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This acknowledges the post-capitalist society we live in and the effects on our social interactions and functions eg belonging.

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Today, our lives are dominated by an ideology of extreme competition and individualism. It misrepresents human nature, destroying hope and common purpose. But we cannot replace it without a positive vision, one that reengages people in politics and lights a path to a better world. Urgent and passionate, George Monbiot shows how new findings in psychology, neuroscience and evolutionary biology cast humans in a radically different light: as the supreme altruists and cooperators. He shows how both democracy and economic life can be radically reorganised from the bottom up, enabling us to take back control and overthrow the forces that have thwarted our ambitions for a better society. Out of the Wreckage explains just how communities can be rebuilt with the help of a new "politics of belonging".

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Today, our lives are dominated by an ideology of extreme competition and individualism. It misrepresents human nature, destroying hope and common purpose. But we cannot replace it without a positive vision, one that reengages people in politics and lights a path to a better world.

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All over the world, people get dressed, mostly for the same reasons. Why, then, do we look so different from each other? The answers lie in the constellations of factors that contribute to the human condition, from climate to conformity, gender expression to race and ethnicity.
Beginning with the body as the organizing principle around which to study dress, this 50th anniversary edition of The Visible Self makes sense of humans as biological, social, and aesthetic creatures based on cross-disciplinary concepts and examples. It explores the daily act of dress in cultures around the world, using the word "dress" to describe the wide variety of behaviors connected to the act of adorning our bodies-or not-through the use of clothing, modifications, and/or supplements. Political economies are addressed holistically to understand the global world through contemporary topics such as racism and how dress can be used to sustain or rebel against dominant structures. With current examples and relevant readings in every chapter, the authors convey how dress can achieve standards of appearance and social ideals, relate to individuality and conformity in fashion, and communicate identity and character in the arts. Exploring the global mash-up of fashion, dress, culture, production, and sustainability-including life in a post-pandemic world- The Visible Self offers a powerful understanding of the way we look and how we look at others.
New to this Edition:
- Focus on the body as the organizing principle in the study of dress including additional insight on fashion and using this concept to define the target customer
- Investigation of current issues such as race and the post-pandemic world
- Updated readings, at the end of each chapter, with discussion questions that directly connect chapter concepts to reading content
- Activities that apply chapter concepts to design, product development, merchandising, and everyday life

STUDIO Features Include:
- Links to third party video clips to help visualize how dress is used to identify the self
- Self-assessment quizzes to test yourself on what you have just read
- Flashcards of key terms and concepts covered in the book

Instructor Resources
- Instructor's Guide to help incorporate the text into your classroom
- Test Bank to highly key concepts and test student comprehension on those concepts
- PowerPoint Slides for every chapter

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All over the world, people get dressed, mostly for the same reasons. Why, then, do we look so different from each other? The answers lie in the constellations o...

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Joanne Entwistle - Dress Theory & Embodiment - not her only book in the library! Great for understanding wearing practice, body and embodiment.

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Joanne Entwistle - Dress Theory & Embodiment - not her only book in the library! Great for understanding wearing practice, body and embodiment.

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The Fashioned Body provides a wide-ranging and original overview of fashion and dress from an historical and sociological perspective. Where once fashion was seen as marginal, it has now entered into core economic discourse focused around ideas about 'cultural' and 'creative' work as a major driver of developed economies.

This third edition of The Fashioned Body, the most comprehensive revision to date, revisits the classic works on fashion, dress and the body, and introduces contemporary issues and debates in the area. With new sections and revisions to all chapters, the major updates pick up on recent debates on fashion from the perspective of decolonising the curriculum, diversity, queer studies, sustainability, the environment, and digital fashion. A newly expanded bibliography of contemporary studies of fashion and dress is also included. The book continues to show how an understanding of fashion and dress requires analysing the meanings and practices of the dressed body in culture. Moreover, its central premise - that fashion is a 'situated practice' articulated through everyday dressed bodies - has become established orthodoxy within fashion studies since publication of the first edition in 2000.

Remaining a seminal text in the field, this book will be essential reading for anyone interested in the social role of fashion and dress in modern culture.

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The Fashioned Body provides a wide-ranging and original overview of fashion and dress from an historical and sociological perspective. Where once fashion was seen as marginal, it has now entered into core economic discourse focused around ideas about 'cultural' and 'creative' work as a major driver of developed economies.

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These are a sneak peek of what is in the Made In China Book etc book. 

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These are a sneak peek of what is in the Made In China Book etc book. 

