Relatório 2013 by Sofia Vilarinho

Mozambique Capulana in a D4S design perspective: identity, tradition and fashion-able challenges in the XXI century

Phd Student | Sofia Leonor Vilarinho Lucas Supervisor | Henri Christiaans, TU Delft, Delft, Netherlands Co-Supervisor| Maria Paula Meneses, CES, Coimbra, Portugal

Design Fourth report January 2013- December 2013

Theme Fashion for development (F4D)

Title Mozambique Capulana in a D4S design perspective: identity, tradition and fashionable challenges in the XXI century

Key-words Capulana, Design for Sustainability (D4S), Tradition, Identity, Fashion-able

Scientific Area: Fashion Design I&D Structure: CIAUD-Centro de Investigação em Arquitectura Urbanismo e Design Host Institution: Faculdade de Arquitectura –Universidade Técnica de Lisboa Fellowship: PhD fellowship number SFRH / BD / 68602 / 2010 financed by Science and Technology Foundation.

General Index 1.

Introduction……………………………………………………….....Pa g.5 1.1. Research Project Diagram ……………………………………………Pag.8 1.2.

Why the research follows D4S method?.....................................Pag.9 1.3.

The problem contextualization………………………………...Pag.11 1.4.

Planning action ………………………………………………..Pag.13 1.5.

Methodologies…………………………………………………Pag.15 2.

Activities

under

the

provisional

schedule…………………………..Pag.17 2.1

Literature review………………………………………………..Pag.17 2.2.

Writings ………………………………………………………..Pag.19 2.3 Current Status of the research………………………………….Pag.21 2.3.1. Lab 1: The African Tailors …………………………….Pag.21 2.3.2. Lab 2: Mozambican Women…………………………...Pag.23 a)Forums of Dialogue ……………………………………….... Pag.23 b) Fashion-able| Product development|Capulanar…………….. Pag.24 3.

Public

presentations

the

research………………………………...Pag.35 4.

Future Pag.35

Work…………………………………………………………

Conclusion…………………………………………………………..Pa g.36 6.

References…………………………………………………………..Pag .37

Index of Appendix Appendix A: Agreement of collaboration FA-UL/MNT……………… Pag.45 Appendix B: Article’s abstracts………………………………………....Pag.46 Appendix C: Pictures of the workshop UBI/ Covilhã…………………..Pag.49 Appendix E: Other Research Activities…………………………………Pag.50

Index of Figures Figure 1 Research Project Diagram……………………………………………… Pag. 8 Figure 2 Design for Sustainability (Diehl and Crul, 2004, pp.21) ….......................Pag.11 Figure 3 Design for Sustainability by Ehrenfeld, 2008…………………………….Pag.11 Figure 4 Design for Sustainability definition taken on this approach………………Pag.11 Figure 5 Research Structure ………………………………………………………..Pag.14 Figure 6 Provisional timetable………………………………………………............Pag.17 Figure 7 Registration of some sessions of the workshop……………………………Pag.25 Figure 8 Fashion-able syntax………………………………………………………..Pag.27 Figure 9 Proposal for the co-design process ………………………………………..Pag.29 4

Figure 10 Embodiment: 3D experiments ……………………………………………..Pag.30 Figure 11 Brainstorming as design process- negotiating paths…………………..........Pag.30 Figure 12 Capulanar’ manuals level 1 and 2……………………………………..........Pag.31 Figure 13 Capulanar moments during Mozambique Design Day……………………..Pag.31 Figure 14 Two examples of participation………………………………………………Pag.32 Figure 15 Capulanar brand image………………………………………………………Pag.34

