InfoWear

Clothing as Visual Communication Medium

Jonathan Yaputra

InfoWear
Clothing as Visual Communication Medium
by Jonathan Yaputra
Supervisor: Chris Jones

A CRITICAL AND PROCESS DOCUMENTATION PAPER SUBMITTED IN
PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF DESIGN
EMILY CARR UNIVERSITY OF ART + DESIGN
© Jonathan Yaputra, 2020

Acknowledgements
There are many individuals that I would like to thank for their support over the years:
To my supervisor Dr. Chris Jones, thank you for the guidance and encouragements
that you have shown along the way. Most importantly, for believing in this project
since its conception.
To faculty members Helene Day Fraser, Laura Kozak, Louise St Pierre,
Dr. Garnet Hertz, Dr. Gillian Russell, Craig Badke, Keith Doyle and Dr. Katherine
Gillieson. I thank them for their insightful advice over the course of two years.
To my internal reviewer Dr. Maria Lantin, thank you for the support you shown for the
project through your fresh perspective.
To the MDes cohort of 2020, thank you for providing the best learning environment
that a creative could ask for.
To my most loved friends and family members, thank you for the love, patience and
kindness you have given me. I truly would not succeed without you all.
And finally, to the Emily Carr community. Thank you for this journey.
Moving onward!

Contents
Acknowledgements

3

Abstract & Keywords

5

Introduction

6

Research Framework

8

Research Questions
Research Objectives
Scope and Limitations

Methodology

9

Context
Theoretical Framework
Secondary Research

Iterations of InfoWear

15

Early Experimentation
InfoWear through Individual Workshops
InfoWear through Group Workshops
InfoWear through Exhibit

19
22
27

Analysis & Reflection

30

Future Direction

32

Bibliography

34

Appendices

36

Abstract & Keywords
This research projects seeks to eplore the potential for clothing to act as a socio-political
medium that interrogates the emerging nature of personalized media environments. Social
media platforms, governed by online algorithms, have altered the context in which we
currently receive information (Steeg & Galstyan, 2012; Romero et al., 2010). This new and
private media environment is often personalized to a degree that it can have an impact on
our decision-making (Erkan & Evans, 2016; Liu et al., 2015). Using a “research through
design” (Frayling, 1993) approach, the project proposes a system that allows participants
to act as ‘publishers’ by bringing the content of their private media streams into public
view, by incorporating them onto clothing. The resulting garments exist not only in a fashion
context, but also act as a platform for civic engagement.

Keywords
Participatory design
Co-design as social conversations
Strategic Foresight
Attention economy
Civic engagement
Embodied criticality

5

Introduction
The year was 2000, at the height of the dot-com bubble.
Google, a powerful internet search engine that upended the
way we would be able to receive information, was about four
years old. Initially launched in 1996 and was formally
registered as a company in 1998, it took shape as a way for
individuals on the world wide web to look upon specific
information on their online repository. The search engine’s
primary function at the time was to display text results to
search queries. However, this main functionality quickly
changed after a particular event that unfolded on the
Grammy’s red carpet in February, 2000: Jennifer Lopez’s
green Versace jungle print dress (Tashjian, 2019). By the
words of Eric Schmidt, the former Google CEO and executive
chairman, by a testimony he wrote on Project Syndicate in
2015:
“People wanted more than just text. This first became
apparent after the 2000 Grammy Awards, where Jennifer
Lopez wore a green dress that, well, caught the world’s
attention. At the time, it was the most popular search query
we had ever seen. But we had no surefire way of getting users
exactly what they wanted: J-Lo wearing that dress.
Google Image Search was born.”

Fig 1. Google Image Search Page of “jennifer lopez
grammy dress 2000”. Search query that kickstarted
the creation of the digital imaging platform.

This event has long been a fascination of insider fashion circle,
a rare moment that displayed the power of a ‘viral’ fashion
moment has in influencing and shifting an apparatus that exist
outside of its own world. This moment however, also provides
an example where a direct link from digital imaging and
fashion is drawn. Moreso, fashion provides a compelling
reason for digital imaging platforms to exist and flourish. It is
rather one of the main interwoven ‘currency’ in the web of the
digital image. And this platform has become highly influential
towards the main platform in which contemporary information
exchange is done: social media.
Modern social media platforms very often would sell a
particular vision of how users can manipulate user-generated
visual content to gain social capital online. Whether it is
through manipulation of humor, scandalized messaging,
satire, one common denominator that often gives resonance is
the visual aspect that allows for the proliferation of the
platform itself. This visual aspect influenced the form of
information online and the behavior of information
consumption. For one, the attention economy forces
information themselves to be more than a factual statement
and veer into the realm of promotional content. Another

6

aspect that has upended this system is the importance that these
online platforms give to user-generated content. In this realm, we are all
“influencers” and publishers. There is not much hierarchical difference
on how a user-generated social content would be displayed online
compared to a content by a ‘traditional’ media publishers such as
newspapers and magazines. As more cameras are put in the hands of
social media users, user-generated visual content will continue to
influence other forms of information.
Fig 2. “Make America Great Again”
Hat popularized by the Trump
Campaign in 2015

Fig 3. “Stop Calling 911 On The
Culture” T-Shirt from Pyer Moss
Spring 2019 Collection

Fig 4. “Knockup” Louis Vuitton print
sweater from Dapper Dan Atelier

This research is interested in this current evolution of media and
information exchange. Particularly, on the prioritization of visual content
over textual information and the shift towards making textual
information relevant in the framework of a visual content. This will be
done by implementing a research project that uses the medium that
kickstarted the digital imaging revolution in 2000: clothing. Questions
that will become the basis of the projects are: What are the strategies
that we can take to foster a more critical dissemination process into the
way general public communicate with each other, and what are some of
the possibilities of developing an alternative communication medium in
this space in bringing insights regarding the future of media and
information.
Design objects and interventions in this project are rooted in the
existing references in which clothing is used as a carrier of an explicit
socio-political messaging. The ‘Make America Great Again’ hat,
popularized by the Donald Trump presidential campaign in 2015 is a
great example on this use case (Budds, 2016). For its 2019
Spring/Summer collection, a New York fashion house Pyer Moss
deployed a white T-shirt with a slogan that referred to a racially
provocative incident (Givhan, 2018). Another relevant instance was the
body of work of Dapper Dan during the 1980’s-90’s which influences
high fashion style in the hip hop community (Plessis, 2019). All three of
these examples are important for a couple of things: these clothing
items incorporated explicit messaging from existing socio-political point
of view/socio-economic standing that are bigger than their counterparts
that are communicated through the clothing themselves
(anti-establishment movement symbolized by the ‘MAGA’ hat, reclaiming
of Black narrative by the Pyer Moss shirt and manipulation of
socio-economic standing through Dapper Dan Atelier)
Thus, through the knowledge of aforementioned references, the project
introduced a term that is used to refer to this particular usage of
clothing : InfoWear, which stands for ‘Wearable Information’. This term
is derived from fashion terminology used to describe a particular way of
dressing by combining two descriptors into one (e.g Athleisure,
Normcore, Streetwear). In the context of the research project, InfoWear
also refers to the clothing experimentations done throughout the
project. True to form, these garments largely were developed as a
wearable piece of information more so than they are clothing items.