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I have this library book if you want to take a look.

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Fear and Love, published to accompany the major exhibition that will open the Design Museum's highly anticipated new home in Kensington, London, examines the role of design in the twenty-first century. It proposes that, in a rapidly changing world, design is defined by both anxiety and optimism. Organized by five key themes - Network, Empathy, Body, Earth and Periphery - the book explores design's relationship to emotive issues. Eleven leading figures from across the spectrum of design provide a wide-ranging set of attitudes to design in our times: Andrés Jaque/Office for Political Innovation, OMA, Madeline Gannon, Metahaven, Hussein Chalayan, Neri Oxman, Christien Meindertsma, Ma Ke, Kenya Hara, Arquitectura Expandida and Rural Urban Framework.

Specifications:

Format: Paperback

Size: 270 × 205 mm (10 5/8 × 8 1/8 in)

Pages: 224 pp

Illustrations: 240 illustrations

ISBN: 9780714872544

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Fear and Love, published to accompany the major exhibition that will open the Design Museum's highly anticipated new home in Kensington, London, examines the role of design in the twenty-first century. It proposes that, in a rapidly changing world, design is defined by both anxiety and optimism.

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List of Illustrations
List of Contributors
Acknowledgements

Introduction by Alison Slater, Susan Atkin, and Elizabeth Kealy-Morris

Concepts
1. Personal Objects and Dress as Instruments for Anchoring the Self, Remembering the Past, and Enhancing Well-Being by Soljana Çili

Histories
2. Remembering Respectability: Collective Memories of Working-Class Dress in Wartime Lancashire by Alison Slater
3. Memories of Making: Home Sewing in Socialist Hungary by Zsofia Juhasz
4. Nostalgia, Myth and Memories of Dress: The Cultural Memory of Madchester by Susan Atkin

Objects
5. Wardrobes and Soundtracks: Resources for Memories of Youth by Jo Jenkinson
6. Ken Tynan's Tommy Nutter Jacket as 'Materialized Memory' by Ben Whyman
7. Soft Murmurings: Sensing Memories in Collections of Dress by Jane Webb

Practices
8. 'The American Look': Memories of Not Fitting In by Elizabeth Kealy-Morris
9. Black/White/Yellow by Elizabeth Chin
10. Cloth(ing) Memories: Rituals of Grieving by Lesley Beale

References
Index

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Memories of clothing feature prominently in auto/biographies, yet traditionally they have not been subjected to the same level of academic scrutiny as other sou...

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Might be great to look at 'the economy of attention' and idea of 'planned obsolescence'

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Might be great to look at 'the economy of attention' and idea of 'planned obsolescence'

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'planned obsolescence'

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Tech companies must move away from hype-chasing annual product releases in order to drive meaningful design innovation, writes Sarah Housley.
The economic shifts of the past 12 months have changed the context for innovation and could help both the tech and design industries move towards a less hype-fuelled, more considered process for product development.
It has been said that we are at "the end of free money". Where venture-capital investment used to flow to tech start-ups and scale-ups, spurring innovative products to market and creating many of the platforms that now enable digital culture, this year has seen interest rate rises and bank collapses that have changed the landscape considerably. While this period of "sobering" reshapes the tech industry, it also provides the wider creative sectors with the chance to change how we approach innovation - for the better.

There is increased pressure for breakthroughs to happen more quickly, and for the next big thing to appear

Unfortunately, so far that has not been the reality. According to industry tracker Layoffs.fyi, tech companies have laid off 242,481 employees so far this year. Companies have been busy streamlining: cutting down on employee perks, cutting risky or underperforming products and limiting funding into unproven research areas. There is increased pressure for breakthroughs to happen more quickly, and for the next big thing to appear.

Against this backdrop, the tech hype-cycle is spinning ever faster, and the big ideas offered by the tech industry have ever-shorter lives as a result.

The recent history of technology is littered with visions that are now perceived as having failed because they were hyped beyond all reason and then didn't immediately live up to the expectations created. The biggest example is the metaverse, an idea that was blossoming across tech by 2020 but crystallised into a mainstream bet when Meta's name-change was announced in 2021.

"Metaverses will be the digital equivalent of huge empty cities without character or community"

In 2022, McKinsey valued the metaverse as having the potential to generate $5 trillion by the end of the decade. Global interest in the concept soared and companies across sectors announced chief metaverse officers and full metaverse teams, despite few convincing use-cases having been developed. By May 2023, following a lack of consumer adoption, business magazine Insider had declared that "the Capital-M Metaverse is dead... the latest fad to join the tech graveyard".