Introduction

The year 2013, was for me an emotionally intensive year due to family problems concerning the death of my grandfather and the serious illness of my brother during 7 months in the Hospital. Nevertheless, I tried to stay focused on my work and make research progresses according the provisional timetable I’ve planned in my last report. As I am in the final stretch of my project, it’s important to clarify the propositions of this research. The following abstract is elucidative about the contextualization of this research: This research is focused on the study of capulana from Mozambique. More specifically in a hedonic exploration that furthers our understanding of tradition and exposes the creative complexities of contemporary African fashion – focusing in both 5

urban centers Maputo and Lisbon. This project is searching for methodologies to find fashion praxis (fashion-able), which enable a refined work in the field of construction of identity, culture and sustainability. The study points out that there is much to learn about the cloth and suggests cultural concepts of capulana (slow-fashion, design and co-affectivity) as potential guidelines for the development of creative empirical processes, which are justified - by the narratives of Anglo-European origin - as key concepts for the development of design for sustainability (D4S). In doing so it asserts a space for the inquiry of African creative, in their singular multiplicity, suggesting capulana and its cultural concepts as a source of inspiration from which designers can ‘theorize back’ to the AngloEuropean fashion and also to the African fashion systems. Indeed by creating spaces for reflection, action, mediation and dialogue, which intend to innovate the tradition of this cloth and open new methodological approaches that enable fashion-abe praxis and creative expressions that are 'situated' in the culture, the research raises questions about mechanisms and universal standards used by African fashion systems: cultural creativity and production chains (involving the full cycle of production to use). The challenges arising from an assumed isomorphism between place and culture highlights how identity and creativity are intertwined in cultural processes of ‘self-making’. Also the 'situated' creative expressions potentiated by the spaces of mediation and dialogue play a crucial role for the revitalization of culture and the creation of economic sustainability that enhances human development, social transformation becoming the key engine of a ‘local’ participation in a global ecosystem. The study starts from a contextual historical analysis of the cloth to expose and map the complexities of creative fashion production in urban centers (Maputo and Lisbon) and highlight the cultural concepts of the cloth. In a second phase introduces and develops spaces for action to foster new epistemological and methodological approaches that contribute to a reading of the cloth into a design for sustainability perspective. By analyzing 'threats' to the tradition of capulana this laboratories (labs) proposes a practical work with two different focus groups here considered agents for creativity with capulana: African tailors and Mozambican women. Focusing on cultural concepts of the cloth (defined by the author as co-design, slowfashion and inclination) these labs seek to integrate design methodologies to understand how these three concepts can be key to delineate the parameters of design 6

for sustainability and to implement 'alternative' design practices with capulana. Exploiting the designer role, the (social) role of fashion and how collaborative processes with the community may enable the construction of identity, collective experience of production chains, empowerment and cultural sustainability. These actions should result in models for fashion-able practices, framed in two levels: on the educational level (with the group of tailors) and on the creative level (with the group of young Mozambican women). These models underline co-design processes that encourage sustainability. They are focused both on the productive exchange of deeper cognitive levels of identity and self-representation and also economic values linking clothing production to human development and social transformation. In methodological terms, the research follows a grounded theory approach (Strauss & Corbin, 1990, Glaser & Strauss, 1967), which induces a more detailed historical analysis and the combination of anthropological data with design methodologies. With a strong component of fieldwork (in Maputo and Lisbon), qualitative methods were dominance. Data collection was made from examination of archives, semistructured interviews, direct observation, photographic and videographic records and field notes, justifying the study. Considering the general aim, this research would be able to introduce new epistemic and methodological design approaches that will contribute to a deeper design reading about the Mozambican fabric. At this stage it was necessary to introduce a new methodology approach: participatory action research done through the use of several experiments on the exploratory study with the two focus groups- the African immigrant Tailors and the Mozambican women. Specifically the first action developed with the group of tailors has grown from the concepts of constructivist approach (Marshall, 1996; Steffe & Gale, 1995) mixed with the prospect of Mayer (2004) on education. The ideas of the designer Ehrenfeld (2008) were also the base to develop an educational program, which could contribute to empower tailors knowledge and skills on tailoring. The second action, capulanar, developed from collaborative process and relied on action research to conduct a design process that incorporated 4 distinct phases of action: presentation, negotiation, effectiveness and evaluation. This action enabled to test how the cultural concepts of capulana (slow fashion, affection and co-design) can be a vehicle for a sustainable fashion practice that will revitalize the tradition of capulana - dressing a rectangle of fabric. 7

