Co everything part two

Thursday 2nd June, 2011

Jen Ballie PhD Student Chelsea College of Art & Design, University of the Arts, London Email: [email protected]

Refashioning fashion: new scenarios of clothing

Co-Everything: De!ning co-design for fashion and textiles

Jen Ballie PhD Student, University of the Arts London. Refashioning Fashion Conference June 2011

Contents


PART 1: CO-DESIGN The Landscape

PART 2: DESIGNING FOR PARTICIPATION / CASE STUDIES Alternative models

PART 3: PHD RESEARCH & PRACTICE PhD Research

Research Projects Future Research Explorations


"I believe a desirable life depends on our deliberately choosing a life of action, over a life of consumption, on our engendering a life style that will allow us to be spontaneous, independent, yet related to each other, rather than maintaining a lifestyle which only allows us to produce and consume.”

Ivan Illich (1970)

Part 1


Part 1




Part 1

1. “Co-creativity requires that one believes that all people are creative. This is not a commonly accepted belief...”

2. “When we acknowledge that different levels of creativity exist, it becomes evident that we need to learn how to offer relevant experiences to facilitate people’s expression of creativity at all levels”

Liz Sanders | Make Tools (2011)



“By habit, we make user-friendly stuff – so simple that we never let users know how it works or what the true cost is. But we need to design agency and involvement. We need to design for inclusion, repair, co- innovation, and to involve many more stakeholders as agents and actors”

Dr Otto von Busch (2010)

Workshop Title: Old is the New Black / Date: July - Dec 2010 / Location: Fashion Footprints Exhibition, Devon

www.oldisthenewblack.org

Part 3



Part 1

Co-design is a catch all term to embrace participatory design, meta design, social design and other design approaches that encourages participation...

The role of the designer using the power of design for the greater good by becoming a catalyst; a facilitator, a creator and a co-author. This multidimensional role advocates participation and champions the power of design.

Alistair Fuad-Luke (2010)



Tools For Conviviality

“Designers have been traditionally know as aesthetic finishers of ideas... Rather than serving as the reproductive organ of a consumer society, the designer mindset needs to be cultivated to create new methods and tools which enable people to become empowered and willing to actively contribute to the design of their life and community.”

Ivan Illich (1970)

Part 1



Part 1

“The notion of participatory design has the potential to identify a new role for the fashion consumer that aims to promote sustainability by shifting from global to local, from consuming to making and from illusion to imagination.”

Dr Kate Fletcher (2008)



The Digital Consumer

“Gen Y were Born between 1977-84 and currently spend $150 billion a year on consumer goods. That’s five times more than their parents did at their age. They also influence another $50 billion in purchases made by others. Their profound influence in the market place is directly linked to their familiarity with digital media.”

L2 Lab Generation Next Forum (2010)

Part 1



Collaborative Consumption and the Creative Consumer

“Design not only has to sell itself in the wider world of things but needs to develop relationships with consumers.” Rachel Botsman (2011)

“The meaning of value and the process of value creation are rapidly shifting from a product- and company-centric view to personalised consumer experiences. Informed, networked, empowered and active consumers are increasing co-creation value with the company.”

Prahalad and Ramaswamy (2004)

Part 1



Part 2

How might we become better owners?

“People need not only the need to obtain things, they need above all, the freedom to make things among which they can live, to give shape to them according to their own tastes, and to put them to use in caring for and about others....”

Ivan Illich (1970)



http://nikeid.nike.com/nikeid/index.jsp


Part 2: Designing for participation



http://www.julianand.com



Part 2: DIY & Participation



Berber Soepboer http://berbersoepboer.nl




Cari Marsden | London College of Fashion, MA Digital Fashion

http://www.stylebubble.co.uk/style_bubble/2010/06/gonna-get-yourself-connected.html





http://www.selfpassage.org/




http://www.selfpassage.org/






http://www.burdastyle.com/blog/make-karl-lagerfelds-designs

http://shop.sans.name/pieces/index.html




http://showstudio.com/project/designdownload





http://www.hacking-couture.com/



http://www.theuniformproject.com/




http://www.sweatshopparis.com/

http://www.pelicanavenue.com/







The Power of the Crowd: Kate Moss Collection Hits Topshop


The term ‘crowdsourcing’ is the act of outsourcing tasks, traditionally performed by an exployess or contractor, to an unde!ned, large group of people or community (a “crowd”), through an open call for participation (Howe, 2010).



http://www.catwalkgenius.com/home.asp




http://www.betafashion.com/ Jen Ballie PhD Student, University of the Arts London. Refashioning Fashion Conference June 2011



http://www.jaimemoncarre.com




“If you're smart, you’ll be observing street innovation and applying this to inform and infuse what and how you design.”

