In a similar way to how design " for all " breaks the elitism in who can utilize design, participation breaks the expert design to be design with or by all. But, if design is a lever, perhaps our basic question must be: how does it make the weak strong? Or to make the question more poignant: Who gains leverage, against whom, and in whose interest?
Research Interests: Design, Design Research, Realism (Political Science), Nietzsche, Machiavelli, and 11 moreDesign Critical Thinking, Universal Design, Social Design, Critical Design, Political Realism and Idealism, Art and Design, Political Realism, Design Politics, Design for All, Inclusive Design, Universal Design, Critical Making, and Realdesign
Community Repair explores the idea of reciprocity through the act of making together and connecting within our communities, using an existing starting point of value and developing that value. The project aims to offer new kinds of... more
Community Repair explores the idea of reciprocity through the act of making together and connecting within our communities, using an existing starting point of value and developing that value. The project aims to offer new
kinds of mechanisms for the exploration of co-operation that may act as sustainability thinking in action over short and long term time scales, using real world criteria. We hope that through this experience, touching the lives
of those involved and beyond, that visible and invisible outcomes can be celebrated and enjoyed.
kinds of mechanisms for the exploration of co-operation that may act as sustainability thinking in action over short and long term time scales, using real world criteria. We hope that through this experience, touching the lives
of those involved and beyond, that visible and invisible outcomes can be celebrated and enjoyed.
Research Interests: Critical Theory, Fashion design, Knowledge Management, Fashion Theory, Participatory Design, and 27 moreDesign Management, Design for Social Innovation, Critical Pedagogy, Design Research, Resistance (Social), Design Innovation, Strategic Design, Open Innovation, Design Critical Thinking, Reconciliation, Political Mobilization, Repair and Maintenance, Fashion Studies, Social Design, Critical Design, Fashion Hacktivism, Sustainable Fashion, Codesign, Design Politics, Socially Engaged Art, Sustainable and Ethical Fashion, Critical Making, DIY Design, Socially Responsible Design, Socially Engaged Craft, Social Repair, Critical Fashion Design, and fashion hacking
Research Interests: Critical Theory, Cultural Studies, Media Studies, Humanities, Fashion design, and 32 moreArt Theory, Fashion Theory, Action Research, Practice theory, Textiles, Participatory Design, Actor Network Theory, Critical Pedagogy, Cultural Theory, Social Media, Hacktivism, Textile and Fiber Art, Creative Entrepreneuership, Public Engagement, Hacking, Fashion Studies, Social Innovation, Hackers, Critical Design, Design Criticism, Shoplifting, Craftivism, Communication and media Studies, Communcation, Apparel Industry, Resistance Studies, Fashion Industry, Critical Making, Fashion Practice, Sewing Techniques, LOCK Picking, and Critical Fashion Design
With the rise of the Internet, skills, patterns, and ideas are being shared more widely among people engaged in the crafts, which seems to break with some of the underlying assumptions about the lone genius craftsman. Much discourse... more
With the rise of the Internet, skills, patterns, and ideas are being shared more widely among people engaged in the crafts, which seems to break with some of the underlying assumptions about the lone genius craftsman. Much discourse about craft has been focused on the hands of the artisan, or the " tacit " knowledge used by the maker, but as crafters collaborate in a larger extent some other perspectives could be of use, especially since the surrounding environment seems to take a more active involvement in the production than the mere maker. Increasing Internet prevalence has made this even more obvious, as do-it-yourself instruction and the sharing of skills are abundant in craft forums online, blurring the borders between influences, makers, and situated modes of production. This article examines some concepts and metaphors by which some of the potentials of craft collaborations could be understood. Combining theories of cognition from super-organisms like ant colonies and their " bodyhood " with the " capabilities approach " of Amartya Sen and the concept of educational sloyd, the text builds an associative framework for a perspective on how collaborations actualize new craft capabilities. In conclusion, the article proposes a wider understanding of do-it-yourself activities as a shared endeavor toward
Research Interests: Critical Theory, Critical Pedagogy, Embodied Cognition, Collaboration, Strategic Management, and 29 moreDesign Research, Critical Management Studies, Design Innovation, Critical design practice, Wood Science, Open Innovation, Design Critical Thinking, Umwelt, Jakob von Uexküll, Open Design, Emergence, Arts and Crafts, Richard Sennett, Humberto Maturana, Social Design, Critical Design, Extended Cognition, Design Criticism, Social Skills, Capabilities Approach, Skillshare, Codesign, Craftivism, Embodied knowledge, Embodied and Enactive Cognition, Critical Making, Craft theory, design methodology, design research, Craft Research, and Hand Crafts
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Abstract Early industrialism was influenced by the organization of cottage industries, and in a similar vein, many of today's creative industries emerge largely from networked small-scale initiatives or cultural scenes. Collaborations and... more
Abstract Early industrialism was influenced by the organization of cottage industries, and in a similar vein, many of today's creative industries emerge largely from networked small-scale initiatives or cultural scenes. Collaborations and interactions are the backbone of the contemporary Do-It-Yourself (DIY) or 'maker culture', a distributed milieu of open software programmers and hardware hackers, but also craft-ers, backyard tinkerers, hobbyists and homesteaders. The scene is held together by micro-management tactics, or 'molecular' management, using protocols to guide collaborative innovation and shared craft practices, forming an emergent and innovative creative cottage industry. The maker culture is thus less of a DIY and more a do-it-together culture, merging collaborative play and interactions, often for the sake of shared curiosity. The mindset of the participants is that of the explorative craftsman ; using a practical attitude of sharing ideas, methods and skills among practitioners , and the interactions are managed in a flat and meshworked manner through the use of protocols. The text specifically examines the protocols of the maker movement , finding an immediate connection between hardware protocols, like the 'makers bill of rights' guiding the principles of open source hardware, and the principles reflected in the social protocols of two hacker spaces. The maker culture is not only a loose network of dispersed tinkerers, it is also a close-knit molecular assemblage of materials, tools, skills and makers.
