Fashion otherwise

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dc.contributor.authorWilliams, Dilys
dc.contributor.institutionECATI - School of Communication, Architecture, Arts and Information Technologies
dc.contributor.institutionCICANT - Centre for Research in Applied Communication, Culture, and New Technologies
dc.date.accessioned2025-04-01T14:55:01Z
dc.date.available2025-04-01T14:55:01Z
dc.date.issued2024-06-21
dc.description.abstractHow can we understand ourselves when everything is moving, all the time? As we hurtle through the 2020s, the earth spinning on its axis at a calculation of 460 metres a second, we wrestle with the super-complexity of ecological, technological, political, social, and economic entanglements. With our multiple frames of understanding in a more than human and unknowable world, this can be exciting and daunting. How we perceive, imagine, know, and interact in the world, involves a sense-making through an unravelling and embracing of ideas and contexts. We are in a state of profound epistemological and ontological crisis described by Bateson (1972), Guattari (2014), Harraway (2016), Escobar (2017) and Akómoléfé (2013) with symptoms and signs of the self-harm that parts of humanity are inflicting on humanity itself and on all life forms. Fashion demonstrates this self-harm in arresting and imbalanced ways, the fashion consumption carbon footprint target for 2030 is exceeded in 14 of the G20 countries. On average, the fashion emissions per capita of the richest 20% were 20 times higher than the emissions of the poorest 20%. This ratio varies substantially across countries, consistent with levels of income inequality (Luca Coscieme et al., 2022). Fashion's habits of self-harm have become normalised. Letting go of bad habits is difficult but might be humanity's greatest demonstration of commitment to life and the ability to imagine otherwise, beyond the dominant current status quo and received wisdom. Humans are a social species, without a togetherness, with other humans and other forms of live, we can't exist. Our being is relational; as individuals, species, and societies, we are embedded in the cyclical processes of nature. This lies at the heart of our ability to thrive. Keywords: Interdependence, fashion design, participation, plurality, otherwise.en
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dc.identifier.citationWilliams, D 2024, 'Fashion otherwise', International Journal of Film and Media Arts, vol. 9, no. 1, pp. 69-84. https://doi.org/10.60543/ijfma.v9i1.9443
dc.identifier.doihttps://doi.org/10.60543/ijfma.v9i1.9443
dc.identifier.issn2183-9271
dc.identifier.urihttp://hdl.handle.net/10437/15215
dc.language.isoeng
dc.peerreviewedyes
dc.publisherLusofona University
dc.relation.ispartofInternational Journal of Film and Media Arts
dc.rightsopenAccess
dc.subjectDESIGN
dc.subjectFASHION DESIGN
dc.subjectSUSTAINABILITY
dc.subjectECOLOGY
dc.subjectFASHION
dc.subjectTEXTILE INDUSTRY
dc.subjectDESIGN
dc.subjectDESIGN DE MODA
dc.subjectSUSTENTABILIDADE
dc.subjectECOLOGIA
dc.subjectMODA
dc.subjectINDÚSTRIA TÊXTIL
dc.subjectSDG 10 - Reduced Inequalities
dc.subjectSDG 12 - Responsible Consumption and Production
dc.subjectSDG 13 - Climate Action
dc.subjectInternational Journal of Film and Media Arts, Vol. 9, Nº. 1 (2024)
dc.titleFashion otherwiseen
dc.typearticle

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International Journal of Film and Media Arts, Vol. 9, Nº. 1 (2024)