One of the main achievements in this research is that the project creates both an epistemological reflection and new methodological approaches in the fashion design field, which can also be applied to other studies and objects. The achieved results with the community of practice highlight how identity and politics are intertwined in cultural and creative processes of self-making (personhood, improving autonomy, hope and wellbeing) – for both groups - and of ‘place making’ (improve livelihood, behaviour, skills and enhance the role as citizen and practitioners on urban contexts) – for the tailors group. Both actions also remind us of how spaces of mediation and dialogue in which creativity and technical skills – through its institutional-informal continuum – are the key engine of ‘local’ participation in a global ecosystem. The main conclusion of this study is to suggest capulana and their cultural concepts as a source of theoretical [and] empirical inspiration from which it’s possible to develop fashion praxis (fashion-able) that frame design for sustainability. The study develops actions that discuss the multiple ‘sites’ (local as well as trans-local, with their diaspora dimension) of production and promotion of knowledge, culture and creativity. Raising the interest on the cloth at both levels educational and design process for sustainability. Another contribution of this study is to create models for collaborative fashion practices that enable individual participation (as a human need) in the design process. Also create alternative spaces that expand the range of action for the production of contemporary fashion that fosters the creation of knowledge (cultural) and knowledge transfer mechanisms that allow illuminate the construction of identity (personality, enhance autonomy and well-being), revitalize and enhance competitive culture based economic growth and environmental solutions social challenges. Keywords: Capulana, Design for Sustainability, Tradition, Identity, Fashion-able 1.1

Research Project Diagram

Fig.1 Research Project Diagram

1.2.Why the research follows D4S method? The publication “Design for Sustainability: a practical approach for developing economies” 1 exposes that “a broad definition of D4S would be that industries take environmental and social concerns as a key element in their long-term product innovation strategy” (2006, p: 16). The authors also underlines that “D4S goes beyond how to make a ‘green’ product - the concept now embraces how best to meet consumer needs – social, economic and environmental - on a systematic level. These 3 key elements of sustainability are also referred to people, planet and profit”(2006, p.21). This manual was a base for starting my paths on this research. Yet regarding 1 This book was developed by the both organizations, the Design for Sustainability (DfS) Programme of Delft University of Technology for UNEP’s Production and Consumption Unit of the Division of Technology, Industry and Economics.

Ehrenfeld (2008) I found that he contested this definition for sustainability and considered ethical, natural and human has the frameworks of design for sustainability. According to this author “sustainability is an existential problem, not an environmental and social one …“ believing that “ …we cannot and will not begin to take care of the world until we become whole ourselves” (2008:60). The author argues that the first aspect belongs to the domain of “… care: taking care of others” (2008:60), the second address ”…new forms of production and strong constraints over the consumptive patterns…” (2008:59) and the third aspect is related to the “…human dimension of flourishing…” (2008:59). Yet researching other authors that take Ehrenfeld’s background ideas I found that Kate Fletcher extends the meaning ‘caring’ to objects, arguing that “… appropriateness reflects the degree of ‘fit’ that an object has with place, function, user, maker and environment” (2008: 166). For her to care is key to develop relationships between “designer and maker, maker and garment, garment and user “(2008: 173). From this emotional link, Fletcher also reinforces Ehrenfeld’s second aspect by drawing attention to speed and the way fashion is consumed. Warning for slow-fashion as “slowness provides stability and can promote holistic thinking and casual chains of responsibility” (2008: 162) putting balance (balancing speeds of production and consumption) as the heart of the idea about slow fashion. Strengthening the third aspect (human dimension) we found some authors defending that designing together (design with “com”) reinforces the Being, develops identity and … (Fletcher, 2008; Fuad-Luke, 2009). Co-design “…offers an opportunity for multi-stakeholders and actors collectively define the context and problem and in doing so improve the chances of a design outcome being effective “ (Fuad-Luke 2009, p.147). At this point I agree with these authors, although I conclude that I need to add one more element for achieving capulana in a D4S perspective. Cultural Knowledge is for me a key element to develop ‘situated’ products and services. It is important to use cultural knowledge that is rooted on people to develop together sustainable solutions that include their knowledge. Cultural knowledge becomes important -

