Figure 3.

The survey instrument

Name

Cad i eet ee
-
CAD Sr ad
sore eae
Sau

Their response was an immediate validation of what we had
hoped to achieve with this project. Talking with the parents of our
co-creators was equally rewarding, as they received our findings
warmly and saw the potential of the maker-space in their neigh-
bourhood. It was exciting to see how effective craft can be as a
tool in approaching a sustainable design problem — to make the
shift away from industrial design processes to the skilled vernacu-
lar of local producers with a deep understanding of their clients.
The ability of the Ric Yuenn doll to shape belief in the audi-
ence was remarkable as it coaxed them into active participation
with the message and acceptance of the used doll as new again
(Tyler, 1992).

Mattel likes to represent Barbie™ as being timeless and essentially
unchanged since her introduction in 1959 (Barbie™: Inspiration
for Girls, 2009). This strikes me as short-sighted and out of touch.
The world they position their doll in has changed dramatically in
the last fifty years, yet they seem content to limit their creativity

Con auh wn =
= 88s Ss

to superficial fashion updates which are largely ignorant of the
social movements that have progressed around them. No matter
what outfit she is wearing, Barbie™ is now an anachronism with
little in common with the young girls she is purchased for. This
deficit creates an opportunity for new, more culturally relevant
dolls. Rather than aspiring to be like Barbie”, girls should now be
able to aspire to change Barbie™ as they see fit. +

REFERENCES//

1. Barbie’: Inspiration For Girls. (2009). Retrieved from http://www.
youtube.com/watch?v=BWGmtlatBM Y&feature=youtube_gdata

2. Buchanan, R. (1992). Wicked Problems in Design Thinking. Design
Issues, 8(2), 5-21.

Figure 4.
VancouverGirl brand marks

—- COUTURE

3. Dougherty, L. Barbie® Doll Celebrates Her 50th Birthday with Souvenir
$3 Bathing Suit Barbie® Doll and a Major Birthday Bash at Barbie®’s New,
Real Malibu Dream House. Retrieved December 10, 2009, from http://
eon.businesswire.com/portal/site/eon/permalink/?ndmViewld=news_vie
w&newsId=20090309005479&newsLang=en. March 9, 2009

4. Dru, J. M. (2002). Beyond disruption: changing the rules in the market-
place. Wiley.

5. Frascara, J. (Ed.). (2002). Design moves. In Design and the Social Sci-
ences: Making Connections. CRC Press, 66-81.Retrieved from http://www.

informaworld.com/smpp/content~content=a728484598

6. McDonough, W., and Braungart, M. (2002). Cradle to Cradle: Remaking
The Way We Make Things. North Point Press.

7. Mitchell, D. Blogging Against Barbie. The New York Times. Retrieved
from _ http://www.nytimes.com/2008/05/10/technology/roonline.htm]?_
r=1. May 10, 2008

8. Nay, E. (n.d.). (2008). Sustainable Practice. Craft.
g. Scott, M. C. (1993). Understanding Comics: The Invisible Art. Harper Per-
ennial, New York.

10. Suri, J. F. (2003). The experience of evolution: developments in design
practice. The Design Journal, 6(2), 39-48.

u. Tyler, A. C. (1992). Shaping Belief: The Role of Audience in Visual
Communication. Design Issues, 9(1), 21-29.

12. Vitta, M., and Nelles, J. (1985). The Meaning of Design. Design Issues.
2(2), 3-8.

13. Walker, S. (2007). Cack-Handed Design Design-Centered Approaches
to Process and Product for Sustainability. The Design Journal. 10(3), 28-40.

IMAGE REFERENCES//
Fig 1. Hallam, J. (2009).

Fig 2. Hallam, J. (2009).
Fig 3. Hallam, J. (2009).
Fig 4. Wu, J. Quenneville, J. Hallam, J. (2009).

SUSTAINABILITY 25