Tallinn-Turku 2011 Fashion empowerment Project report Kati Reijonen Astrid Huopalainen January 2012

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The beginning

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The “Fashion Empowerment”project was born in October 2009 in Usedom, at the Baltic Fashion partner meeting, originating from the discussions between Tuula Bergqvist and Kati Reijonen from the Novia University of Applied Sciences and Lilli Jahilo from Estonian Arts Academy.

The three fashion design educators felt that fashion awards and shows deliver too limited a view of fashion design as a feast of individualistic creativity that has little or no meaning to the “ordinary” consumers. While high street fashion gets the main attention in media and consumer market, many “real world” clothing problems remain unsolved. For instance, the elderly people and disabled struggle constantly to find clothes that would not only be functional and practical, but also beautiful and empowering.

To put it simply, it was felt that the mainstream fashion market does not cater the needs for the society as a whole.

The project is based on the concept of social design. In this context, design is seen as a methodology of creative problem solving where the attributes of design process are employed to facilitate social needs. In Papanek´s words, it is design for the “real world”.

Social design is inclusive, catering the needs of all

humanity, not only for the desires and excessive consumption of the affluent minority, as has been the case of market oriented design. Many terms refer to social design, such as design-for-all, responsible design or ethical design.

More of social design on: www.youtube.com/watch?v=M_V-zuDbO-k

The rise of social and ethical consciousness among designers in general has led to the increased interest for the participatory, user-centered design methods.

In fashion design, subjected to the obscure notion of

“fashion”, defined by rapidly changing trends, mass production, media hype, celebrity culture and obsession of distorted body images, the co-creation, the interaction (or co-creation) between the designer and customer is more complex. Clothes can, still today, be custom made and tailored for the individual users in atelier-settings.

Furthermore, fashion has become more democratic in that sporting the right “look” is not only accessible to the wealthy but also to the well informed, regardless to their social class. One can be fashionable with very little money as long as one has access to the information of what is in and out at any given moment.

While fashion has become more diverse and democratic, the supply of “fashion” in the mainstream market does not celebrate the diversity of human body. By far the majority of fashion labels focus on catering the desires of a very limited consumer group: young, healthy and slim women.

Questions of inclusion and design-for-all have not been high in the agenda of fashion design. The same applies to fashion design education. While users are often consulted via interviews or moodboards e.g. in various functional clothes-projects, such as sports wear or work uniforms, the fashion students are seldom encouraged to address the needs of those who fit poorly to the body image of the idealized norm: young and healthy and skinny. The paradox is that majority of garments is designed for the minority of users, while a huge number of consumers stay in the margin.

The concept “empowerment” is much used today, so much so that it shares the destiny of the concept “innovation”: it has become an empty buzzword. In the context of fashion, empowerment is, however, rarely used. The question that emerges is whether we should empower the users with or from fashion.

In Finland, the photographer Miina Savolainen has coined the term empowering photography. Savolainen´s method is to involve the objects of photographs to the creative process, and in this way give a voice to the oppressed and silent.

In her project “The Loveliest Girl In The World”,

orphanage girls were given a possibility to design their portraits the way they wanted to present themselves, celebrating the beauty and grace of the girls who had endured hardship in their lives.

Miina Sillanpää: The Loveliest Girl in the World

Fashion empowerment has a similar aim. Clothes have a huge impact on both how we feel about ourselves and how the others perceive us. While high fashion holds on to the norm of the perfect body, there are voices even in the mainstream entertainment industry, that echo the need to make fashion more inclusive.

Miina Leesment. Simple maths.

An example of this is the popular BBC makeover reality-show What Not To Wear (2001), hosted by Trinny Woodall and Susannah Constantine. The show was not so much about sporting fashion statements than feeling good about oneself by body flattering clothing choices. It was empowerment with fashion. Similar initiatives are in the rise in media today.

Examples elsewhere

To our knowledge, there is not research made on the empowering dimensions of fashion. In her review on Fashion as Empowerment-exhibition at the Metropolitan Museum Lisa Krichner (Artsy, July 06, 2010) writes that

“C'mon. Fashion is pretty nearly universally a symbol of

entrapment. The high heels, the bras, etc. Sure, we can revel in being pretty and sexy and still be liberated, but by and large this is not how it works. (Not that I blame the messenger; fashion is a construct, it's not the mini skirt's fault that butt cheeks graze public seating.”

