HIDDEN FIGURES , A Design Manifesto
WITNESS ALL FASHION FIGURES
I would like to acknowledge my standpoint and positionality. The lens that i’m exploring relates to me personally and the way I move through life, as a cisgendered queer woman. That I will not be able to bring a purely subjective point of view to lgbtqia+ or feminist discussions. Relating to my text “Sizing Up Gender: Bringing the joy of fat, gender and fashion into focus” I am also considered plus size in Australia, (which is where all of my work is also focusing) Meaning my lived experience can not be separated from my view. I understand that in other contexts I am not consid- ered as plus-size.
My points of privilege in life and in this works context is that Im white, able bodied, middle class, first language is English, Im university educated, and I have documented Australian citizenship. My middle-class background has provided me with resources and opportunities that I do not take for granted. This awareness drives my dedication to advocating for equitable access to fashion education and industry opportunities for individuals from all socioeconomic backgrounds. My goal is to ensure that fashion is a space where everyone feels seen, respected, and celebrated. By acknowledging my positionality, I remain committed to using my platform and skills to foster a more inclusive and equitable fashion industry.
I value people in all their aspects and there shouldn’t be a seperate spaces in fashion or in general. Meaning I will actively listen and incorporate to those who’s are different from me are telling me especially within my fashion practice.
Intentions
“Sizing Up Gender: Bringing the joy of fat, gender and fashion into focus”, Was the first of my chosen readings It has four specially skilled authors contributing to its work. Calla Evans, Mindy Strick.e, Ben Barry, and May Friedman. Accepting bodies and deconstructing beauty standards is something that reso- nates with me on multiple levels. Self expression is something that should be available to every individual without judgement, but today isn’t. In “Sizing Up Gender: Bringing the joy of fat, gender and fashion into focus” reading the quotes in all perspectives was a nice reminder of why acceptance of bodies of all kind is incredibly important. I value people in all their aspects and there shouldn’t be a seperate spaces.
My second chosen reading is “Review of Fashion, Culture, and Identity, by F. Davis” In 1993 Katherine C. Grier offers an insightful analysis of Fred Davis’s book *Fashion, Culture, and Identity*. Grier appreciates Davis for his analysis of the symbolic meanings embedded in fashion and I do too. And how clothing serves as a medium for expressing individual and group identities, This in inherent in all fashion but also what ive been exploring within my own practice. She highlights Davis’s exploration of the social and cultural dynamics influencing fashion, including how trends reflect and shape societal norms related to status, gender, and sexuality. Davis effectively argues how fashion operates as a form of nonverbal communication, offering a nuanced understanding of its impact on identity formation.
I demand that you and I witness all fashion figures.
Witness and demand support for figures: The people who make your clothes
This principle emphasises recognising and valuing the often overlooked workers behind the fashion industry. Acknowledging their essential role is the first step towards justice. I will always have gaps in my knowledge in de colonisation despite my efforts at reconciliation within Australian contexts and I want to extend that to where my clothes are made, and where I will make clothes. Demanding support means advocating for fair wages, safe working conditions, and ethical labor practices. I need this manifesto to act as a call to action for designers, consumers, and policymakers to ensure transparency in supply chains and hold companies accountable. In fashion, colonialism impacts through appropriation, exploitation in supply chains, Eurocentric beauty standards. I can continue to engage in decolonizing design by continually educating myself about Australia’s history and challenge Eurocentric norms, ethically source materials, and advocate for change.
Include all figures: Respect and include the figure and shape people who wear clothes.
This belief is central to my approach to fashion. I am committed to designing clothes that celebrate and fit all body types, ensuring everyone feels confident and beautiful. Fashion should embrace diversity, reflecting the varied shapes and sizes of real people. Accepting bodies and deconstructing beauty standards is something that resonates with me on multiple levels. Self expression is something that should be available to every individual without judgement, but today isn’t. Within my readings although Davis's book may not specifically address plus-size fashion, Grier's analysis of his work provides a foundation for discussing inclusivity in fashion, including the representation of diverse body types. This is the beginnings of discussions that are in “Sizing Up Gender: Bringing the joy of fat, gender and fashion into focus.” When reading the quotes in all perspectives was a nice reminder of why acceptance of bodies of all kind is incredibly important. Accepting bodies and deconstructing beauty standards is something that resonates with me on multiple levels. Self expression is something that should be available to every individual without judgement, but today isn’t.