7

Research Framework
Research Questions
•How can wearables act as a socio-political carrier to address the private nature of a person’s
personalized media environment?
•How would embodied messaging through the lens of Research Through Design foster
critical information dissemination?

Research Objectives
- Gaining insight on a non-digital information technology through the “algorithym of the street”
- Explore the possibilities of civic engagement through non-conventional touchpoints
- Observe the usage of worded information as visual image

Scope and Limitations
This research is deeply focused on the possible civic engagement that could come out of
self-made clothing interventions in the street. The participants that the project is mostly
interested in are individuals who are well versed in the language of social media and skew
towards the younger millennial generation. It seeks to compare the behavior of engagement
with information online and on the ‘street’. While it incorporates DIY clothing skills and
fashion hacktivism knowledge, the focus of the research is on the news message of the
clothing that the participants wear. Throughout the implementation of the research, a white
t-shirt is often used for the workshops and trials. T-shirts have historically been used as a
medium of political protest and individual expression through DIY art. In this instance, a
singular color white merely emphasised the focus on the message on clothing and takes away
possible additional pressure on the participants to gain new fashion knowledge to merely
participate in the research. This method allows the garments created and worn to function as
wearables more than they are items of clothing.
Since one of the main components of the research actions done is the garment embodiment
and implementation on the street, travelling becomes a complementary aspect within the
embodiment process. However, the majority of the knowledge and context that will be used to
analyze the findings are rooted in a personal North American context and media culture. By
no means they will be universally relevant nor accurate to each location the garments were
embodied in. However, the framework and methodology of the research project would provide
points of comparison to the local news context and media culture that would potentially be
beneficial in developing a critical analysis of the methods enacted.

8

Methodology
Throughout this thesis, the term InfoWear which stands for wearable information is
used to describe this particular clothing phenomenon and the project that comes
out of the research inquiry. The term InfoWear is derived from the existence of such
fashion nomenclature that has been historically used to describe trends and
influential styles or ‘waves’ that were popularized by many, including ‘streetwear’,
‘normcore’ and ‘athleisure’.

NORMCORE
STREETWEAR

INFOWEAR
INFORMATION

WEARABLE INFORMATION

WEARABLE

ATHLEISURE
MAXIMALISM
The conception of InfoWear as a research project comes from the focus of using
wearables as an information medium. In this instance, pre-existing news content and
fabricated individual textual content exist as the sole visual signifiers on the mediums
that are T-shirts and canvas bags. There are three main counterparts that support the
mechanism of the project: Medium of clothing, Involvement of individual participants
and the Mechanism of Information Curation; all three viewed through a lens of
criticality. A subsequent methodology then is created to visualize this system.
Information Flow

9

Mechanism Breakdown

Mechanism of Information Curation

Media Neutral
Information Curation

Media Representative
Information Curation

Self-Translation
Information Curation

“Cut and Paste”
Information Curation

Op-Ed
Information Curation

Display of pre-existing
information divorced from
media source

Display of pre-existing
information with
media source included

Interpretation of pre-existing
information through a personal
point-of-view

Modification of multiple parts
from pre-existing information to
create a new information display

Self-Produced information
through Op-Ed mechanism

Single or multiple information
display showcasing a personal
narrative

Single or multiple information
display showcasing a personal
narrative

Modification to the garment to
invoke conversation about a
personal narrative

Modification to the garment to
invoke conversation about a
personal narrative

Singular information display
showcasing a personal narrative

Medium of Clothing

T-Shirt
Canvas Bag

Involvement of Individual Participants

“Individual” Workshops
Group Workshops

Deployment of garments
onto the street

10

Theoretical Framework
Smuggling – an embodied criticality
Irit Rogoff, an initiator of the transdisciplinary field of Visual Culture and founder of the department at
Goldsmiths, University of London, elaborated on “Smuggling” which she defined as a practice of
embodied criticality (2006). This practice refers to the relation between two elements that are
distinguishable from one another and cannot be separated into independent components. She argued
that as there is a prevalent shift from critique towards criticality in the transdisciplinary design practice,
an evolution of our theoretical framework towards criticality would be integral to the ‘actualization of
contemporary cultural practices’. This also forms a critical analysis that attempts to expose hidden and
unacknowledged ‘desires and power relations into a cultural manifest’.
She further explained:
“The fact that participants, be they audiences, students or researchers, produce meaning not simply
through the subjectivities they project on works whose circuits of meanings
they complete, but that they produce meaning through relations with one another and through the
temporality of the event of the exhibition, or the class, or the demonstration
or the display.”
This knowledge becomes foundational to the framework of this research project, it is particularly relevant
as we would seek to analyze the physical results of the project and the impact the project has on
participants. In this project, the InfoWear pieces produced is not merely a clothing item or a tactile piece
of news headline. It is both and it requires a lens of analysis that incorporates knowledge from both fields
throughout the actions done.

Co-design as social conversations
In his book “Design, When Everybody Designs” Ezio Manzini (2015), a leading expert in design for social
innovation and sustainability, elaborated on a framework of co-design as social conversations. This practice is deeply rooted in participatory design actions, in this case called Co-Design, and refers to a design
scheme in which design experts facilitate and mediate design actions involving participants to trigger
social conversation and influence it with cultural knowledge and new ideas based on their design expertise. In this realm, a design proposal becomes a multifaceted network where each participant has something to contribute and has the potential of evolving and influencing the framework of the design project
through their action and interaction.
In each iteration of InfoWear, each participants input is integral to the garment creation process and the
information curation process. Though raw garment materials are consistent throughout and some pre-existing news content selected before the actions are done, a participant’s personal narrative and
point-of-view has the most potential of shaping the result of each garment and action of garment embodiment. Coupling this with the different locations each participant are situated in, this wide reaching project
network is benefited from the involvement of diverse group of audiences.