The exhibition at the MET intended to reveal ”how the American

woman initiated style revolutions that mirrored her social, political and sexual emancipation”.

Exhibition website: www.metmuseum.org/exhibitions/listings/2010/american-woman

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The negative impact on fashion extremes on women´s health and well-being was addressed e.g. in the Victorian England with the rise of the Rational dress society. And then there was the burning of the bras, of course, that became the symbol of the women´s liberation along the hippie-movement.

The costume of women should be suited to her wants and necessities. It should conduce at once to her health, comfort, and usefulness; and, while it should not fail also to conduce to her personal adornment, it should make that end of secondary importance. Amelia Jenks Bloomer Rational dress society

A blazer with shoulder pads or body-scuplting underwear can have an empowering impact on a person´s self-image on a very serious level.

Textural Visions. Shirt with dot writing.

Defining the concept

Photo: http://www.ecofashionworld.com/Designer-Profile/CLASSICS-WITH-A-TWIST.html

“'This... stuff'? Oh. Okay. I see. You think this has nothing to do with you. You go to your closet and you select... I don't know... that lumpy blue sweater, for instance because you're trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don't know is that that sweater is not just blue, it's not turquoise. It's not lapis. It's actually cerulean. And you're also blithely unaware of the fact that in 2002, Oscar de la Renta did a collection of cerulean gowns. And then I think it was Yves Saint Laurent... wasn't it who showed cerulean military jackets? I think we need a jacket here. And then cerulean quickly showed up in the collections of eight different designers. And then it, uh, filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs and it's sort of comical how you think that you've made a choice that exempts you from the fashion industry when, in fact, you're wearing the sweater that was selected for you by the people in this room from a pile of stuff. “

Weisberger, Lauren (2003): The Devil Wears Prada.

The Fashion Empowerment-team felt that time was right to open a new, more sustainable and human centered perspective to fashion industry, one that would exploit local traditions and indigenous innovations and involve the users in the fashion design process. In the first discussions the idea was to organize an international Fashion Awards competition, with a high-level jury. This turned out to be too ambitious an idea, given the short time and limited human resources available.

It was decided to start small, with a pilot competition open

only for the students of Novia and EAA – and continue afterwards on an international level if the results are positive enough.

As both of the cities of Turku and Tallinn both held the European Capital of Culture-title in 2011, the plan was to include “Fashion Empowerment” in the official ECC-schemes of both cities.

The name of the project changed a few times, reflecting the changes in the focus. At first the working title was Turku-Tallinn 2011 Fashion Awards but when it became clear that competing was less important than the mutual learning and collaboration, the name was changed into its final Tallinn-Turku 2011 Fashion Empowerment.

The content of “Fashion Empowerment” was planned in detail in spring 2010 (see attachment 1, project plan). Kati and Tuula paid a visit to EAA MA-degree show in May 2010. The project plan and particularly the schedule were discussed in details. A concern at that point was the funding of the project, but in October a confirmation from EU-project Baltic Fashion was received, and the “Fashion Empowerment -project” would be put into practice within the framework of Baltic Fashion, as a part of the WP4, the innovation network.

Negotiations with the Turku Cultural Capital 2011 Foundation about including “Fashion Empowerment” in the official ECC Turku2011 scheme were carried out in Turku during autumn 2010.

The project team discussed the question of division of duties between Novia and EAA on several occasions. The result was to organize the main events in Tallinn, to be followed by a seminar in Turku. The reason for giving Tallinn a somewhat more visible role in the project was mainly the more reasonable cost-structure in Estonia. Also, from early on, the Tallinn 2011 foundation was more cooperative in the discussions on including the project as part of the Capital of Culture year.

Turku 2011 Foundation was reluctant to give the project the official status even after the decision was made in Tallinn (and even though funding was never sought from the Turku foundation). The idea of organizing a Fashion empowerment seminar in Turku was torpedoed by the Turku Foundation and the more visible role given to Tallinn in the projects was questioned. The collaboration with Turku was problematic during the whole project cycle. The decision of including the project in the official ECC Turku2011 scheme was finally made in December 2010.

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www.turku2011.fi/turku-tallinn-fashion-awards

Getting going

Autumn 2010 Lilli Jahilo from EAA and Kati Reijonen from Novia met in Helsinki in one-day workshop to further develop the project and discuss the practical matters.