Research Interests: Entrepreneurship, Cultural Studies, Software Engineering, Mechanics, New Media, and 45 moreInstructional Design, Social Entrepreneurship, Participatory Design, Design Management, Strategic Management, Management of Innovation, Design Innovation, Hacktivism, Creative Industries, Social Responsible Design, Craft Knowledge, Gilles Deleuze and Felix Guattari, 3D printing, Additive Manufacturing, Craft Theory, Human Resources Development, Hacking, Mass Communication and New Media, Prototyping, Meshworks, Arts and Crafts, Social Design, Infrastructure, Protocols, Viral Marketing, Creative Labour, Codesign, Makers and D.I.Y. technology, Craftivism, Social decision-making, Maker Culture, Creative Industry Management, Hackathons, Strategic Design Management, Digital Manufacturing, Critical Making, Maker Spaces, Social Entrepreneurship & Innovation, Prototyping and Infrastructuring, Democratic Innovation, Chaos Communiaction, Maker Space, Social Protocol, Infrastructuring, and Design as Infrastructuring
Research Interests: Cultural Studies, Communication, Media Studies, New Media, Fashion design, and 30 moreSocial Networks, Fashion Theory, Participatory Research, Action Research, Literature, Participatory Design, Critical Pedagogy, Strategic Management, Human Resource Management, Literary Theory, Hacktivism, Textile and Fiber Art, Gilles Deleuze and Felix Guattari, Artistic Research, Design Critical Thinking, Co-design/Co-creation/participatory design, Hacking, Fashion Studies, Meshworks, Programming, Social Design, Critical Design, Protocols, Sustainable Fashion, Codesign, Apparel Industry, Fashion, Sustainable Textiles, Emotionally durable design, and Critical Fashion Design
This article outlines some features of a proposed research field that studies “meshworked” design processes. Starting out from a Deleuze- and DeLanda-informed analysis of economic life, the text outlines the “meshwork” as a mode of... more
This article outlines some features of a proposed research field that studies “meshworked” design processes. Starting out from a Deleuze- and DeLanda-informed analysis of economic life, the text outlines the “meshwork” as a mode of organisation that differs from the traditional organisational hierarchy. The article then contrasts a traditional design organisation with examples of meshworked design projects, and concludes with a brief note on the potential of future studies of “Design Meshworking”.
Research Interests: New Media, Design, Fashion design, Social Entrepreneurship, Creativity, and 20 moreParticipatory Design, Design Management, Design Innovation, Creative Industries, Gilles Deleuze and Felix Guattari, Rhizomes, Hacking, Meshworks, Social Innovation, Social Design, Viral Marketing, Codesign, Cultural Industry, Manuel DeLanda, Apparel Industry, Creative Industry Management, Strategic Design Management, Textile and Apparel Industry, Artistic Management, and Swedish Design
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Research Interests: Cultural Studies, Social Psychology, Design, Social Sciences, Architecture, and 28 moreSocial Entrepreneurship, Participatory Design, Critical Pedagogy, Cultural Theory, Design Theory, Creative thinking, Open Innovation, Creative City, Design Critical Thinking, Open Design, Hacking, Strategic Innovation, DIY culture, Multitude, Social Design, Innovation Management, Design Criticism, Maurizio Lazzarato, Codesign, Makers and D.I.Y. technology, Richard Florida, Franco Berardi (Bifo), Amateurs, Information Dissemination, Maker Culture, Creative Industry Management, Maker Spaces, and Democratic Innovation
Craft and design has had a dialectical history since early modernism, where craft often sided with the romanticism of the 'arts and craft movement', while design became primarily market-led and allied with mass production, industrialism... more
Craft and design has had a dialectical history since early modernism, where craft often sided with the romanticism of the 'arts and craft movement', while design became primarily market-led and allied with mass production, industrialism and consumerism. This conflict, which deepened through the twentieth century, is now exhibiting signs of reconciliation. What happens at the borders between design and craft today, when a new generation of makers trespass and extend across this raft, to combine post-industrial design, open source shared engagement and net political craft?
