After an extensive group discussion and review of all the objects in the rapid response collection at the V&A Museum, we found that our most passionate discussions revolved around the bra exhibited in the ‘Automation and Labour’ display. The Brassiere (2013) is a metal-free and non-underwired bra worn by women in electronics factories in and around Shenzhen to avoid harassment and body searches from male security staff.
We noticed our group’s different standpoints concerning the object, yet emphasised similar disapproval in how the V&A had curated this pink push-up bra in front of a poster depicting protesting women with banners with the words ’equal pay’ written on them. Although innovative, the bra still appeared as a sexually charged object dominated by the male gaze. Thereupon we opted for different group roles to contextualise the bra further.
Throughout this brief, I curated a hypothetical exhibition showcasing several design objects which I thought were relevant as driving forces to help enhance gender equalisation. While researching these designs, my understanding of feminist movements and how design choices have impacted everyday life to this day deepened. Finally, our group’s cataloguing and investigating practices sharpened my knowledge of how mere fashion choices created a socio-economic and political impact on women’s role in society.
Brasserie (2012) [Exhibit] Victoria and Albert Museum. (Viewed: 08.02.2023).
Annotated bibliography
Reference one from the reading list
Donna Haraway, (1988) ’Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective’ Feminist Studies, 14(3) pp. 575–599 Available at: https://www-jstor-org.arts.idm.oclc.org/stable/3178066 (Accessed: 06.02.2023)
Haraway’s book interprets the author’s feminist epistemology and her approach to the multidimensionality of subjectivity and vision. She explains that objectivity and vision are not fixed, and that vision should instead be viewed as the choice of power to see. By regarding knowledge as something not static, but as an ongoing process, it is possible to comprehend the fields of structured and structuring differences between genders. In doing so, she explored the question that feminism is not just about one subject but several subjects that should be critically examined.
Our group’s investigation is closely related to Haraway’s work, as during our discussions, we discovered different points of view based on our upbringing, gender, age and socio-political conceptions that have shaped our individual relationship to gender. Instead of suppressing the fact that we all had our subjective experiences regarding a bra or the female gender, we wanted to embrace them and use them to our advantage. Since knowledge cannot be objective and the world cannot be viewed from a neutral and external point of view, we chose to use our perspective from within. This way, we have attempted to introduce a more in-depth understanding of our group’s feminist epistemology. We learned to understand women’s role in our personal development.
Reference two from the reading list
Qeuneau, R. (1998) Exercises in Style. London: John Calder. [1947] 1998. pp. 17–26
In Exercises in Style Qeuneau narrates the story of a man who gets into an argument with another passenger on a bus. He repeats this story 99 times in the course of this book, each time in a radically different style, metaphorical, analytical, and many other different forms.
Queneau’s piece enhanced and challenged my understanding of how to deal with our selected object. By looking at the bra from multiple angles and embracing different approaches and ways of seeing, we managed to generate a multidimensional investigation, translation and contextualisation, which we then collaboratively iterated.
Our practice could be divided into five different stylistic outputs happening within two stages.
In stage one, each group member chose a different method to analyse the bra. Thereby we generated three unique outputs varying in form and content: methods of investigation, cataloguing and contextualising.
In stage two, we would present and compare all generated material from stage one, compile the information in one presentation and then collaboratively design our last artefact: the hyper-functional bra as a result of our iterative and translation practice.
Finally, reflecting on our five different stylistic outputs, we realised the significance of formative storytelling in creating a comprehensive outline of our practice.
Reference one outside the reading list
Perry, G. (2017) The descent of man. UK: Penguin Books.
Perry’s book thoroughly explores the concept of masculinity and presents his vulnerable and critical vision of what is perceived as ’masculine’ today. In his writing, he explains that society’s understanding of gender-conform behaviour is not working and needs to become revolutionised. However, he believes that a revolution with lasting impact must occur in peacetime so that ongoing positive progress leads to gender equality which is no longer perceived as disruptive.
Perry’s approach reflects our group’s practices while contextualising the subject matter. For example, during our research, we learned to understand the value of peaceful inventions such as bicycles or washing machines. These ubiquitous yet pioneering design objects contributed considerably to gender equality at the beginning of the 20th century without causing significant upheaval. Likewise, the bra symbolises a peaceful intervention to protect women’s integration.
Another critical hypothesis in Perry’s book is the need for more congruence between people. We discovered that many Chinese women workers choose their underwear first to fit the male gaze, then for their own safety, and only last for their own needs. During our research process, we were able to discover the instrumentalised role that women’s bodies play in the economic development of Shenzhen.
Reference two outside the reading list
Deleuze, G. and Guattari, F. (1987) A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press.
In their book, Deleuze and Guattari explained the philosophical concept of rhizomatic thinking and assemblages. They described a theory that enables several hierarchy-rejecting points of entry and exit in data depiction and interpretation. By focusing on multiplicity and interconnectedness, one could see the complex structure (or non-structure) consisting of a collection of abstractions forming non-linear arguments.
Our iterative practice reflects these assemblages and rhizomatic approaches. Initially, the functionality of the bra displayed in the V&A mainly focused on protecting against men and, in turn, attracting them. By designing them without wires, female workers would not be facing inappropriate body searches by the security staff, and by being pink and push-up, they would still draw in the male gaze.
As a group, we decided to create a new bra that, instead of being designed against and for men, should be hyper-functional and would only serve women’s needs. Thus we exaggerated many functions necessary in a woman’s daily life and created an assemblage of an almost satirical fashion piece. The rhizome as an essential tool in our work helped us recognise the singularity of each subject in the iteration and investigation of this bra.
Reference one design practices
Metahaven (2023) Homepage. Available at: https://metahaven.net/ (Accessed: 12.04.2023)
Metahaven is a visionary design studio or artist collective working across different media to design multiple creative artefacts, thus helping people to recognise political ideologies while exploring graphic communication design practices. Initially founded by Vinca Kruk and Daniel van der Velden, they utilise the notion of assemblages in which they resemble and depict today’s culture and power imbalances. Ranging from installation work to apparel their work can be commissioned and self-directed.
Metahaven is an inspirational and thought-provoking creative power that has directly influenced our contextualising practice. With their truth-revealing and cutting-blade operations between communication, aesthetics, and politics, we were encouraged to dive deeper into our investigative process. With the help of assemblage like Metahaven usually utilises, we aimed to interconnect our findings in an attempt to display existing cultural gender inequalities.
To highlight that some women feel the need to protect themselves more, we have equipped the bra with an ’emergency button’ in case the wearer feels unsafe and wants to call the police. Furthermore, other features include gloves to help stay warm or pockets to keep your belongings safe.
Reference two design practices
R., Pater (2021) untold stories. Available at: http://www.untold-stories.net/?p= (Accessed: 12.04.2023)
With his designs and writings, the dutch designer Ruben Pater searches for ethical alternatives through design. His practice involves investigating the relationship between culture, graphic design and politics while he tries to translate stories that otherwise would not get told. These insights are featured on his website untold stories where he covers subjects that appear too unprofitable or sensitive to publish by commercial media.
Ruben Pater’s untold stories (2021)challenged my handling of our chosen object as it made me aware of the possibilities of uncovering complex political issues with the help of visual narratives. In addition, I realised the importance of thoroughly exploring the cultural meaning of a bra, which meant choosing multiple angles and lenses to view our object through. In doing so, we have tried to create awareness of complex issues by choosing surprising and instructive insights into all that evolves around a bra. Finally, with our iterative practice of designing a hyper-functional bra, we have found an innovative way to highlight the social injustices women face today and the role the women’s body plays in the economic development inside Chinese factories.