wegian national myth was, without becoming a pastiche, recircuited to power up
Dale Sko and the new hacks. For coming projects this method could be used more
carefully and a whole project could be devoted to exploring how to use the well-
established Norwegian national image to “power up” the local production. The
surrounding area and the old factory could function as central tools for Dale to
stamp their mark on the international fashion maps although one has to take care
to avoid making this form of marketing look too much like a tourist brochure.
The process during the workshop also showed how important it is that negotia-
tions with all those involved in the process are done in a humble and respectful
manner. To deal with a proud local actor such as Dale Sko that is in decline, is a
sensitive balancing act where the designers have to proceed with caution not to
hurt any feelings during the process. Big ego designers are not usually the best ne-
gotiators and could seriously harm both the collaborative design process as well as
draining the energy invested into the project. But as was shown during the work-
shop it is possible to create positive changes and break habitual patterns in a fac-
tory through wide participation and open negotiations by working on small scale.
&
After the finish of the workshop the traces of the project are still visible today.
Støldal has continued her collaboration with Dale Sko and is currently making her
fourth collection with them, still using the existing models as a practical point of
departure. The new shoes have been shown at the fashion weeks in London, Paris
and Tokyo and are for sale in stores in London and other cities. The factory also
developed a prototype lab and since the hack has hosted several other designers
and interns from fashion schools. In addition, the board of directors of the factory
has been changed and one designer as well as the shoemaker/teacher was taken
onto the board. In 2008 the project also won a special prize at the European Fash-
ion Awards.