Co everything part two

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

Refashioning fashion: new scenarios of clothing
Thursday 2nd June, 2011

Jen Ballie PhD Student
Chelsea College of Art & Design, University of the Arts, London
Email: j.ballie1@arts.ac.uk


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

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


Part 1

"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

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)



Part 3

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

www.oldisthenewblack.org

“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)



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)



Part 1

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

“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)



Part 1

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 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)



Part 2: Designing for participation

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




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

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




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/




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)




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.

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


Part 3: PhD Practice

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

co-design, web 2.0, sustainability




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




online interaction

www.thesharedscarfproject.com

Twitter @sharedscarves



developing toolkits

Think Make Style Share
Design Thinking Re- ne concept Tweet Tags
Brainstorming Quick & Dirty Prototyping think about how it will be used? Blog / website
Cultural Probes scenarios Community




Capturing data from diﬀerent perspectives

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.




www.dressupdownload.com




Curators, Creators & Consumers

+

+

www.dressupdownload.com

“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.

Co everything part two

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