Fashion Hacking as Shapeshifting

2008

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 ...

Social Sciences

This article explores how Disabled people’s fashion hacking practices re-make worlds by expanding fashion design processes, fostering relationships, and welcoming-in desire for Disability. We share research from the second phase of our project, Cripping Masculinity, where we developed fashion hacking workshops with D/disabled, D/deaf and Mad men and masculine non-binary people. In these workshops, participants worked in collaboration with fashion researchers and students to alter, embellish, and recreate their existing garments to support their physical, emotional, and spiritual needs. We explore how our workshops heeded the principles of Disability Justice by centring flexibility of time, collective access, interdependence, and desire for intersectional Disabled embodiments. By exploring the relationships formed and clothing made in these workshops, we articulate a framework for crip fashion hacking that reclaims design from the values of the market-driven fashion industry and towa...

Fashion Practice, 2009

Proceedings of the SIGCHI Conference on Human Factors in Computing Systems - CHI '13, 2013

We present a design exercise illustrating how fashion practices and the fashion design process can be used to create new opportunities both in the mobile domain and in product design, as well as in wearable computing. We investigate the concept of outfit-centric design by extending the support for social and visual interaction with digital devices beyond the currently available shells and stickers, and drawing on the ways in which people vary their dress ensembles. We designed a set of mock-up samples in a local fashion style, as a first step in under-standing possible applications of the emerging technology of organic interfaces. Initial user feedback shows how fashion-conscious participants creatively experimented with the set’s variations of shape and color in outfits cre-ated from their personal wardrobes, which revealed the importance of the objects’ size and location on the body. It also points out that a lack of integration with the fashion system’s processes reduces the attractiveness of the samples.

Digital Bodies, 2017

Nauka televideniâ, 2022

Necsus. European Journal of Media Studies, 2017

Proceedings of the 10th World Congress of the International Association For Semiotic Studies Recurso Electronico Culture of Communication Communication of Culture Culture De La Communication Communication De La Culture Cultura De La Comunicacion Comunicacion De La Cultura 2012 Isbn 978 84 9749 522 6, 2012