Research Interests: Critical Theory, Electronic Engineering, Media Studies, New Media, Textiles, and 34 moreDigital Media, Critical Pedagogy, Computer Networks, Design Research, Traditional Crafts, Open Innovation, Civic Engagement, Curatorial Practice (Art), Design Critical Thinking, Knitting, The Internet, Folk arts, Civil disobedience, Fine Arts, Programming, Arts and Crafts, DIY culture, Protest Movements, Critical Design, Viral Marketing, Digital Politics, Do It Yourself (DIY), Media and Communications, Curatorial Theory, Makers and D.I.Y. technology, Maker Culture, Apparel Industry, Socio-Political Networks, Crochet, Democratic innovations, Maker Spaces, Mimetics, Copying, and Craft Research
Research Interests: Management, Humanities, History of Science, Strategic Management, Design Research, and 28 moreZen, Zen Buddhism, Management of Innovation, Apparel Production, Hacktivism, Creative Industries, Textile and Fiber Art, Gilles Deleuze and Felix Guattari, Artistic Research, Knitting, Craft Theory, Emergence, Textile Technology, Hacking, Arts and Crafts, Social Innovation, Assemblage Theory, Art Theory and Criticism, Knitting History, Abstract State Machines, Information Dissemination, Textile arts, Manuel De Landa, Textile and Apparel Industry, Craft Research, History of Craft, Abstract Machines, and Craft Thinking
Research Interests: Sex and Gender, Fashion design, Fashion Theory, Youth Studies, Participatory Research, and 31 moreParticipatory Action Research, Participatory Design, Community Development, Logistics, Local Government, Gilles Deleuze, Local Development, Apparel Production, Design Innovation, Gilles Deleuze and Felix Guattari, Artistic Research, Creative City, Umwelt, Jakob von Uexküll, Open Design, Jakob von Uexkull, Social Design, Design studies, Fashion Retailing, Codesign, Global Fashion, Richard Florida, Umwelt Theory, Creative Industry Management, Socially Engaged Art, Textile and Apparel Industry, Social Entrepreneurship & Innovation, Socially Engaged Practise, Socially Responsible Design, Socially Engaged Craft, Textile Arts and Identity, and Critical Fashion Design
Design research can follow many routes. In my PhD thesis Fashionable (2008) I tried to expand on my practice by drawing parallels to similar lines of practice in other fields; how could hacking, fan fiction or liberation theology inform... more
Design research can follow many routes. In my PhD thesis Fashionable (2008) I tried to expand on my practice by drawing parallels to similar lines of practice in other fields; how could hacking, fan fiction or liberation theology inform new practices for fashion design? From my experience this was a fruitful way to take my practice further, to explain what I do and how I think about what I do. The issue was not so much to look exactly at what I do and reflect on it, but rather, like night vision, look slightly beside the target to see more clearly; to look at what others do, and use these associations to explode my own work. The 'reflective practice' promoted by Donald Schön (1983) runs the risk of mere self-gratification so more perspectives need to be put into the equation, into something more 'diffractive', as Donna Haraway (1997) would say.
Research Interests: Fashion design, Research Methodology, Design Methods, Critical Pedagogy, Industrial Design, and 16 moreDesign Theory, Design Research, Autopoiesis, Design Innovation, Critical design practice, Artistic Research, Paul Klee, Social Innovation, Design studies, Art and Design, Methodologies for Artistic Research, OODA, OODA Loop, Fashion Designer Entrepreneurs, Research Design and Methodology, and Art and design research
Research Interests: Critical Theory, Tourism Studies, Design, Art Theory, Participatory Research, and 26 moreAction Research, Critical Pedagogy, Urban Planning, Strategic Management, Creative Cities, Architectural History, Urban Studies, Strategic Planning, Urbanism, Urban Sociology, Artistic Research, Urban And Regional Planning, Urban Tourism, Urban Design (Urban Studies), Human Resources Development, Cornelius Castoriadis, Urban Renewal, Design studies, Innovation Management, Codesign, Richard Florida, Umwelt Theory, Creative Industry Management, Architecture and Public Spaces, Social Entrepreneurship & Innovation, and Participatory Urban Planning
Routine never challenges arrangements. Activism, however, unsettles and takes undesignated paths. This is a paradox for designers, who love to arrange and designate what others should do. Designers build worlds, while activists turn... more
Routine never challenges arrangements. Activism, however, unsettles
and takes undesignated paths. This is a paradox for designers, who love to arrange and designate what others should do. Designers build worlds, while activists turn worlds upside-down. Activism celebrates agency over structure, vitality over predictability, prophecy over memory. Activism is agency bound to risk and vulnerability. This makes it tricky business, always moving across shifting sand with power becoming feral. While it can be seductive to let the latest fashion act as a canvas for the latest politics, we must also pay attention to the fact that activism can question and unsettle the arrangements of fashion itself. We can frame it in this way: fashion activism signifies a will to inhabit more worlds than we are offered to purchase. A radical activist fashion, questioning the roots of the fashion
system, promises no new seasonal changes, no slogans to adopt. Instead, it opens the moment up as an inclusive realm that it is possible to inhabit and change. Using the promise of fashion, it is an activism that is never reactive or shallow, but one that redistributes agency in the vital and decisive masquerades of everyday life. Fashion activism helps equip the self to deal with our masked multitudes of unfathomable depths, and helps us do so with a sense of integrity.