11

“The personal is political”
This popular notion first popularized by the essay by a second-wave
feminist Carol Hanisch in the anthology Notes From the Second Year:
Women's Liberation (Firestone & Koedt, 1970). The main understanding
is that to a woman, a realization of the issues that a woman would face is
just as important as an explicit political action. American sociologist Paula
Rust wrote that ‘one should make personal choices that are consistent
with one's personal politics; personal life and personal politics are
indistinguishable.’ In the context of the research, this notion is further
made explicit and increasingly influential by social media platforms. As a
user’s online behavior becomes the basis of their online interaction, these
individual preferences will create individualized media bubbles that
amplify singular voices and create social division.

“Understanding Media: The Extensions of Man”
The knowledge of media discourse by Marshall McLuhan in his seminal
work “Understanding Media: The Extensions of Man” becomes the basis
of the deep exploration of the medium of information throughout this
project (1964). In particular, his discourse on techonologies being an
extension of ourselves which includes information technologies which we
used to consume information being an extension of our central nervous
system. Therefore, they are influence by our inner thoughts, ideas and
personal values. This “extension of consciousness” can be found in the
current digital information conundrum, by the help of online algorithyms
which tap into our individual preferences and display informations which
we would be preferable to. This shift empowered yet also burdened the
users and create an information conundrum where the influence of an
informational content has shifted towards the end user.
In iterations of InfoWear, the research combines both aspect of traditional
news content and the multi-layered channel that is the participants and
allow for these informations to exist physically on a participant’s body. By
doing this the research project allows us to situate the news headlines
outside of the digital realm, going away with online algorithyms, and
letting participants to wear their news environment ‘on their sleeves’ by
becoming a physical and tactile self-publisher through the ‘algorithym’ of
the street.

Historical Precedence of Transgressive Fashion
This project is cognisant of the many instances of transgressive usage of
fashion throughout history, particularly in cases which fashion is tied into
a socio-political movement in the past. One reference of this is “The
Future is Female” T-shirt which was produced in the 70s for a New York
City feminist bookstore, Labyris Books. Taken by photographer Liza Cowan
as a part of a photo essay entitled “What the Hell Dressed Dyke Will
Wear,” the T-shirt exist as an extension of the lesbian-centered feminism
messaging which utilizes garments as a form of activism on the street.

Fig 5. The original “The Future is Female”
T-shirt produced for Labyris Books, NYC
in 1975.

12

Secondary Research
To ground the project interventions in the everyday and gather professional input a secondary
research was done in the midst of the individual workshops. The focus of the activities is to answer
two particular questions:
- What are the possibilities of clothing interventions as visual communication medium
- What are the most salient components to create a platform that could effectively become a data
gathering project and medium for conversation
Through this secondary research some insights about the nature of news and the influence of news
readership particularly stood out from a digital disinformation conference. Attending this talk was a
way to provide current and critical analysis of the digital information exchange, which is central to
the research project. This thorough hour-long conversation shed a light on the issues that are
central to conversations around news in the current era. Some points include deeper insights on
the nature of disinformation and the influence it has in the newsroom. For one, a discussion on how
disinformation, particularly within online digital platforms, is correlated with a demand issue, rather
than solely a supple problem. It was suggested that the popularity of fake news phenomenon is a
reflection of the news readers moreso than the subjects within it or the perpetrators. One important
reason in the era of digital paywalls is the worth of a piece of information. An information is paid by
someone whether or not we pay for consuming a piece of information, it is paid for by someone and
it is a mechanism that news readers should be cognizant of.
These pointers stood out due to the points they raise on the relationship between news publishers
and its readers, particularly how much power news readers have towards shaping the news that
they consume, even from traditional print news publishers. A news reader’s behaviour, particularly
in the digital ‘paywall’ era, has a direct impact in influencing information that would be produced in
the newsroom. This conversation surrounding online disinformation was had during a public talk
held by Simon Fraser University in Vancouver involving three news industry insider: David Frum
(Senior Editor of The Atlantic), Sue Gardner (Former Executive Director of the Wikimedia
Foundation) and Christopher Wylie (Former Director of Research for Cambridge Analytica) whose
role was essential as a whistleblower to the data-backed operatives that helped elected Donald
Trump in 2016. The key revelation of his finding was how central fashion data was in creating an
online algorithm which was used in their political advertising campaign (Friedman, 2018).

13

To gain relevant outsider perspectives on the mechanism of the research project, four industry insiders
were invited to view the work in progress throughout the development of the project. These individuals
have practices that touch upon the different nature of design that the project incorporates : Graphic
Design, Advertising, Fashion and Data Visualization. Yavuz and Rissanen in particular have worked on
projects during their practice that become references for this project. Thus, it was crucial to be able to
get their personal assessment regarding actions taken in the project.

Ely Kim

Ramone Munoz

Mahir Yavuz

Timo Rissanen

Adjunct Professor
Advertising

Adjunct Professor
Humanities and Graphic Design

Data Science and
Visualization Expert

Associate Professor of Fashion Design
and Sustainability

Art Center College of Design

Art Center College of Design

Co-Founder of Topos NYC

Parsons The New School

Adjunct Professor at UPenn
and Pratt Institute

White T-shirt Usage
There was a unanimous opinion from both Henry and Kim that the most effective form of the project
was in form of a blank, unadulterated white T-shirt with a clearly printed textual messaging on top. In
this scenario, the textual messaging acts as the sole visual signifier on the garment without any
potential diversion if the participant is to alter the garment in any way. This approach also would
position the messaging on the garment to be slightly detached from opinions of the users by displaying
the media source of the information. The garment becomes purely a physical representation of news
consumption on the body.

Multiple Engagement Touchpoints
Another aspect that could prove to be important is utilizing different touchpoints in the project, and this
applies to both participants and audiences. This includes availability of the garments through multiple
means and the nature of visual documentation of the garments. Different format of engagement with
the user could give additional data points which would be useful (Individual approach, Group
approach, and possible Point-of-Sale approach). Additionally, physical context complementing textual
messaging on the garments would provide further relevance to any visual documentation.