The biggest challenge was the timing. EAA and Novia have

very different schedules and working cultures and it turned out that it was impossible to find a time that would be perfect for both parties. It was decided that the kick-off workshop would be held in March 2011 and that the students would work during the spring term and over the summer and present the results in the Tallinn Fashion Week, in September 2011.

A seminar with the theme Can Fashion Empower? was

planned to be held in Turku.

How to present the results of the workshop was a topic much discussed during the project. A catwalk –type fashion show did not seem appropriate. The aim was to provoke discussion on the topic and raise awareness among the public and designers on socially oriented fashion design. There were discussions of website/ blog, posters, film, pop-up type fashion show in the outskirts of Tallinn. Finally the decision was made to exhibit the results in two exhibitions, in the two Capitals of Culture. As the students were encouraged to apply user-centered methods in their design, they were expected to report the process in a blog.

The Kick-off workshop in Tallinn

The Fashion Empowerment Kick-Off workshop was organized in March 2011, 7-11. in Tallinn.

The Fashion Empowerment

team wanted to start the project without strict limitations or focus on a particular kind of empowerment. We wanted to give the students free hand to explore what empowerment means for them.

See attachment 2, the workshop progam.

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The participants

Students: Novia Anu Corin, Jenny Elenius, Zarah Holmberg, Henrica Langh,

Nina-Marie Vigård and Maria Wall (all 2nd year BA-students) EAA Sille Sarapuu, Ester Soidla, Mari Maripuu, Marit Ahven, and

Kairiin Ruuven, Miina Leesment, Liisa Orgna, Marta Konovalov, Heidy Eskor-Kiviloo, Britta Laumets, Liisa Orgna, Ilona Tell, Vilve Unt, Eike Einama

The supervisors: Lilli Jahilo (EAA), Marit Illison (EAA), Ulrik Martin Larsen

(Borås School of Textiles), Kati Reijonen, Ritva-Liisa Alasaari, Berit Bragge (Novia)

The workshop started with introductory lecture on empowerment (by Dr Reijonen) and social design. The students were given the project brief:

Choose a group you feel is marginalized in the mainstream fashion market and design a collection with representatives of your target group.

The workshop continued with forming the groups, which was done through an exercise where each if the groups designed and made an outfit of old newspapers, to present the groups visual style and design philosophy. A catwalk presenting the outfits was then organized and groups were given feedback on their designs. The groups started brainstorming for which group to choose. The mindmaps were discussed together and commented by peers and supervisors.

The workshop tasks

• Choose target group/ follow the scenario. • Make a plan of action/ plan for meeting the target group. • Research the particular focus group to explore aspects for developing the

collection. (Since we propose the target groups, we can already try to arrange meetings).

• Visualize the idea in form of inspiration board in poster format (A2) and include a short essay to explain your project proposal.

• As a group, sketch a brief collection for the target group, consisting of at least 5 oufits. Choose relevant technique. Add fabric + production proposals.

• Each student will choose one outfit that she/he will produce independently. • Each student will set up a blog that will be a web diary reporting their research

and design development process throughout the project. This will serve as means of assessment and public awareness. All the links to blogs will be available at the central “home” blog of the project. (Lilli will do it)

Tigusniegel. Brainstorming.

The students organized themselves into teams with both Estonian and Finnish students. Altogether six teams were formed:

• Tigusnigel (homeless people): Zarah, Anna, Julia

• Root system (underwear): Anna, Karl-Johan, Maria

• Textural visions (visually impaired): Henrica, Marta, Ilona

• Simple maths (breast feeding mothers): Miina, Britta, Anu and Liisa

• Kim Wheel (wheelchair users): Kairiin, Mari and Jenny

• Happy cap (wheelchair users): Sille, Ester, Nina

Simple maths. Brainstorming

A blog entry

The next day the brainstorming continued. Ulrik Martin Larsen and Marit Illison gave inspiration lectures, after which the groups developed an action plan for the work. On the third workshop day the students did research on their target groups and started working on the concept for their collections. They were expected to present the initial ideas as posters and on the last day, in the closing discussion the posters were discussed and given feedback.

An example of a fictive client, persona.

Kim Wheel. The fictive persona

Kim is a 21 year old woman. She was in a car accident five years ago and after that she has been in a wheelchair. Kim is living in an apartment in the city with her best friend. She studies psychology. She like hanging out with friends, going to cinema, cooking exotic food, painting and is interested in fashion. Kim likes to be fashionable, but she can’t really find comfortable and nice clothes that fits her. She really like street style-clothing and read a lot of blogs. Kim doesn’t need help getting dressed.