and takes undesignated paths. This is a paradox for designers, who love to arrange and designate what others should do. Designers build worlds, while activists turn worlds upside-down. Activism celebrates agency over structure, vitality over predictability, prophecy over memory. Activism is agency bound to risk and vulnerability. This makes it tricky business, always moving across shifting sand with power becoming feral. While it can be seductive to let the latest fashion act as a canvas for the latest politics, we must also pay attention to the fact that activism can question and unsettle the arrangements of fashion itself. We can frame it in this way: fashion activism signifies a will to inhabit more worlds than we are offered to purchase. A radical activist fashion, questioning the roots of the fashion
system, promises no new seasonal changes, no slogans to adopt. Instead, it opens the moment up as an inclusive realm that it is possible to inhabit and change. Using the promise of fashion, it is an activism that is never reactive or shallow, but one that redistributes agency in the vital and decisive masquerades of everyday life. Fashion activism helps equip the self to deal with our masked multitudes of unfathomable depths, and helps us do so with a sense of integrity.
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Neither fashion nor time are neutral. Both serve political, technological and economic functions of society. Slowing down time serves some more than others. This also applies for slow fashion.
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The connection between cloth, veiling, illusion and deception has a history as long as textiles themselves. Today, however, as fashion has become a ubiquitous tool for popular self-realization in consumer society, we are draped in dreams,... more
The connection between cloth, veiling, illusion and deception has a history as long as textiles themselves. Today, however, as fashion has become a ubiquitous tool for popular self-realization in consumer society, we are draped in dreams, yet the fashion system is enfolded in obscure and secretive veils of deception and denial. Sourcing, manufacturing and design are mystical areas beyond the reach of consumers, not only unknown, but also purposefully masked. With power at stake, textile production has since early industrialism been engaged in countless exploitations, always seeking the cheapest labor sources, preying on the most vulnerable people under appalling conditions, with child labor, overseas sweatshops, and unpaid interns, and the world of fashion is well known for its underage models and rampant racial discrimination. The new illusions of a “democratic” fashion is yet another layer of dazzle camouflage, enfolded in a cult of beauty, where denials and illusions are an inherent part of the fashion industry’s strategic involvements at the heart of globalised consumerism.
As consumers and designers aim for more authenticity, honesty and transparency in the production of textiles, they may be stepping into a paradox, as the allure of draping the social world in textiles is partly founded on mystery, magic and illusion. Yet, some design activists engage with the consumer system to create pre-figurative political interventions, using the illusions of fashion as a mode to imagine and test new creative and productive forms of enclothed togetherness, addressing social and political issues of societal sustainability, reaching through the dazzling desire with daring disobedience.
As consumers and designers aim for more authenticity, honesty and transparency in the production of textiles, they may be stepping into a paradox, as the allure of draping the social world in textiles is partly founded on mystery, magic and illusion. Yet, some design activists engage with the consumer system to create pre-figurative political interventions, using the illusions of fashion as a mode to imagine and test new creative and productive forms of enclothed togetherness, addressing social and political issues of societal sustainability, reaching through the dazzling desire with daring disobedience.
Research Interests:
Design designates; it guides and leads us towards specific types of behaviors. Designers serve to defend and propel the interests of the client, who wants to lead their customers or users into a relationship of dependence and addiction.... more
Design designates; it guides and leads us towards specific types of behaviors. Designers serve to defend and propel the interests of the client, who wants to lead their customers or users into a relationship of dependence and addiction. Through the clever use of devices, apparatuses and affordances, design sorts and consolidates human behaviors to propel the status quo. However, there can be many forms of resistances, and one form is hacking – the manipulation of the mechanisms which guide and exclude, such as locks. In this way, the craft of manipulation is the central feat of hacking. It is the material intervention of trespassing into systems in order to change and tune them towards becoming counter-systems. This text examines how hacking can be used to manipulate systems of exclusion into more inclusive systems; affecting the designed guidance devices in order to propel both sustainability and social justice.