14

Iterations of InfoWear
Early Experimentation
Early stages of the research projects are focused on
experimentation around the main components of the
activities in the projects. Integral to the research is the
exploration of how clothing and news headlines are
incorporated together into a single entity. Therefore there
is a need to experiment with effective forms where two
components would visually complement each other. Two
activities, alongside the aforementioned secondary
research, were deployed to answer this: a personal
garment experiment and an early experiment in a group
workshop setting.

Personal Garment Experiment
Self-Translation
Information Curation

Self-as-maker as a point of view is central to the garment
interventions done during the time of personal garment
experimentation. In this early stage activity, a white T-shirt
becomes the canvas to display a curated set of news
headlines, each interpreted through my personal response
to the content, with a focus on telling narratives through
physical interventions on the garment.
The ‘self-translation’ information curation approach
resulted in five headlines from various North American
news sources. I have selected news headlines that allow
me to visualize possible alterations into the T-shirts. Some
articles deal directly with issues of sexuality and the body,
while others deal with the issues of materiality and popular
culture. These news headlines have largely been crafted to
fit the sound and feel of each news source which adds
another level of bias that the reader experiences. I found
that one of the aspects that I wanted to experiment with
was the role of signification in terms of news headlines as
(supported) by the semiotic structure of a headline that is
different from conversational language structure.

Fig 6. Garment modification process and results of the
Personal Garment Experiment. Headlines taken from
CBC.ca, NYTimes.com, DailyMail.co.uk and WashingtonPost.com

15

To conduct the garment modification exploration, I took on the role of a
‘hacktivist’, a term used by Otto von Busch (2008) in his PhD Thesis
FASHION-able. In the document von Busch elaborated on the practice of
‘fashion hacktivism’ which uses fashion as a form of social activism by
inviting participants to ‘hack’ clothing items as a mean of empowerment. It
deals with the fusing of the role of clothing and personal identity of its wearer.
Staying true to the role of a fashion hacktivist, it was a conscious decision
from my end to tweak the T-shirts in a way that would be representative of the
headlines. Most of the physical garment modification both visually represent
selected news headlines and my personal relationship to the articles. In the
case of a Washington Post article: “White House’s plans to counter climate
science reports ‘will erode our national security,’ 58 former officials warn”,
the burning of the T-shirt symbolizes the erosion of national security that was
mentioned in the article. It also references forest fires that has escalated in
the recent years due to global warming. With a CBC news headline: “Teacher
shown door after Christian school discovers she had sex 'outside of a
heterosexual marriage'” the intervention brought forward a personal narrative
experienced by myself. Drawing from my own personal experience in the past
I was looking for ways to get a female wearer, alluding to the female subject
in the article, to potentially be expelled from the school that was mentioned.
This is done by exposing the arms, the cleavage area and the belly button.
There’s also the ‘lace print’ that was mostly done to expose the body in the
New York Times news headline: “‘You Have to Pay With Your Body’: The
Hidden Nightmare of Sexual Violence on the Border”, alluding to barbed wire
in the border. All of the devised interventions to the garment was designed
and implemented with the body politics in mind.
The garment modification process provoked many personal insights which is
largely the result of a ‘research through design’ approach. By doing
alterations on the clothing, taking into account the body politics of the
created garments, I realize just how individualized and personal these
garment modifications are. While at the same time, I also challenged myself
to create interventions that are purely ideal without much consideration for
‘politeness’ factor or social conformity of the wearer. Therefore, this
experimentation becomes a personal fashion semiotic exercise which prior to
this action I have little knowledge of. Drawing on sociologist Sharon Zukin’s
(2018) words on understanding the world through skill and craftmanship, she
explain this method as:
“a sensory appreciation of a product’s qualities, a modest understanding of
different production techniques, and the imagination to construct a product’s
’back story’ – a social narrative of the cultural tradition from which the
product comes.”
Having this method in mind, it becomes clear that a group workshop setting
could provide a powerful platform to gather various individual narrative
through making.

16

Early Implementation of Group Workshop
“Cut and Paste”
Information Curation

One of the main learning outcomes during the personal garment
experimentation was the necessity of receiving feedback
regarding the research framework. In many ways the past
comments about improving the quality of the garments have
been useful, but feedback regarding my methodology or the
conceptual arguments would be crucial in shaping a workshop
format for subsequent actions that will resonate. To answer
these challenges I created a couple of actions that would allow
for a higher level interaction with audiences.
Complementary to the hacktivist role which von Busch (2008)
elaborated, he posited that the potential a designer has by being
an intensifier. He further elaborated that:
“A key ability in an intensifying role lies in the capability to spot
and reveal existing potentialities and initiatives. These could be
found by coincidence or by careful mapping and systematic
curiosity. These local initiatives are then supported and
amplified through situated practices and workshops with the aim
of energizing existing and emergent processes and intensities,
promoting local potentialities. Here the role of the designer
becomes manifold. Both on a social level, facilitating processes
through practical organizing, and also on a craft level, a
hands-on tool provider, re-skilling teacher and blacksmith.”
It is through this principle that a group workshop format was
created. A workshop with a gathered audience would provide
physical references as a point of comparison to my own clothing
interventions in the past. This workshop was held involving 16
Master of Design students and educators. Using school materials
and additional tools that are available at hand, they would create
clothing interventions using white T-shirts and thirty randomly
selected headlines from news sites that were previously used for
the personal garment experiment. The groups were given fifteen
minutes to create these new garments and present after the time
is up. In this workshop, thirty randomized news headlines were
diverse in regards to its content: ranging from politics, pop
culture, economics, all are relevant to a North American context.
A ‘cut-and-paste’ information curation method is encouraged for
participants to use, hence creating messaging results on
garment that are highly personal with unpredictable results.
Fig 7. Participants action during Early
Implementation of Group Workshop

17

Out of the seven T-shirts that were created, practically none
resemble one another. Most of the interventions that were
created showed the level of creativity that a group of Master of
Design students and teachers would have. Considering how
many of the materials at hand are potential health hazard, most
of the garment experimentation take form in ways that are quite
wearable were they done in a more professional manner. Some
of them such as the post-its covered shirt, body slasher T-shirt
and the coffee stained T-shirt showed a more outlandish
interventions that is s literal interpretation of the messages
brought upon by the headlines chosen. However, the most
crucial part of the workshop were the last portion where I
received direct feedbacks regarding the news headline curation
process and the appropriative manner of some of these
interventions. These feedbacks contribute a lot into shaping a
workshop form that reaches a wider scope of potential
audiences. The feedbacks also influenced some intervention
methods practiced into creating garments for the exhibition.

