in design. This is carried out through the use of a number of “diagonal” presenta-
tions that form a multiplicity of single examples and course of events, yet which in
this thesis are all united in a temporary alliance. By use of specific concepts and
ways of representation, these experiences become a set of cross-references that al-
low and open up pattern comparisons, matching and triangulations. Through this
type of artistic research a more sophisticated discussion on design practice and a
broader intellectual reference can be introduced as a complement to other aca-
demic research in the field of design.
Consequently, the thesis does not have any introductory chapter outlining the ba-
sic theory, aim and method to prepare the reader for the final chapter’s conclu-
sions. There is no strict question and no proven answer. Instead, one way of read-
ing this thesis is to imagine it as a series of journeys, pulled together by the “gravity”
of an attractor and condensed into a prism. This is a prism through which we can
see the world from many different angles and where each chapter is one side. As we
look through this prism, always in a slight diagonal, we will see that each shaft of
light or each approach refracts into a spectrum of new possibilities for practice.
This opens for a multiplicity of “designerly” approaches. We can also think of the
prism as a considered collection of examples that forms a designer’s Wunderkam-
mer or a Cabinet of Curiosities where we can go, from object to object or from idea
to idea, in wonderment and inspiration. On this journey I will be your guide and
dragoman.
To guide us through, this introduction sets the point of departure and introduces
some concepts that will follow us throughout the thesis. Processes, methods and
results are presented in text and with illustrations that enable the reader to under-
stand the line of thought in relation to the actual social, economical and cultural
situation. It also presents a number of related projects carried out by other design-
ers and artists that will give our temporary alliance a more visible shape to the
reader. Finally the thesis closes with a methodological appendix that describes in-
tersecting lines of methods or processes that can help readers and practitioners
both to place the work within other artistic modes of engagement and build fur-
ther on these endeavours.
These projects cannot be regarded as case studies in the sense that they build upon
each other to form one particular line of development. Rather they are applications
of different lines of thought based on ideas and understanding from other prac-
tices and parts of society. The process of finding these sources and using these
concepts and experience is part of the creative process. It cannot be traced back-
wards in order to construct a comprehensive motivation for the choices but must
be accepted as the input they are. Of course, they can be criticized for the misuse
for the lack of a deeper comprehension, for being superficial, less constructive and
for bringing fashion into an alien context. The choice of these examples is to enrich
the practices of fashion, revealing new possible viewpoints and inspire new forms
of engagement.
The difference from a traditional thesis is that there are no clear conclusions, yet
every chapter is connected to a discussion of my own practical projects and it is for
others to draw and build upon their own interpretations. This type of work can
never be completed, for it is only a small step on the way towards the formation of
new polyphonic practices. There are always new perspectives and approaches that
might be added. These may lead in quite different directions and it is for others to
continue the work of changing the comprehension and potential in this field of
The Wunderkammer or Cabinet of
curiosities was an encyclopedic collection of
thought-provoking objects whose categorical
boundaries were yet to be defined by the
embryonic natural science of the time. The
objects were often theatrically presented and
the visitor could meander through the col-
lection, drawing own conclusions and make
up own theories and explanations of the
wonders of the world.