Has Genderless Become a Fashion Design Label?

Detalhes bibliográficos
Autor(a) principal: Loureiro,Eduarda
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802022000200099
Resumo: Abstract The word ‘genderless’ carries a cultural and social burden that hasn’t bestowed upon the general audience nor some of the most spoken about brands in the world. There have been top tier designers that have dipped their toes and tried to show a world without binary gender boundaries, but the message is still not accurate. If fashion design seeks its roots in the lifestyle of the beholder, than what lifestyle are some brands representing by showcasing their genderless ideas as neutral, basic and shapeless designs? Fashion is the art through which people can express themselves, but there always seems to be a limitation. The younger generations are questioning those limitations and establishing that we can wear what we want, as long as it’s representative of the gender we feel most, or not at all. There has been a surge of the word ‘genderless’ and several well-established brands are using it to promote, of what can only be pointed out as their marketing agendas. It’s important to understand that most of these brands haven’t done their homework and they haven’t talked to the people who actually go through the experience of a non-binary reality. The problematic isn’t necessarily the use of the word ‘genderless’, it’s the appropriation of the experience of people who aren’t even a part of the conversation. The present paper wants to explore how genderless seems to have become a label and a marketing move for brands and designers to try and engage with yet another audience. But also an exploration of how that is failing, especially when it comes to communicating and relating to the everyday experiences of people who live beyond the binary. Through contextual inquiries and personal interviews, we intent to dive into this experience of the world, with the positives and negatives, trying to sort if genderless is just a trend, or something else entirely.
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spelling Has Genderless Become a Fashion Design Label?Digital FashionComputational DesignWearable TechnologiesHybrid BodiesPostdigitalAbstract The word ‘genderless’ carries a cultural and social burden that hasn’t bestowed upon the general audience nor some of the most spoken about brands in the world. There have been top tier designers that have dipped their toes and tried to show a world without binary gender boundaries, but the message is still not accurate. If fashion design seeks its roots in the lifestyle of the beholder, than what lifestyle are some brands representing by showcasing their genderless ideas as neutral, basic and shapeless designs? Fashion is the art through which people can express themselves, but there always seems to be a limitation. The younger generations are questioning those limitations and establishing that we can wear what we want, as long as it’s representative of the gender we feel most, or not at all. There has been a surge of the word ‘genderless’ and several well-established brands are using it to promote, of what can only be pointed out as their marketing agendas. It’s important to understand that most of these brands haven’t done their homework and they haven’t talked to the people who actually go through the experience of a non-binary reality. The problematic isn’t necessarily the use of the word ‘genderless’, it’s the appropriation of the experience of people who aren’t even a part of the conversation. The present paper wants to explore how genderless seems to have become a label and a marketing move for brands and designers to try and engage with yet another audience. But also an exploration of how that is failing, especially when it comes to communicating and relating to the everyday experiences of people who live beyond the binary. Through contextual inquiries and personal interviews, we intent to dive into this experience of the world, with the positives and negatives, trying to sort if genderless is just a trend, or something else entirely.Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco2022-11-01info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articletext/htmlhttp://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802022000200099Convergências - Revista de Investigação e Ensino das Artes v.15 n.30 2022reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttp://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802022000200099Loureiro,Eduardainfo:eu-repo/semantics/openAccess2024-02-06T17:32:00Zoai:scielo:S2184-01802022000200099Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T02:34:55.859721Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Has Genderless Become a Fashion Design Label?
title Has Genderless Become a Fashion Design Label?
spellingShingle Has Genderless Become a Fashion Design Label?
Loureiro,Eduarda
Digital Fashion
Computational Design
Wearable Technologies
Hybrid Bodies
Postdigital
title_short Has Genderless Become a Fashion Design Label?
title_full Has Genderless Become a Fashion Design Label?
title_fullStr Has Genderless Become a Fashion Design Label?
title_full_unstemmed Has Genderless Become a Fashion Design Label?
title_sort Has Genderless Become a Fashion Design Label?
author Loureiro,Eduarda
author_facet Loureiro,Eduarda
author_role author
dc.contributor.author.fl_str_mv Loureiro,Eduarda
dc.subject.por.fl_str_mv Digital Fashion
Computational Design
Wearable Technologies
Hybrid Bodies
Postdigital
topic Digital Fashion
Computational Design
Wearable Technologies
Hybrid Bodies
Postdigital
description Abstract The word ‘genderless’ carries a cultural and social burden that hasn’t bestowed upon the general audience nor some of the most spoken about brands in the world. There have been top tier designers that have dipped their toes and tried to show a world without binary gender boundaries, but the message is still not accurate. If fashion design seeks its roots in the lifestyle of the beholder, than what lifestyle are some brands representing by showcasing their genderless ideas as neutral, basic and shapeless designs? Fashion is the art through which people can express themselves, but there always seems to be a limitation. The younger generations are questioning those limitations and establishing that we can wear what we want, as long as it’s representative of the gender we feel most, or not at all. There has been a surge of the word ‘genderless’ and several well-established brands are using it to promote, of what can only be pointed out as their marketing agendas. It’s important to understand that most of these brands haven’t done their homework and they haven’t talked to the people who actually go through the experience of a non-binary reality. The problematic isn’t necessarily the use of the word ‘genderless’, it’s the appropriation of the experience of people who aren’t even a part of the conversation. The present paper wants to explore how genderless seems to have become a label and a marketing move for brands and designers to try and engage with yet another audience. But also an exploration of how that is failing, especially when it comes to communicating and relating to the everyday experiences of people who live beyond the binary. Through contextual inquiries and personal interviews, we intent to dive into this experience of the world, with the positives and negatives, trying to sort if genderless is just a trend, or something else entirely.
publishDate 2022
dc.date.none.fl_str_mv 2022-11-01
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
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format article
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dc.identifier.uri.fl_str_mv http://scielo.pt/scielo.php?script=sci_arttext&pid=S2184-01802022000200099
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dc.language.iso.fl_str_mv eng
language eng
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eu_rights_str_mv openAccess
dc.format.none.fl_str_mv text/html
dc.publisher.none.fl_str_mv Escola Superior de Artes Aplicadas
Instituto Politécnico Castelo Branco
publisher.none.fl_str_mv Escola Superior de Artes Aplicadas
Instituto Politécnico Castelo Branco
dc.source.none.fl_str_mv Convergências - Revista de Investigação e Ensino das Artes v.15 n.30 2022
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron_str RCAAP
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reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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