Fig 8. Exhibit displayed in Emily
Carr University consisting of all
garments done during the early
experimentation process.

18

InfoWear through Individual Workshops
Media Neutral
Information Curation

Media Representative
Information Curation

Self-Translation
Information Curation

This ‘individual workshop’ is designed to accommodate some
willing participants travel plans during the summer period. It
started from the need to answer a critical research inquiry, on
how will the garments perform in a real life context. To
accomplish the task of answering this question, a set of
provocations were created for the participants. One aspect
that determines the questions was the emphasis in giving full
participatory agency in the exercise. This is done in the hopes
to create garment interventions that are individually unique
according to each wearer’s preference and taste (within the
constraint of the exercise).
In total, 10 individuals participated over the course of the
summer in various locations. The same set of provocations
were given to each and resulted in numerous different ways.
Two individuals selected the headlines themselves, while the
rest gave some suggestions on what topic I could select the
headlines from. Across the board, there were few physical
garment interventions. Some headlines were placed on the
garment in a D-I-Y manner using fabric pens.
The participants were chosen from a pool of individuals whom
I have personal relationship with in various capacities. This is
partly done due to the personal nature of these garments,
alongside the need to analyze their personal background.
Being familiar with their history and personal preferences, I
was able to easily analyze how connected their chosen
headlines are with their socio-political background.
The headlines chosen contrast deeply to each other in the
end. By communicating with the participants during the
headline selection process, I was able to gather some insights
regarding the motives behind the choices. Largely, the
headlines that were chosen would mirror a participant’s
professional life/career choices. This, perhaps, was the
easiest to predict. The experience that the wearers had
wearing it however were much more varied. There are two
distinct groups of experiences which differs in terms of the
number and the quality of the conversations had while
wearing the garment. The individuals that I reached out to,
and my own experience during a period of travel.

Fig 9. Some of the T-shirts produced by
participants during the Individual Workshop. Headlines above taken from
FastCompany.com and NationalPost.com

19

Across the board, all the participants argued that casual
conversations were few in-between. If they do exist, it is highly
likely it would happen in a familiar setting with individuals that
know them personally. This includes co-workers, colleagues,
service workers. However, there happen to be a consistent amount
of in-depth conversation that happened with individuals who they
share common interests with or close friends and family members.
In the case of Adine Halim, this instance happen during an exhibit
visitation with three artists-in-residence. Though they were not
well-acquainted with each other before, the shared personal
experience around the issue raised in the headline seem to be a
catalyst for an analytical conversation between the garment
wearer and the audience. With Rhian Tate, this happened with
some family members (sister and mother) during a routine family
gathering. With Benjamin Espinosa, the conversation had with a
distant family member also became an informational piece due to
a lack of contextual knowledge.
This contrasts quite a bit with my personal experimentation. Both
of the T-shirts that I wore during my time in Vancouver, NYC and
Los Angeles elicit many casual responses from subjects that
include onlookers on the street, service and retail workers, and
restaurant patrons. They ranged from questions on the nature of
the T-shirt, compliments, and questions regarding the source of
the garment. Some of these questions also include inquiries into
the commercial availability of the garments. However, in-depth
conversations that I had with colleagues and friends mimic the
experiences the other participants had. However, an aspect that
we need to keep in mind is my level of familiarity with the project
compared to the rest of the participants.

Fig 10. Images of participants
performing the produced T-shirts in
Jakarta, New York City and Los Angeles.

Another aspect that some participants verbally expressed to be
influential of the responses they received is the cultural norms of
the location they situate the garments in. This might be linked to
two factors: level of contextual knowledge of the surroundings with
the headline and local cultural norms that might have affected the
number of encounters the wearers had with audiences. In the case
of Wuchen, it was mentioned that though the headline is taken
from a local context, it is considered culturally ‘taboo’ for
individuals to talk to strangers on a public setting. This might have
resulted in a fewer number of encounters. When we contrast the
experience that Benjamin and I had in New York City, the
contextual knowledge of headlines worn could have been a factor
that is evident. The garment that I wore was taken from a local
media source (The New York Times) and contained information
that would be easily understood by casual onlookers. The headline
that Benjamin wore was taken from a Canadian news source
(National Post) containing information regarding a local issue.

20

Another aspect that some participants verbally expressed to be
influential of the responses they received is the cultural norms of
the location they situate the garments in. This might be linked to
two factors: level of contextual knowledge of the surroundings
with the headline and local cultural norms that might have
affected the number of encounters the wearers had with
audiences. In the case of Wuchen, it was mentioned that though
the headline is taken from a local context, it is considered
culturally ‘taboo’ for individuals to talk to strangers on a public
setting. This might have resulted in a fewer number of
encounters. When we contrast the experience that Benjamin and
I had in New York City, the contextual knowledge of headlines
worn could have been a factor that is evident. The garment that I
wore was taken from a local media source (The New York Times)
and contained information that would be easily understood by
casual onlookers. The headline that Benjamin wore was taken
from a Canadian news source (National Post) containing
information regarding a local issue.
This experimentation, with all the limitations that it had, garnered
potentially influential inputs and some directions to move forward.
One undeniable aspect which could prove to be a challenge would
be the amount of in-depth conversations that have happened in
the past. Two aspects come to mind: the design of the garment as
it stands and the amount of free agency in the participatory
experimentation. While giving a complete control allows for an
unadulterated view of each participants’ point of view, it might not
be the most effective method going forward. While a further
experimentation into the design of the messaging on the
garments will be conducted, there would need to be additional
steps in the inquiry process. A system that could be implemented
in the future could take shape in a “direct-with” instead of
“direct-from” the participants. The question that comes to mind
would be how would a different garment/messaging design, in a
different workshop format perform.