Jan Chipchase (2009)




http://showstudio.com/project/mirrormirror/

To celebrate the launch of Topshop's new make-up range - and !nd out who really is the fairest of them all - from 5-9 May 2010 SHOWstudio.com installed a unique interactive mirror on the ground "oor of Topshop's Oxford Circus "agship.

Topshop's eager crowds of fashionistas stood in front of our looking-glass to submit their style to scrutiny, as over thirty top fashion creatives - including Lady Gaga's stylist Nicola Formichetti, Edward Enninful of i-D and US Vogue, make-up artist Hannah Murray and fashion's favourite illustrator Julie Verhoeven - dispensed sartorial advice that appeared written, as if by magic, across the mirror's surface, recorded here in image and video.




E-co-Textile Design: How can a textile design practice sustainably in"uence an emerging digital consumer culture?

co-design, web 2.0, sustainability

Part 3: PhD Practice



The Democratisation of Design

“When the high cost of prototyping can be diffused very widely, the result democratises the opportunity to create.”

Eric Von Hippel (2008)




“If I had asked people what they wanted, they would have asked for a faster horse.”

Henry Ford




Creating a Shared Space

“Design spaces are where we take turns telling stories, making storyboards, and building prototypes... Sometimes we take a prototype and create a storyboard around it; other times, we do a sketch that gets us to building another model. All our discussions are facilitated by either prototypes or the sketches or the storyboards.”

Rheinfrank (2000)




Workshop: Pilot Exploration / Date: Dec 2010 / Location: UAL, London





Co-writing design briefs




Developing Design Games




Making ideas tangible




Thinking and Making




Public interaction



www.thesharedscarfproject.com

Twitter @sharedscarves


online interaction



Think Make Style Share Design Thinking

Brainstorming Cultural Probes

Quick & Dirty Prototyping Re-!ne concept

think about how it will be used? scenarios

Tweet Tags Blog / website

Community


developing toolkits



Auto-Documentation

A disposable camera and "ip camera are placed in the middle of the table and all participants are encouraged to take turns capturing data. This captures and collects data from their viewpoint.


Capturing data from different perspectives



www.dressupdownload.com









Curators, Creators & Consumers

“We are becoming a culture of curators...

Organizations that are at the forefront of online audience engagement are presenting ideas that go beyond simply offering information about programming. Instead, they are experimenting with different ways that audiences can become co-creators of content, which can then lead to a sense of ownership in the institution.”

Hanse (2011)

+ +



Contents


References

(1) FLETCHER, K., 2008. Sustainable Fashion and Textiles: Design Journeys. Publisher: Earthscan Publishing. (2) FUAD-LUKE, A., 2009. Design Activism Beautiful Strangeness for a Sustainable World. Earthscan Publishing. (3) GAVER, B., DUNNE, T., PACENTI, E., (1999) Cultural Probes. http://cleo.ics.uci.edu/teaching/Winter10/231/readings/3-GaverDunnePacenti- CulturalProbes.pdf accessed 11/01/2011 (4) LEADBEATER, C., MILLER, P., 2004. The Pro-Am Revolution. Demos (5) GALLOWAY, S., 2010. GENERATION NEXT Forum. Insight into tomorrow’s affluent consumer. http://l2generationnextforum.eventbrite.com/ accessed 11/01/2011 (6) SANDERS, E., 2009. Exploring co-creation on a large scale. http://copenhagencocreation.com/2009/11/13/the-right-tools-for-the-job/ accessed 11/01/2011 (7) SANDERS, E,. STAPERS,. P., 2008. Co-Creation and the new landscapes of design. The Co Design Journal, Taylor and Francis (8) TAPSCOTT, D., 2008. Grown Up Digital: How the Net Generation is Changing Your World. Publisher: McGraw-Hill Professional (9) SWAINE, J., RUPERT, N., 2009. Broadband for ‘virtually’ every household in Budget 2009. http://www.telegraph.co.uk/!nance/!nancetopics/budget/5202429/Broadband-for-virtually- every-household-in-Budget-2009.html accessed 11/01/2011 (10) VON BUSCH, O., 2010. Re-examining the politics of design XXI magazine, issue 92, September2010 http://www.kulturservern.se/wronsov/selfpassage/XXI/XXI-1004/1004.htm (11) VON HIPPEL, E., 2006. Democratizing Innovation. Publisher: MIT Press

www.thesharedscarfproject.com www.textilesampler.blogspot.com

Acknowledgements The author would like to express thanks to everyone who participated in ‘The Shared Scarf Project’: Bridget Harvey, Matilda Aspinal, F!on Griffith, Sabiha Rajar, Vita Ivicic, Catherine Harris, Tytania Rose, Lauren Palmer, Freya Reed, and Maria Velasquez and a special thanks to Joy Nevada Hale for the illustrations.

Special thanks to Cari Marsden and Daniel Medler

Additional thanks to the Textile Futures Research Consultancy (TFRC), Neals Yard Remedies and Chelsea College of Art & Design for supporting the research presented in this paper.

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