Research Interests: Social Change, Social Psychology, Ethics, New Media, Social Entrepreneurship, and 36 moreCritical Pedagogy, Sustainable Development, Strategic Management, Design Research, Strategic Planning, Gilles Deleuze, Design Innovation, Critical design practice, Hacktivism, Social Responsible Design, Manipulation (Psychology), Environmental Sustainability, Open Innovation, Machiavelli, Social sustainability, Open Design, Innovation Studies, Hacking, Computer Hacking, Borders and Frontiers, Change agents, Social Innovation, Social Design, Manipulation, Assemblage Theory, Political Realism, Design Ethics, Design Politics, Manuel DeLanda, Change Agent, Resistance Studies, Critical Hacktivism, DeLanda, Artistic Management, A Thousand Plateaus, and Creative Innovation
Research Interests: Critical Theory, Civil Engineering, Design, Social Research Methods and Methodology, Fashion Theory, and 49 moreParticipatory Research, Social Entrepreneurship, Action Research, Research Methodology, Textiles, Design Methods, Participatory Design, Qualitative methodology, Actor Network Theory, Service Design, Critical Pedagogy, Strategic Management, Design Research, Social Justice, Creative Research Methods, Design Innovation, Ecology, Critical design practice, Hacktivism, Gilles Deleuze and Felix Guattari, Bruno Latour, Artistic Research, Open Innovation, Open Design, Hacking, Fashion Studies, Socially Responsive Design, Meshworks, Social Innovation, Social Design, Critical Design, Diffusion, Viral Marketing, Assemblage Theory, Methodologies for Artistic Research, Design Ethics, Manuel DeLanda, Apparel Industry, Open Methods, Pedagogy of the oppressed, Creative Industry Management, Critical Theory/Pedagogy, Rhizome, Socially Engaged Art, Democratic innovations, Democratizing Justice, Collaborative Action Research Methodologies, Socially Responsible Design, Socially Engaged Craft, and Craft Research
Research Interests: Future Studies, Design, Fashion design, Fashion Theory, Social Entrepreneurship, and 31 moreDesign Management, Design for Social Innovation, Critical Pedagogy, Utopian Studies, Design Research, Management of Innovation, Design Innovation, Hacktivism, Artistic Research, Progressive Education, Craft Theory, Open Design, Future, Hacking, Fashion Studies, Socially Responsive Design, Social Innovation, Social Design, Critical Design, Diffusion, Do It Yourself (DIY), Fiber Arts, Apparel Industry, Innovation Design Engineering, Strategic Design Management, Textile and Apparel Industry, Design for Social Impact, Social Engagement, Critical Making, Maker Movement, and Critical Fashion Design
Research Interests: Critical Theory, Social Change, Fashion design, Fashion Theory, Social Entrepreneurship, and 34 moreViolence, Design for Social Innovation, Strategic Studies, Apparel Production, Design Innovation, Critical design practice, Textile and Fiber Art, White Supremacy, Thoreau, Open Innovation, Henry David Thoreau, Fashion Studies, Social Innovation, Elitism, Social Design, Critical Design, Slow Fashion, Sustainable Fashion, Drop Outs, Textile industry, Fast Fashion, Privilege and Oppression, Design for Social Change, Primitivism, Self-Reliance, Repair, Creative Industry Management, Ghandi, Textile and Apparel Industry, Democratizing Justice, Fashion Industry, Anachism, Fashion Violence, and Fashion Supremacy
Research Interests: Fashion design, Fashion Theory, Social Entrepreneurship, Design Management, Design for Social Innovation, and 25 moreHerbert Marcuse, Fascism, Design Innovation, Textile and Fiber Art, Open Innovation, Textile Engineering, Mimetic Theory, Affect (Cultural Theory), Erich Fromm, Social Media Marketing, Fashion Studies, Social Innovation, Social Design, Diffusion, Viral Marketing, Passion, Imitation, Political Realism, Realism in political theory, Employee Work Passion, Apparel Industry, Textile management approaches, Mimetics, Escape, and Realdesign
How do we know design hacking is used for virtuous deeds and not vigilantism?
Research Interests: Social Change, New Media, Design, Participatory Research, Participatory Design, and 30 moreCritical Pedagogy, Design Theory, Creative Cities, Design Innovation, Hacktivism, Alternative Media, Open Innovation, Civic Engagement, Open Design, Design Driven Innovation, Creative Appropriation, Open Source, Hacking, Meshworks, Social Innovation, Social Design, Critical Design, Viral Marketing, Assemblage Theory, Codesign, Subvertising, Matrix, Appropriation Art, Change Agent, Creative Industry Management, Critical Making, Social Entrepreneurship & Innovation, Artistic Management, Complemetary, and Culture Jamming and Adbusting
(chapter published in Black, Sandy (ed) (2012) The sustainable fashion handbook, New York: Thames & Hudson) Fashion is full of paradoxes and certainly one of the most profound is how we try to express individuality using only ready-made... more
(chapter published in Black, Sandy (ed) (2012) The sustainable fashion handbook, New York: Thames & Hudson)
Fashion is full of paradoxes and certainly one of the most profound is how we try to express individuality using only ready-made objects whose meanings are primarily created outside of ourselves. We assemble an outfit that we want to use to express our modest uniqueness; individual but at the same time not too individual. We try to say something personal through fashion, yet it can never be totally autonomous, just like we cannot have our own personal language, since it has to be somehow shared to work as communication. Fashionable expression is thus stuck in-between the heteronomous process of creation as a communication tool and the autonomous will of the wearer to express something personal.