21

InfoWear through Group Workshop
Op-Ed
Information Curation

The main objective for a new form of workshop implementation is to answer
inputs derived from previous action on variations of the information display. More
so, different forms shaped mainly through participatory agency. Another aspect to
this feedback is to increase potential audience engagements with the information
displayed. How would the wearer be able to manipulate the information on
garment to provoke a more critical reaction? This is done in the order to start a
conversation that will begin to unpack the news displayed in a critical manner.
A reading that shaped the workshop is in the form of a research paper, conducted
by Alexander Coppock, Emily Ekins and David Kirby of Yale University. The study
seeks to discover the long-lasting effect of opinion editorial section on
newspapers. It particularly focused on the difference of its power of persuasion
among elites and the general public. The op-ed column debuted by The New York
Times in September of 1970 to “create a forum to host a variety of outside
experts to articulate their arguments and engage in the ‘exchange and clash of
ideas’ for the benefit of the general public, their intended audience” (Coppock et
al., 2018).
The result of the study proved that the Op-Ed column largely is effective in
persuading the minds of readers across the political spectrum and
socio-economic barrier. Through the experiment, the three found out that Op-Eds
are persuasive to both mass public and elites, but marginally more persuasive
among the mass public. This finding becomes the grounding for the moving parts
of the subsequent workshop that was held. By using the framework of opinion
editorial, the workshop would allow participants to create own headlines
according to their personal beliefs. Yet, the result would still be in the form of
news publication content.
Using a tactic that was implemented in the individual workshops, a group
workshop is done in a Master of Design class setting. A week before the workshop
was held participants were given a questionnaire with prompts regarding their
personal experience with a piece of information. The questionnaire asked the
participants to record a recent experience when a piece of information they
received altered a preconceived idea or belief they previously held, and which
medium did they received the information through. Relevant readings were also
given in advance as guidance. They include a short form version of the Yale
research paper finding, Chomsky’s Media Control (2011), a commentary from
Tank magazine on challenging establishment media and an article on The
Guardian on Neil Postman’s view of information culture in the future (Bastani,
2019) (Postman, 2018).

22

Form of Questionnaire
When was the last time you received a piece of information that challenges
your preconceived idea/opinion?
Who delivered the information? What was the medium?
How did this new piece of information influence your actions/life decisions?

In the workshop participants were given 50 minutes in total. 30 minutes were spent in the
beginning to make their own Op-Ed headlines based on previously filled questionnaire to be
worn on a garment. They were given two options: a paper canvas in the form of a T-shirt and
a tote bag. Op-Ed writing principles written by McGill University were displayed on the room
to guide the participants in making an effective and concise Op-Ed content. The last 20
minutes then was used as a time for critical group discussion regarding the readings given
and how it shaped the forms of the exercise.
The results of the Op-Ed workshop varied greatly from each other. In total, there were three
main forms of content that the participants created: A series of word provocations, a series
of graphical provocations and a series that uses both word and graphical provocations.
Since the garments have not been deployed outside of the workshop setting it would be hard
to make hypotheses on their subsequent impact on reactions that they will gather. However,
the series of word provocations proved to be the closest in form to an Op-Ed article headline
and might prove to be more successful in delivering the participants point-of-view/personal
statement. While the series of graphical provocations work well in the context of a
custom-made garment, it is difficult to know how effective they would work in its effort to
incite conversations about a particular topic it carries.

23

Throughout the second half portion of the workshop,
several differing comments about the efficacy of the
workshop were discussed. There were several
comments on the overall time allotted for each
sections and the way they were arranged. They way
discussion time was arranged to happen post-making
session did not allow the participants to properly
engage and dissect aforementioned readings in a
critical way. This would have allowed the participants
to alter the mechanism in which they would create the
fabricated Op-Ed content in a more effective way.

Fig 11. Images of group workshop
in Emily Carr University through
Op-Ed information curation.

One particular participant felt particularly empowered
by the framework of the workshop. They attest to the
benefit of the workshop as a facilitator to deliver a
personal testimony. It provides a platform where they
felt secure enough to voice an opinion that they had
long held into words. In contrast, another participant
made a comparison to a workshop that was held in
the spring. In that instance, the participants were
allowed to create information display on garment
based on previously curated news headlines instead
of having to write one on their own. They felt that the
mechanisms of the current workshop is challenging in
contrast to a previous one.

24

25

26

InfoWear through Exhibit
Media Representative
Information Curation

This exhibit highly differs from other forms of engagement that the
project offers. In this scenario, users and audiences as consumers lie
at the heart of the action. 10 T-shirts and 10 canvas bags are
produced with ‘Media Representative’ information curation method
through my personal point-of-view. The news headlines selected
ranged in topics from tech, pop culture zeitgeist, most are relevant to
North American context. Single-headline placement and
multi-headline placement methods were both utilized throughout the
products. There is a heavy emphasis on industry-level production
quality on the displayed garment, which is made evident from official
labeling on T-shirts and tags attached on all. An info banner is
displayed in the background as a brief introduction to the project.
Starting from the headlines: they are deeply entrenched in my
personal narratives, socio-political background and professional
background. From the single-headline display to the multi-headline
display, most of the headlines that were curated mimic a distinctive
personality that is an extension of my own: humor, sarcasm, irony are
visibly prominent.
The display of the exhibit has three levels of user and audience
engagement: Look-and-feel, point-of-purchase and direct
communication. Throughout the three day exhibit, each level of
engagement resulted in various responses. ‘Look-and-feel’ is the
most straightforward of the three, with it needing the least
involvement. The exhibit: which involves 20 garments on a rack
display and an informational banner consisting the research project’s
aims and goals, situated in an open space art sale environment invite
audiences to visually and physically interact with the works.
‘Point-of-purchase’ approach, provided by the art sale platform,
provides a chance for potential users to engage with the exhibit
through a monetary exchange, evocative of the manner in which
users would interact with online news content through paywalls.
‘Direct communication’ approach is provided post-garment purchase,
in a form of a garment tag. It invites potential users to directly reach
out to the research project by providing visual documentation of them
interacting with the garments on the street.

Fig 12. Images of InfoWear through
Exhibit held during Student Art Sale
2019 in Emily Carr University.