With the metaverse and related Web3 ideas such as NFTs now largely in the rear-view mirror - for the moment - the same overinflated hype-cycle is being applied to AI, which is forecast by PwC to be worth up to $15.7 trillion to the global economy by 2030. What these bubbles have in common is that the technology, what it offers, and how it could be applied to products, is kept purposefully vague and broad so as to attract as much excitement and investment as possible.

Even as creatives strive to understand the capabilities of AI and how they might effectively and equitably work with the technology, the bubble is starting to wobble. Semafor's technology editor Reed Albergotti wrote in August: "I was a little surprised last night when a venture capitalist told a room full of tech journalists that AI was already in a 'trough of disillusionment' and that it was hard to find promising start-ups in the space."

Science and tech are reliant on the moonshot ambitions of billionaires and charitable foundations

All this comes at a time when calls are growing for governments to re-commence significant national support of scientific, technological and creative innovations. In the absence of the kind of broad and deep governmental support that led to many of the breakthroughs of the 20th century, science and tech are reliant on the moonshot ambitions of billionaires and charitable foundations, and this is leading to a narrower view of where progress is most important.

A steady-state model of innovation based on continuous, long-term investment would alter the dynamics of the hype-cycle considerably. Research and development teams would be less reliant on gaining the interest of venture-capital funds and more reliant on demonstrating widely-applicable, socially useful research over a longer time period.

This more considered cycle of innovation would create useful friction, allowing time to evaluate the ethical implications of a technology or product in more detail, including its environmental and social impact. Too often, this work has to be done in the aftermath of innovation - as is now happening with generative AI - as ethics-focused researchers work to catch up to implementation. It would also open up time for the design of products and services to move beyond minimum viable product, to become higher-quality experiences that meet the needs of more diverse groups of people.

Generative AI boom "could come to a fairly swift end"

For designers, slowing product release cycles would make room for meaningful advances rather than putting pressure on brands to either hype up iterative updates as revolutionary progress, or forcing teams to come up with something ostensibly new and exciting for the sake of filling a press event.

Smartphones are a prime example. According to a 2023 Deloitte study, 3 in 10 smartphones in the UK are now at least 30 months old, suggesting that the upgrade cycle is slowing, even as tech brands continue to launch new devices every year and introduce new formats, such as foldables, to maintain consumer interest. Andrew Lanxon, editor-at-large at tech website CNET, has called for brands to release new phones less often in order to lessen their environmental impact and "make phones exciting again."

Brands have started to adjust their approach, but the economic incentive of an annual release cycle makes it difficult to break entirely. Notably, at Apple's September launch event the iPhone 15 received a grand unveiling but the event's other big headline was the company's sustainability update, which included the announcement of a carbon-neutral Watch.

For much of the 21st century, tech has owned the idea of innovation in the eyes of the public

The tech industry, as epitomised for the past few decades by Silicon Valley, has built its reputation on introducing exciting new ideas that shape how we see the future and how we want to live our lives. For much of the 21st century, tech has owned the idea of innovation in the eyes of the public, and brands may see moving away from the hype-cycle completely as an existential threat.

But over-accelerated hype-cycles are creating a bubbly and unstable innovation landscape in which meaningful advances are overshadowed, sustainability is sidelined and design approaches that value long-term positive impact are swept aside. It's time to rethink the cycle, and invest time and resources where advances really matter.
Sarah Housley is a writer, researcher, consultant and speaker specialising in the future of design and ethical innovation. She is former head of consumer tech at trend forecaster WGSN. The photo is by Rayson Tan via Unsplash. Dezeen In Depth
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"The tech hype-cycle is spinning ever faster"

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Tech companies must move away from hype-chasing annual product releases in order to drive meaningful design innovation, writes Sarah Housley.

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VICE - VICE is the definitive guide to enlightening information.

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The definitive guide to enlightening information.

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A global platform for emerging talent, i-D celebrates fashion, culture, individuality and youth.

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Founded by Nick Knight, SHOWstudio pushes the boundaries of communicating fashion with live content, innovative collaborations and unique conversations from leading global figures.

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A small selection of online resources to inspire ideas, find more by using Library Search or one of our specialist resources.

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Intro - Context and how you plan to respond/evaluate to the question.

Section 1 -

Section 2 -

Section 3 -

Conclusion - What findings you have discovered and questions/challenges you've discovered and how this relates to your practice.