Because is a tool to think about design strategies for product development

Because integrates cultural awareness into the design process

Precisely, this research is then focused on the Mozambican textile capulana and looks for fashion-able challenges for the fabric. Intending to innovate design based on 10

fashion for social change and therefore sustainability. In this research it is important to work with cultural knowledge that is rooted on people. Thus testing the effectiveness of the involvement of African/Mozambican community in Lisbon in order to explore how this collaboration may use them cultural knowledge to upgrade capulana â&#x20AC;&#x2122;s tradition and build identity and cultural awareness. Alongside the data identifies that capulana cultural concepts (co-design, slow fashion and affectivity) are key for what the authors (Fuad-Luke, Fletcher and Ehrenfeld) defend about design for sustainability. So the assumptions of the research project are: 1- To develop a contemporary fashion that helps to strengthen identity and

support cultural sustainability, designers and stylists must be aware of the capulana cultural concepts because they may be the guide to develop sustainable solutions that favor generational gaps about the capulana tradition and the fragile chains of production of clothing 2- By developing a co-design program with the African community and by using

capulanaâ&#x20AC;&#x2122;s cultural concepts at the center of these actions, I may be able to achieve positive results on identity building and cultural sustainability.

Fig.2: Design for Sustainability (Diehl and Crul, 2004, pp.21)

Fig.3: Design for Sustainability by Ehrenfeld, 2008

Figure 4: Design for Sustainability definition taken on this research.

1.3. The Problem contextualization

Data collection and bibliographic research revealed that there is no such compressive study of capulana in Mozambique. Studies have been made of textiles is other east African countries, and frequently the history of Kanga dress the history of Capulana. Also little research has explored the imperatives and practices of creative fashion economies in the urban centres. This research project is concerned with the study of capulana in three different contexts: the history, contemporary fashion production and capulana appropriation among African youth culture. The reason to consider these three contexts was that fieldwork studies in Maputo revealed a gap between these three contexts: -

Capulana in its traditional form is deeply associated with tradition besides political discourses of nation building;

The endogenous knowledge these tailors hold acts as a cultural (re)generator. But most policy-makers and civil society practitioners do not recognize their active role in participating in urban creativity and African fashion

There is no effective support from official producers in African creative cities (i.e. public officials and policy-makers) to improve tailorsâ&#x20AC;&#x2122; work as practitioners in those cities.

Young generations contest the use of the traditional capulana dressing practices and the western style cut made on capulana became an emergent

desirable trend because is the adjusted answer for the desire of being 'modern'. Furthermore some authors present a vision that identifies similar gaps I found during the fieldwork studies in Maputo. The authors Jawando and all (2012) had made a research among tailors in the area of Oyo state (Nigeria) and the research recommend that “Government should support the traditional apprenticeship system by ensuring that apprentices under this system can compete favorably with the modern apprenticeship system. This can be done by conducting skill tests for apprentices to maintain standards; Atiba local government should organize extra-mural lesson for the practitioners, especially the apprentice so as to improve the level their level of education as many of them only had first school leaving certificates” (2012,185) The author Grabski, who has made a study about fashion production in Dakar, identified that tailors have an important role on fashion production, usually they took inspiration from the visual experiences of the urban centers reinforcing that they “… not only draw information and inspiration from urban centers, they are also important agents in shaping it” (2009, 220) although this author highlights that imported clothing affect negatively the demands for tailors ‘service The author Behrend, referes that wearing International clothing is a practice of developing “… a transcultural, global subjectivity that strongly opposed ideas of local Africa ethnicity and traditions” (2002:53), therefore of self-creation. So consumer practices of African Youth culture are strongly oriented towards International styles as a sign of achieving a “perpetual future” (Rovine, 2006:134). Also African clothing is gaining a privileged stage among young generations, musicians and even some politicians because this cloth became tool to claim African identity, as the author Nhaumé (2004) identified in her field research in Maputo. Although, in urban centers, fitting and fashionable capulana forms have replaced loose draping forms (which was the traditional shapes) made with rectangles of fabric. In the name of modernity, capulanas are dialoguing Western fashions. But a fragile chain of knowledge production has been the basis for African fashion. There´s a lack of fashion schools in the country to develop stylist knowledge and skills. Yet tailors who are the main agents on the production of contemporary African Fashion are facing hard life conditions (lack schooling and employment) and migration has not 13

being the answer for empowering them knowledge and working conditions, as the fieldwork in Maputo and Lisbon identified. Mainly they are unemployed or they work in civil construction or other jobs and they cannot make a living from tailoring.