27

Fig 13. Clothing tag and label
used as branding and printed
instructions attached to the
garments during exhibit

Look-and-feel, as the most approachable of the three, garnered the
most responses. With periods of ups and downs, nearly 60% of all the
art sale visitors approached the exhibit by viewing the exhibit, touching
the garments and most responded through verbal communication to
other visitors. Compared to the look-and-feel approach, the other
engagement touchpoints were less popular. One simple reasoning that
could explain this scenario are the level of involvements by users and
audiences within each approach. Not only do users need to involve
more actions with point-of-purchase and direct communication
approaches, there are also monetary factor and extra time needed to
make a direct contact. This result was comparable with feedbacks
given during a critique session of the exhibit involving a group of
master of design students and educators.
In this critique session, a couple of pointers were raised regarding the
nature of the engagement touchpoints that the exhibit provided. One
being the limitations ‘point-of-purchase’ approach could pose to
potentially rewarding user engagements. A more conventional art or
design exhibit that is more cognisant of its potential immersive nature
of interactions could provide the project with various responses that
are unexpected, further than an audience engagements that could
only be done post-purchase. This point-of-view would alter the more
conventional of nature of the engagement mechanisms deployed in
this exhibit. Clothing tags that provide AR scanning capabilities, exhibit
display that encourages audiences to visually document it on the spot

28

Fig 14. Some garments produced
for the InfoWear Exhibit.

are amongst specific comments given in the session. Secondly,
it would be beneficial to be cognisant of the nature of curation
the news headlines displayed are filtered through and making
the curation mechanism to be approachable to the audiences.
Some of the news headlines displayed evocative of a Twitter
“retweet” mechanism, what are the possibilities and
implications of having a physical manifestation of an interactive
“retweet” mechanism.
However, limitations of an art fair display considered, the fairly
popular ‘look-and-feel’ approach provided an evidence of
possible mass interactivity of the project in a highly curated,
indoor setting. With audience commentaries ranging from
appraisals to contemplative engagements with a personal
narratives evoke through multiple headline display, it is worth
noting the high amount of interactions already made through
touchpoints in the current exhibit. It also opens up possibilities
of a separate exhibition dedicated for the project.

29

Analysis & Reflection
There were three main factors within the research interactions which influence the results
of the research project:
1. Types of information curation within each actions
2. Performative nature of wearing the garments
3. Interactions among participants and audiences.

By analyzing these three factors we can notice patterns that could inform the direction of
the future research and actions.
Types of information curation within each actions

Within specific actions throughout the project, one important category of difference is
between information reposting mechanism (attributed to ‘Media Neutral’, ‘Media
Representative’, ‘Cut-and-Paste’ and ‘Self-Translation’ methods) and information creation
mechanism (attributed to ‘Op-Ed’ method). Within the information reposting mechanism,
evocative of our behaviour on social media platforms, most users find the methods
incorporated to be easier to follow and provocative enough for interactions with audiences.
The news headlines displayed, especially when visually paired with the news source,
provides a more effective way for audiences to understand and interact with the issue
brought up by the headline. These two mechanisms have different results in the effect they
had in influencing internal dialogues within a participant’s psyche.
Performative nature of wearing the garments

These two garment forms created different results in the interaction and performativity
aspect. The early experimentation results in many garments that were inherently
unwearable for two different reasons: the health hazard that some materials will inflict on
the body and the feeling of intimidation that the fashion semiotics inflicted on the garments
have on the participants. However, some garments were wearable enough for some
participants to perform and resulted in unique, one-of-a-kind DIY garments that are more of
a personal statement than an easily replicable clothing piece. For instance, a garment that
Benjamin wore during his travel period in NYC was singed and burned just enough to convey
his point-of-view complementary to the news headline printed on the garment. Another
example would be a cropped T-shirt with names of New Zealand bombing victims which,
married with a minute of silence, became a performative piece. In a sense, this garment
creation form becomes a performative extension of a participant’s narrative and point of
view that they bring into the garment as an action.
Interactions among participants and audiences.

What the latter, simpler and more straightforward garment form lacks in individual
performative aspect, it makes up in the interactions that the participants had while they
wore the garments. A simple, unadulterated white T-shirt, with a news headline clearly
printed and the news source highly visible, seemingly allowed the participants to function as
a ‘walking billboard’, in the sense that their body became a canvas where the news
headline commanded attention of audiences. Because of the simplicity of the clothing form,
participants very often wore the garment while they went about with their daily routine
where they were physically confronted by other individuals within their social and

30

garment worn. Upon observation, casual interactions on the street are plentiful. They range
from complementary comments about the garment, brief verbal inquiry upon the nature of
the project, and some even lead to group talks within their circles about the nature of
messaging on garments. However, deeper conversations that allowed them to verbally unpack
preconceived notions about the news headlines they were wearing typically happened within
a participant’s close group of individuals: family members and partners. A plain T-shirt with a
clearly printed news headline on top allowed the garment to be inherently an entity separate
from the participants wearing them.
Research Outcomes

The results aforementioned refer to the physical garment result and the psychological internal
discourse among the participants. It’s important to see both the garment result of the project
and the internal dialogue of the participants, particularly how they start to unpack their
personalized media bubble. Two different types of garments were produced as a result of
different forms of individual participation, starting from the early experimentation project
phase. The garments produced in this phase were highly experimental in terms of wearability
and cohesion of messaging on clothing. Unconventional materials were used (staplers, duct
tapes, office supplies) to visually convey a participant’s point of view of a particular news
material. This method results in garments imbued with a highly particular and individualized
messaging which uses fashion semiotics heavily. Contrast this to the latter garment iterations
that were heavily influenced by Munoz’s and Kim’s creative recommendation to lean in on
actual worded semiotics of the news headlines. Within the three latter InfoWear iterations,
the garments focused on the sole function of carrying headlines, and are largely
unadulterated physically.
A more significant result of the project is attributed to the psychological results within a
participant’s psyche. The different results from headlines coming from pre-existing news
sources compared to fabricated news headlines by participants have different impact in a
person’s internal analysis of the experience. While the pre-existing news headline display
approach garnered more casual interactions on the street, conversations that unpack the
nature of the news headline very often happened within a participant’s familiar social circles:
with close family members, friends, and colleagues. It is within this space that the fabricated
headlines were effective as well. However, the pre-existing news headlines seemed to provoke
deeper and more compelling conversations compared to the fabricated headlines. The result
suggested that while the fabricated information pieces can deliver an issue that is more
personalized in nature, a user’s personal bias within the ‘Op-Ed’ curation process can prevent
potentially unexpected conversations with audiences. This can result in an internal reflection
on a participant’s mind on the nature of socio-political affiliations of their social circles.
Participants may have gone out into the world with a preconceived notions of the interactions
that would happen. Displaying a personal narrative through clothing that does not result in
the types of interactions that one expected poses a challenge on the gravity of the issues on a
participant’s mind. The resulting thought process pushes a participant out of their comfort
zone and opens a pathway towards unpacking their personalized media bubble.