Fashion is full of paradoxes and certainly one of the most profound is how we try to express individuality using only ready-made objects whose meanings are primarily created outside of ourselves. We assemble an outfit that we want to use to express our modest uniqueness; individual but at the same time not too individual. We try to say something personal through fashion, yet it can never be totally autonomous, just like we cannot have our own personal language, since it has to be somehow shared to work as communication. Fashionable expression is thus stuck in-between the heteronomous process of creation as a communication tool and the autonomous will of the wearer to express something personal.
Research Interests: Social Psychology, Media Studies, New Media, Fashion design, Social Entrepreneurship, and 32 moreFashion Photography, Management of Innovation, Social Media, Design Innovation, Gabriel Tarde, Daniel Dennett, Sustainable Design, Mimetic Theory, Fashion (Everyday Life Studies), Communication and Imitation, Textile Technology, Hacking, Sensemaking, Fashion Studies, Smart Textiles, John Horton Conway, Social Innovation, Social Design, Critical Design, Viral Marketing, Sustainable Fashion, Imitation, Tipping Points, Social Communication, Social Networking & Social Media, Apparel Industry, Platform design, Mimetics, Selfies, Game of Life, Electronics Lookbook, and mimetic desire
Research Interests: Social Movements, Social Networks, Art Theory, Design Management, Critical Pedagogy, and 30 moreStrategic Management, Design Research, Paulo Freire, Economics of Innovation, Management of Innovation, Resistance (Social), Apparel Production, Nonviolence, Design Innovation, Traditional Crafts, Political Art, Design-based research, Knitting, Strategic Marketing, Textile Technology, Arts and Crafts, Social Design, Viral Marketing, Resistance Training, Gandhian Thought, Fiber Arts, Arts, Crafts and Design, Labor Activism, Gandhi, Craftivism, Craft Entrepreneurship, Apparel Industry, Social Entreprenurship, Resistance Studies, and Craft Research
Research Interests: Entrepreneurship, New Media, Design, Participatory Research, Participatory Action Research, and 30 moreSocial Entrepreneurship, Action Research, Participatory Design, Design for Social Innovation, Design Research, Creative Cities, Engineering Design, Realism (Political Science), Critical design practice, Creative thinking, Open Innovation, Machiavelli, Design Critical Thinking, Open Design, Universal Design, Open Source, Innovation Studies, Hacking, Art and Politics, Social Innovation, Critical Design, Political Realism and Idealism, Open Source Hardware, Political Realism, Design for All, Inclusive Design, Universal Design, Hacker Culture, Democratic innovations, Social Entrepreneurship & Innovation, Sustainability, and Maker Movement
Research Interests:
Research Interests: Military History, Design, Peace and Conflict Studies, Social Entrepreneurship, War Studies, and 28 moreCivil War, Management of Innovation, Design Innovation, Insurgency/Counterinsurgency(COIN), Cultural History of War, Design thinking, Artistic Research, Machiavelli, Design Critical Thinking, War and violence, Ethnic Conflict and Civil War, Warfare, Design Driven Innovation, Social Innovation, Human Terrain, Social Design, Design, Information Warfare, Political Realism, Social Conflict, History of Warfare, Human Terrain System, Human terrain in military operation, Peace and Conflicts Studies, Socially Engaged Art, Socially Responsible Design, Socially Engaged Craft, Insurgency and counterinsurgency, Warcraft, and Realdesign
Fashion hacking is a practice where fashion is reverse engineered and tuned to make users "fashion-able", using social media to expand transversal tactics in order to reprogram and shapeshift fashion codes. Other traits address the... more
Fashion hacking is a practice where fashion is reverse engineered and tuned to make users "fashion-able", using social media to expand transversal tactics in order to reprogram and shapeshift fashion codes. Other traits address the shamanistic rituality of fashion and how participatory practices can expand the realm of fashion beyond the catwalk and ready-to- wear paradigm. Can technologies express the mythical beauty of fashion?
Research Interests: Fashion design, Fashion Theory, Dress Studies, Comparative Esotericism, Magic, and 22 moreShamanism, Hacktivism, Magical Realism, Dress and the Body, Textile and Fiber Art, Dress and identity, Occulture, Textile Engineering, Occultism, Anthropology of Shamanism, Hacking, Fashion Studies, Esotericism, Western Esotericism, Shapeshifting, Masquerade, Apparel Industry, Religion and Spirituality; Dress and Fashion Studies; Postmodernity, Textile manufacturing, Fashion, Occultism, Mysticism, Esoterism, and Shaman Practice
This paper reviews how scholars within “aesthetic managment” have critiqued mainstream, marketing-led Design Management. The text argues that while this approach does have its merits, it ultimately fails to create the kind of creative... more
This paper reviews how scholars within “aesthetic managment” have critiqued mainstream, marketing-led Design Management. The text argues that while this approach does have its merits, it ultimately fails to create the kind of creative economy that it purports to endorse. Rather, by stressing the unique and transcendent creative powers of the auteur, it simply invents yet another authority that yields economic hierarchies. The authors thus propose that the discipline of Design Management ought to follow recent developments within business and the arts, in which innovation and creativity is described in ways that do away with traditional notions of authorship. Doing so would enable the discipline to explore how non-hierarchical, “meshworked” economies can be created around the practices of individual designers.