Don’t contribute to the figures of destruction:Of Environment And Place
This principle guides my commitment to sustainable fashion. I believe that the choices we make in fashion shouldn't harm our planet or communities. I use deadstock and up cycled materials for all my projects. And I source most things cheaply from Facebook that people just want to get rid of. Slowness and de-growth It means slowing down the pace of production for everything you can think of while still keeping necessities going. I will lessen my environmental impact even more so over time. Fashion can be a force for good, and it's up to us to ensure it respects and preserves the environment and places we cherish. This manifesto inspires me to advocate for a more sustainable and responsible industry. This links to Review of Fashion, Culture, and Identity, by F. Davis. Since the article was written in the early 90’s you can see the social change in how we value clothes. Davis’s work is on the sociological aspects of fashion and identity, the themes explored have significant implications for sustainability. Grier appreciates how clothing acts as a medium for nonverbal communication, reflecting personal and group identities. This perspective reminds me and hopefully the reader of my manifesto the importance of mindful consumption. As fashion is not merely about trends but about expressing deeper cultural and personal values. From a sustainability standpoint, this implies a shift from disposable fashion to more meaningful and lasting choices in clothing.
Reference the figures of all involved: co create with others perspectives and experiences
This principle I created is about collaboration, understanding intersectionality, and taking responsibility, Within my life and fashion design practice. I believe that a key part of creativity is collaboration and diversity. Meaning I want to in future collaborate and seek input from a wide range of voices. Collaborating with individuals from different backgrounds and experiences than mine. Through this act I will be held accountable to any blind spots I have within my design practice and life. Meaning that I will create designs that are more inclusive and reflective of our community as a whole. Its also about crediting everyone properly and visibly. Especially within the fashion community there are a lot of individuals who’s names are never shown who worked on a beloved project. This idea also links back to the first principle.
Figure how to improve fashion practice:Both personally and communally
This Final manifesto principle highlights my need and commitment to continually improve my fashion design practice. I strive to keep the sustainable habits I’ve developed, trying to improve them while finding more sustainable options. Some examples of this are using dead-stock and recycling material, Keeping all offcuts to be used in future projects, Designing with function in mind, and only using natural textile modification processes to minimise environment harm. The continual call to action is both for designers and consumer›s. If it is within the reader/consumers abilities supporting ethical brands and valuing what is already owned would be part of this principle. Communally, I will engage with like-minded individuals to promote responsible fashion practices. By sharing knowledge and resources, we can collectively make a greater impact on the fashion design industry. This principle links in with the last that learning from others and collaborating to drive positive change is whats necessary for good fashion outcomes and change within industry.
Evans, Stricke, Barry, and Friedman contribute to the fashion academic community by producing “sizing up gender.” They are taking up space in industry where again thinness and heteronormative ways are still expected to be the standard. Continuing these conversations while also being joyful. Not only joyful but a range of emotions, Something that can be looked upon as unserious and unprofessional. But is crucial in changing fashion expectations.
Refrences
Calla Evans, Mindy Stricke, Ben Barry, May Friedman, (2021) “Sizing up gender: Bringing the joy of fat, gender and fashion into focus”, critical studies in fashion & beauty, Volume 12 Number 2: pages 229 - 260, DOI https://doi.org/10.1386/csfb_00031_3 (Accessed 15/5/24)
Evans, C. (2024), Infinifatshion Project. Available at: https://www.callaevans.com/infinifatshion-project (Accessed:22/5/24)
Stricke, M. (2024), About. Available at: https://www.mindystricke.com/about (Accessed:17/3/24)
Barry, B. (2024), Faculty - Ben Barry. Available at: https://www.newschool.edu/parsons/faculty/ben-barry/ (Accessed:22/5/24)
Friedman, M. (2024,) May Friedman - Faculty Biography. Available at: https://www.torontomu.ca/social-work/about/people/faculty/may-friedman/#!accordion-1607370738046-biography (1/6/24).
Grier, K. C. (1993). [Review of Fashion, Culture, and Identity, by F. Davis]. Winterthur Portfolio, 28(1), 102–105. http://www.jstor.org/stable/1181502 (Accessed 15/5/24)