31

Future Direction
In its current form of implementation, the research project
encourages participants to ‘perform’ garments they have made,
visually documenting the experience, and reflecting internally on the
results. However, to delve deeper into the multidisciplinary nature of
the research inquiry, the project could benefit from requiring a ‘360’
participation in which participants follow previously agreed upon and
enforced guidelines concerning the visual documentation and
locations where the garments could be worn. This way, the project
allows for a natural social media recycling process where the
garments would have multiple touchpoints other than the street that
could encourage further engagements with a wider scope of
audiences.
The methodology of the research project, which consist of multiple
new curation mechanism could benefit from further exploration in
future iteration of the project. As it stands, four new curation related
to the information curation mechanism were more effective in its
mission to replicate each participant’s media environment. The
wide-reaching, scattershot nature of the mechanism of information
curation produced similarly wide-arrange and varied garment results,
with a focus on individual agency. However, in the future the
methodology may benefit from a deeper focus on information curation
method which retains visual elements of pre-existing news headlines.
Furthermore, there are three elements within the research space that
could benefit from further evolution in form, or to potentially inform
other practices.
1. The material aspect
2. The workshop framework
3. Research framework as publication
The Material Aspect
The material aspect of the project as it stands alleviates the pressure
upon users to be an expert in fashion semiotics. However, a more
diverse clothing options and forms from myself and the users could
open up pathways that perhaps T-shirts and canvas bags were not
capable of doing. A deeper critical analysis which could open up
would be, what are the benefits which the medium of clothing could
bring forward in a digital-first, sustainable era?

Fig 15. Example of the media recycling
method. Tote bag produced during the
group workshop posted as an
Instagram Story

The Workshop Framework
As it stands, the current workshop iterations have provided a platform
for participants inside and outside of the field of design to critically
engage with news headlines in an immersive way. Testimonies
gathered proved that individuals-at-large do have interest in
developing a more critical mindset to news consumption. A future
workshop implementation geared towards younger and senior
audiences, particularly those who are more susceptible to falsified

32

information online, would be of benefit. A particular emphasis would be to develop news
literacy among this population through information curation methods previously enacted by
participants. Building an interest in news readership, making self-fabricated news headlines
with emphasis in factual information and developing a critical eye in deciphering meanings
behind pre-existing news headlines are actions that could be involved in a workshop with or
without garments.
Research Framework as Publication
The research framework that was developed has potential for further experimentation and
dissemination which would bring insights to the current media platform. One obvious pathway
is developing a publication or media platform which taps into user-generated content as a
main element. A benefit which this publication form could present is storytelling which shines
a light on non-mainstream issues. A current relevant example is Gay Mag, which was started
by Roxane Gay on Medium.com (https://gay.medium.com/). Another form which this could
evolve to, is the incorporation of non-conventional mediums for storytelling into publication.
Similar to the usage of clothing in this project, other mediums of engagement could be
integrated to foster a critical information dissemination.
A final aspect of the project which could prove to be increasingly relevant within the digital
information space is perhaps the tactile form of ‘augmented information’ on a real-life subject
and object. As a new form of information technology, augmented reality or AR is permeating
through the most popular of social media platforms, through a report by Chuck Martin on
MediaPost (2019). Current implementations include a gaming app (Pokemon Go), widely used
social media platforms (Snapchat, TikTok, Instagram through Face Filters, Facebook), and
various utility apps (Google Translate, Google Maps, Amazon). Albeit the niche aspect of the
project form, as augmented reality technology mature we will continue to see the blurring of
real-life subjects and digital forms of information on our devices (Graham, 2020).
This begs the question, how can designers implement a critical methodology which would
foster a better information realm to avoid issues pertaining digital information platforms that
we are facing today? The gravity of current fake news, information overload, and resonance of
user-generated content would be amplified by this new set of technologies. In a sense, the
form of the research project exist in this realization and impending future. The next steps
would be to widen the scope of this inquiry, conceptualize this realm of ‘augmented
information’ and implement news curation mechanism for various use cases within
this realm.
In the past years, the late Steve Jobs often talked about the premise of the intersection of
technology and liberal arts in his public keynotes. He often cited this knowledge as the
grounding principle of products developed by Apple in its mission to serve highly accessible
products towards its consumers. However, a crucial aspect in the current digital information
era is that this premise is not only relevant towards the designers and the makers, but also
the consumer, the end user, or in the case of this project the readers. The challenge, and the
hope, in the current time is to develop this intersection further by integrating the aspect of
humanities in a collective mission towards intentionality and knowledge of the repercussions
in the field of design.

33

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Appendices
The following are extensive visual documentations of each research iterations. They are
complementary to previously added images within each document sections

Appendix 1
Personal Garment Experimentations

Fig 16. Results of Personal Garment
Experimentation and methods done
during the garment modification process.

36

Appendix 2
Early Implementation of Group Workshop

37

Fig 17 (Previous Page). Various shots of
participants’ actions during Early
Implementation of Group Workshop
Fig 18 (This Page). Garments exhibit in Emily
Carr University as a result of early phase
experimentations

38

Appendix 3
InfoWear through Individual Workshops

39

40

41

42

Adine Halim

Headline related to her
profession as a visual
artist - local news source

Few casual conversations
In-depth conversation with three artists in a
gallery exhibit, a friend and a partner.
Worn in Jakarta

Wuchen

Headline related to an
upcoming event in local
context (2020 Tokyo
Olympics) - local news
source

Few casual conversations
In-depth conversation with a good friend and
travel partner in Tokyo

Benjamin Espinosa

Headline related to local
issue in home base - local
news source, worn
abroad

Few casual conversations
In-depth conversation with a distant family
member in NYC

Rhian Tate

Headline related to her
profession as a designer global news source

Few casual conversations
In-depth conversation with some co-workers and
family member in Vancouver

Maggie Michella
and Family

Headline related to her
profession as an art
director - global news
source

Some casual conversations
In-depth conversation with friends and colleagues
in Los Angeles

Jonathan Yaputra

Headline related to local
context - local and foreign
news source

Plenty of casual conversations in the forms of
questions, compliments, inquiry of availability
In-depth conversation with friends and
colleagues in NYC, Los Angeles and Vancouver

43

Appendix 4
InfoWear through Group Workshop

Fig 19. Various shots of participants’
actions during a Group Workshop setting.

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Fig 20 (Above). Samples of
questionnaire distributed to
participants leading to the
Group Workshop.
Fig 21 (Left). A garment result
performed in New Delhi.

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Appendix 5
InfoWear through Exhibit

Fig 22. Shot of InfoWear Exhibit,
garment tag and garment produced.

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