tion is to sketch up a multitude of possible designer roles that expose complemen-
tary paths for fashion to take. This thesis blends hands-on projects that have been
explored during the course of my studies for this doctorate and includes examples
of the work other fashion designers but also from totally different fields, all with
the aim of offering complementary paths that fashion might take. Here the de-
signer can use his skills for other ends than the catwalk or narrow mass market,
that is to be an active participant in the ongoing social changes society goes through.
This will give rise to another kind of fashion designer, a designer whom is neither
a divine genius nor a brand engineer. It is a role that will merge hacking, creative
resistance, micro-politics and Do-It-Yourself practice with the production of belief
and myth in the field of fashion design. The role of the designer will thus be trans-
formed into one that expands action spaces, fights passivity and provides tools to
engage our fellow human beings in fashion. In short, not to make process partici-
pants simply listeners or passive choosers of existing consumer goods but as en-
gaged co-authors of fashion, whom will be capable of inventing ways of respond-
ing and reacting to fashion. In other words, to become fashion-able.
fashion and becoming
Without any further delay, I must address my use of the concept of fashion, as it
will be a central element in this thesis.
A common trait in fashion theory is to make a distinction between “clothing” and
“fashion”, in which the former denotes the functional, technical, and protective