Research Interests: Aesthetics, Design, Fashion design, Fashion Theory, Social Entrepreneurship, and 27 moreDesign Management, Design for Social Innovation, Strategic Management, Design Innovation, Subversion, Political Elites, Aesthetics and Politics, Auteur Theory, Artistic Research, Open Innovation, Auteur Studies, Design Driven Innovation, Social Innovation, Viral Marketing, Fiber Arts, Codesign, Arts and Management, Organizational Aesthetics, Organizational Learning, Apparel Industry, Social Entrepreneurship & Innovation, Artistic Management, Vivienne Westwood, Creative Innovation, Textile manufacturing & marketing, Corporate Aesthetics Management, Design Entrepreneurship, Aesthetic Management, and Design Auteur
Research Interests:
“Çıplak doğarsın ve gerisi gelir.” Moda Praksisi, Hannah Arendt’in görüşlerinin moda üzerine düşünülmesidir. Arendt bize, üzerinde hiç kafa yormadığımız kötülüklerin işbirlikçisi olabileceğimiz gibi rahatsız edici bir gerçekle... more
“Çıplak doğarsın ve gerisi gelir.”
Moda Praksisi, Hannah Arendt’in görüşlerinin moda üzerine düşünülmesidir. Arendt bize, üzerinde hiç kafa yormadığımız kötülüklerin işbirlikçisi olabileceğimiz gibi rahatsız edici bir gerçekle yüzleşmemiz gerektiğini söyler. Aynı zamanda dünyayı olduğu gibi yani kötülük ve acılardan rahat yüzü görmemiş haliyle sevmemizi ister. Etik moda anlayışı da Arendt’in bu görüşleri üzerinden, politika ve modanın temel bazı güçlerini ve ortak yanlarını anlamamız için çalışmaktadır.
İnsanların tek tip giyinmesine ve eskimeyen giysileri çöpe atmasına sebep olan; görünmeyen yüzünde mültecileri, çocukları ve negatif ayrımcılığa uğrayanları izbe mekanlarda, sosyal güvenceden yoksun bir şekilde aşırı saatler çalıştıran moda tiranlığı, pekala şiddet üretir! Buna karşın endüstriyel modaya küresel düzeyde alternatifler üretebiliriz. Kreatif bir geri çekiliş, reddetme, cesaret, kendi dağıtım ağlarını kurma, paralel üretim, ileri dönüşüm, yeni tüketim modelleri oluşturmak, yavaş moda ve benzeri yollarla neler yapılabileceğine dair küçük ama dönüştürücü bir perspektif yaratabiliriz.
Korkutucu derecede şiddet içeren eylemleri daha derin düşünmek, bize çözümlerin anahtarını da verebilir. İşte bu kitabı çok özel yapan şey, moda üzerine çalışan bir dizi düşünürün, “günlük alışkanlıklarımızın karmaşası içinde görünmez olanın” üzerindeki sıvayı kazımalarıdır.
“Dünyamızın sonu, ona yalnızca tek bir açıdan bakıldığında ve kendisine sadece tek bir perspektiften bakmaya kapı açtığımızda gelmiş demektir.” Hannah Arendt
“Herhangi bir yerdeki adaletsizlik, her yerdeki adalet için tehdittir. Kaçınılmaz bir birliktelik ağına yakalanmış, bir tek kaderin elbisesi ile bağlanmışız. Birini doğrudan etkileyen şey, dolaylı olarak herkesi etkiler.” Martin Luther King Jr
“Endüstriyel moda, kadınların hiç bir zaman yeterli olmadığını ve endüstri tarafından oluşturulan standartlara göre her zaman kendini
geliştirmesi gerektiğini dikte eder.” Jennifer Nelson
Moda Praksisi, Hannah Arendt’in görüşlerinin moda üzerine düşünülmesidir. Arendt bize, üzerinde hiç kafa yormadığımız kötülüklerin işbirlikçisi olabileceğimiz gibi rahatsız edici bir gerçekle yüzleşmemiz gerektiğini söyler. Aynı zamanda dünyayı olduğu gibi yani kötülük ve acılardan rahat yüzü görmemiş haliyle sevmemizi ister. Etik moda anlayışı da Arendt’in bu görüşleri üzerinden, politika ve modanın temel bazı güçlerini ve ortak yanlarını anlamamız için çalışmaktadır.