Tigusniegel. Researching homelessness

HappyCap moodboard

HappyCap Moodboard

Textural visions. Dot writing for the visually impaired.

The blog

During the kick-of week the groups opened a blog, the idea of which was to operate as communication platform and also report the progress to the others.

To see the blog, please go tofashion-empowerment.blogspot.com

The process goes on

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Miina Leesment: Simple Maths

Miina Leesment. Simple maths step by step

Miina Leesment: Simple Maths

Miina Leesment: Simple Maths

The Nordic Look

In the Nordic Look Festival in Tallinn 13 May the progress of the Fashion Empowerment was represented. After the introduction by Kati Reijonen, the students gave an update of their process. Päivi Tahkokallio, an expert in Design for All-issues, commented the proposals, which were then further discussed with the audience.

19-20. June 2011 Tuula Bergqvist paid a visit to Estonian Academy of Arts in Tallinn, for a checking up the situation. Most of the collections by the students of Novia were completed but there were quite a few drop-outs and it turned out there had been problems with the student collaboration. The blogs were not updated regularly and the communication between Estonian and Finnish students did not proceed smoothly.

Instead of group entries, it was the individual students that had worked for their own collections. Of the 19 students that were onboard in the beginning, only XX completed the project.

One of the reasons for the relatively high number of drop-outs was that the idea of competition. Some of the students regarded this as too stressful. This is the reason why it was decided by the project team to swift the emphasis on competition into a joint learning experience.

In August the preparations for the exhibition in the Tallinn fashion week speeded up. Marit Illison was nominated as the curator of the exhibition. Hanna Samoson completed the documentary film and Tuuli Aule worked as the graphic designer.

Only touch

Down in the bottom

I hang in rhythm

Holding the water with a lonely touch

Catch my ashes

Set upon the river

See with no eyes and it is too much

Marta Konovalov. Detail of a garment for the Textural visions

The Tallinn exhibition

In September 10 Tuula Bergqvist personally brought the Turku entries to Tallinn. The opening of the Fashion Empowerment exhibition was on Friday, 16.9. in the Rotermani business center (see attachment). The exhibition was part of Tallinn Fashion week. There was a fair amount of media interest, and the project team was interviewed for the Estonian television.

You can find the (Estonian) press-release in attachment The Tallinn exhibition was successful, thanks to the very competent

Tallinn-team: Marit Illison, Lilli jahilo, Tuuli Aule and Hanna Samoson

It turned out that the social approach to fashion was new and

thought provoking and considered as an interesting perspective.

Tallinn Exhibition poster

Tallinn exhibition at the Roterman-centre

The Turku exhibition

The Turku-exhibition was opened in 13.10. at the Turku Fair Center, as a part of Osaava nainen-fair, where Fashion empowerment had a department. As a part of the exhibition, there were interviews on the Conference stage.

Kati Reijonen interviewed a wheel user MS-patient Marja XX about her experiences of finding suitable clothes. The interview (in Finnish) can be watched here.

On Saturday, Lilli Jahilo and an EAA student came to tell their story of the Fashion Empowerment project. The recording of the interview can be watched here.

The exhibition was open through the week-end.

The closure

In November 25th The Fashion Empowerment ending

discussions took place in Tallinn, involving participating students from Estonian Academy of Arts, teachers in Tallinn, one student from Novia as well as Tuula Bergqvist and Mari Krappala from Novia.

To close the project, the students that had participated

the Exhibitions paid a visit to Marimekko-factory and met some of the designers in January 2012 in Helsinki. This was followed by a lunch and a group discussion.

KimWheel. Colour board.

Kim Wheel. Colour board.

What next?

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The project was challenging and difficult and entirely fantastic and wonderful. We learned that yes, fashion CAN empower. We learned that there are numerous people out there, marginalized from the mainstream fashion business, waiting for designers emphatic enough to address their needs and desires. And we learn that there are designers ready to seize the challenge for changing the world with fashion.

Can fashion save the planet?

Maybe not but now that we know it can empower, we wonder whether it can liberate?

Which is the name for our second project: Fashion Liberation.

Stay tuned for more information on Fashion Liberation.

Maria Wall. The Rootsystem. Moodboard.

I have found the fountain of happiness

I have found the merry spring

I have found the nature's mirror

in which I see beneath my skin Maria Wall: Squiddy Maria

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