İnsanların tek tip giyinmesine ve eskimeyen giysileri çöpe atmasına sebep olan; görünmeyen yüzünde mültecileri, çocukları ve negatif ayrımcılığa uğrayanları izbe mekanlarda, sosyal güvenceden yoksun bir şekilde aşırı saatler çalıştıran moda tiranlığı, pekala şiddet üretir! Buna karşın endüstriyel modaya küresel düzeyde alternatifler üretebiliriz. Kreatif bir geri çekiliş, reddetme, cesaret, kendi dağıtım ağlarını kurma, paralel üretim, ileri dönüşüm, yeni tüketim modelleri oluşturmak, yavaş moda ve benzeri yollarla neler yapılabileceğine dair küçük ama dönüştürücü bir perspektif yaratabiliriz.
Korkutucu derecede şiddet içeren eylemleri daha derin düşünmek, bize çözümlerin anahtarını da verebilir. İşte bu kitabı çok özel yapan şey, moda üzerine çalışan bir dizi düşünürün, “günlük alışkanlıklarımızın karmaşası içinde görünmez olanın” üzerindeki sıvayı kazımalarıdır.
“Dünyamızın sonu, ona yalnızca tek bir açıdan bakıldığında ve kendisine sadece tek bir perspektiften bakmaya kapı açtığımızda gelmiş demektir.” Hannah Arendt
“Herhangi bir yerdeki adaletsizlik, her yerdeki adalet için tehdittir. Kaçınılmaz bir birliktelik ağına yakalanmış, bir tek kaderin elbisesi ile bağlanmışız. Birini doğrudan etkileyen şey, dolaylı olarak herkesi etkiler.” Martin Luther King Jr
“Endüstriyel moda, kadınların hiç bir zaman yeterli olmadığını ve endüstri tarafından oluşturulan standartlara göre her zaman kendini
geliştirmesi gerektiğini dikte eder.” Jennifer Nelson
Research Interests: Fashion design, Fashion Theory, Political Ecology, Community Ecology, Fashion History, and 14 moreEcology, Global Fashion, History of clothing and fashion, Sürdürülebilirlik, Fast Fashion, Fashion and Textile Design for Education, Cultural Studies, Fashion Theory, Fashion, Ahimsa, Fashion Industry, Ekolojik Kavramlar, Modal Analysis Wing Workbench, Sustainable Fashion Education, and Fashion Education
The production of the special issue Utopia and Fashion, at a time when the future of our relationship with fashion is being so widely discussed, aims to be an initial contribution to what we hope will become a long-term dialogue regarding... more
The production of the special issue Utopia and Fashion, at a time when the future of our relationship with fashion is being so widely discussed, aims to be an initial contribution to what we hope will become a long-term dialogue regarding both the role of fashion in utopian thinking and the potential of utopian thinking to reimagine and inspire better futures for fashion. The issue embraces Ruth Levitas’s conceptualization of utopia as a method of exploring alternative scenarios for the future and it combines perspectives from academics and practitioners across multiple disciplines.
There is no arguing with the fact that the history of fashion, like the history of utopian thought, has been stained by suffering, exploitation, and even totalitarianism, but despite their deficiencies and faults, both have also fuelled human imagination, encouraged aspiration and innovation, and provided hope for a better sense of self and an improved, more inclusive society. A world without fashion, like a world without utopia, would be a very sad one. Through this special issue we propose a dialogue that embraces the significance of fashion in utopian visions and one that exploits the potential of utopian imagination to inspire better and more sustainable fashion futures. A dialogue that is fuelled by the belief that positive social change is both possible and desirable.
Guest editor: Mila Burcikova
Contributors: Jane MacRae Campbell, Justyna Galant, Annebella Pollen, Andrew Brookes, Kate Fletcher, Robert A. Francis, Emma Dulcie Rigby, Thomas Roberts, Otto von Busch, Timo Rissanen, Vidmina Stasiulyte, Celia Pym, Ryan Yasin
There is no arguing with the fact that the history of fashion, like the history of utopian thought, has been stained by suffering, exploitation, and even totalitarianism, but despite their deficiencies and faults, both have also fuelled human imagination, encouraged aspiration and innovation, and provided hope for a better sense of self and an improved, more inclusive society. A world without fashion, like a world without utopia, would be a very sad one. Through this special issue we propose a dialogue that embraces the significance of fashion in utopian visions and one that exploits the potential of utopian imagination to inspire better and more sustainable fashion futures. A dialogue that is fuelled by the belief that positive social change is both possible and desirable.
Guest editor: Mila Burcikova
Contributors: Jane MacRae Campbell, Justyna Galant, Annebella Pollen, Andrew Brookes, Kate Fletcher, Robert A. Francis, Emma Dulcie Rigby, Thomas Roberts, Otto von Busch, Timo Rissanen, Vidmina Stasiulyte, Celia Pym, Ryan Yasin