1.4.Planning action For this reasons it becomes important to develop design strategies and methodologies to change this scene on fashion creative industry. So this research focus upon: -

unveiling historical tradition of this cloth in order to understand how and why cultural concepts have faded with the post-colonial time.

developing design methodologies based on design for sustainability approach, to benefit social change and build on identity. Specially to work through cultural knowledge to develop fashion-able results.

So by detecting these issues concerning capulana fashion(s) and clothing production and consumption in Maputo, I returned to Lisbon and searched the African immigrant community. For this I choose two different focus groups: the African immigrant tailors and a group of young Mozambican women to develop actions (laboratories) aiming to change positively these gaps analysed on the last paragraph. One of the theoretical bases of these actions is that cultural concepts associated with capulana (defined by the author as affectivity, slow- fashion and co-design) may be key to the effectiveness of what is defended today by sustainable design AngloEuropean narratives. As background values the research is underpinned with the ideas of the designer Ehrenfeld (2008), who point to the need for sustainable development that link cultural and social aspects “by focusing on the 'being' mode of human existence rather than on the unsustainable 'having'". Also having in mind the ideas of the author Fuad-Luke about how co-design can boost sustainable design solutions, the research intend to reveal the importance of designing collectively because this strategy “…offers an opportunity for multi-stakeholders and actors to collectively define the context and the problem and in doing so improve the chance of a design outcome being effective” (2009, p.147). Yet, and focusing directly on the fashion field, the research deeply consider the ideas of the author Kate Fletcher (2008) and her arguments that open a 14

debate about the importance of slow-fashion and affectivity as fashion behaviors for building a more sustainable world. This author also points out - and following the argument from Fuad - Luke - the importance of a new model of action on fashion, by involving the user (or the community to whom the designer is designing) on the design process, because results may become a tool for social change.

Fig.5: Research structure

1.5.. Methodologies This research takes a grounded theory approach (Strauss & Corbin, 1990, Glaser & Strauss, 1967), which induces a more detailed historical analysis and the combination of anthropological data with design methodologies, to develop theory that is grounded on this data. Grounded theory is defined as “the discovery of theory from data” (Glaser & Strauss, 1967, p. XX). In the work The Discovery of Grounded Theory, a more detailed definition referred by Strauss and Corbin is as follows: “A grounded theory is one that is inductively derived from the study of the phenomenon it represents. That is, it is discovered, developed and provisionally verified through systematic data collection and analysis of data pertaining to that phenomenon. Therefore, data collection, analysis and theory stand in reciprocal relationship to one another”. (1990, p. 23) This approach was important on this research, because it is a more permeable 15

approach and allowed the interaction of multiple actors. Grounded theory research is discovered empirically, through induction, not deduction. In the first stage of the research we opted for non - interventionists methods to collect data about the situation of capulana concerning its production, fashion and use (further analyse is presented on the section 3.4). The fieldwork made in Maputoduring two months April and May 2011 - was fundamental to collect data, to analyse the problem and to questioning and then to develop the two actions proposed on this research. During this period I avoid predispositions or preconceptions of the phenomenon under study. Also drawing on Connell and Lowe (1997) I was more focused on initial observations and maintaining a “theoretical sensitivity” for the development of categories that could emerge from the data. Because grounded theory research involves the formulation of local understandings that without inquiry by the researcher remain implicit and unexplained (Lincoln & Guba, 1985), the semistructured interviews were crucial to collect data. (see report 2012, pag:7) Then a new methodology was drawn by following a participatory action research approach (PAR). The first laboratory (Lab I) was developed with the African Immigrant tailors in Lisbon. This action was based on an educational course to empower tailors (cultural) knowledge and technical skills. The action was developed in collaboration with the Fashion Institut Modatex (Lisboa). Further analysis is presented on the section 2.3.1. Another step of the PAR was accomplished through the second laboratory with the group of Mozambican women. At this stage, I developed the second laboratory that included “forums of dialogue” and the second the product development “ capulanar”. These actions were developed with the collaboration of the National Costume Museum in Lisbon (the Museum offered the space to develop these actions) and further analysis is presented on the section 2.3.2 and 2.3.3. These actions intended to become territories of research, analysis and experimentation to build cultural knowledge in order to foster identity building, cultural vitality and social equity for the involved community. In the following pages, I will describe and explain with clarity and rigor the work done over 12 months. For this reason I offer a structure of the document that I present below:

Activities under the provisional schedule 2.2

Literature review 2.3.

Writings 2.2.1 Thesis chapters 2.2.2 Articles 2.3 Current Status of the research 2.3.1. Lab I: The African Tailors 2.3.2. Lab II: Mozambican women | Forums of dialogue 2.3.3. Lab III: Fashion-able | Product development 2.3.4 Applied methodologies 3.

Public presentations of the research 4.

Future Work 5.

Conclusion

Activities under the provisional schedule

Fig. 6: Provisional timetable. The year 2013 was scheduled for activities (figure 1) mainly focussed on Laboratory II and Laboratory III, and on updating the methodology for the research project based on new outcomes and solutions. Another activity of this year was writing the thesis, specifically the chapters III, IV and V

2.1.

Literature review

Three main areas complete this research project: the history of capulana, the cultural context and fashion-able praxis with capulana. The literature survey was first focusing on capulana. As the literature research identified there are several studies about the homonymous garment Kanga, a piece of printed cotton fabric about 1.5m by 1m, which is worn by women and occasionally by men throughout the African Great Lakes region (e.g. Yatha–Otman, 1997; Picton, 1995, Parkin, 2004; Mc Curdy ,2006; Mamid,1996; Linnebuhr, 1989; Hamid, 1996; Fair (2004); Beck (2001)). But there are few studies about capulana. A first published book about capulanas is entitled “Capulanas & Lenços à Moda de Moçambique “(Torcado & Rolleta, 2004). A second study is included in a master thesis entitled “Trilhas e tramas: percursos insuspeitos dos tecidos industrializados do continente 18

Africano” (Da Silva, 2008:110 to 130). Da Silva briefly talks about capulanas and her reflection is mainly based on Torcado & Rolleta’s book, she hasn’t made a fieldwork study in Mozambique or a deeper archive research. A third book - and one of the most conclusive studies about this cloth- is edited by the British Museum under the title “African textiles today “ by Christopher Spring (2012). It offers an important contribution about the way this cloth and it’s homonymous Kanga from Tanzania became an historical document and a tool of communication on the East African coast. There are also four articles that give an important contribute about this cloth: “Mozambican capulanas: tracing histories and memories” (Arnfred,S and Meneses,M.P., 2014) , “As capulanas em Moçambique – descodificando mensagens, procurando sentido nos tecidos”(Meneses, M.P, 2003); “History and heritage of Mozambican Capulanas”(Arnfred, 2010), and “O papel da mulher no consumo de tecido importado no norte e no sul de Moçambique, entre os finais do século XVIII e os meados do século XX”(Zimba, 2012). Apart from a direct reference to capulana it is important to have a holistic understanding of the clothing and textile commerce on East Africa shores. Prestholdt (2004) gives a relevant contribution to the understanding of how imported goods shaped global exchanges and consumerism in East Africa during the nineteenth. Machado (2004) gives a relevant contribute about the influence and the power of Indian commerce on East Africa Coast and how this commerce reshaped identities. Another topic related to the African - European link in clothing history is second-hand clothing (SHC). SHC business becomes the answer for Africa’s demands on higher and innovative clothing, which gradually replaced the traditional African dressing, so capulana. This is a very important topic to understand the ambiguous impact of SHC. On one side SHC became the “hacker” of capulana production. It undermines local industries because used-clothing imports are “found to have a negative impact on apparel and textile production in Africa, explaining roughly 40% of the decline in African apparel production and roughly 50% of the decline in apparel employment” (Frazer, 2008:1). More specifically as analysed during fieldworks in Maputo, the consumption of second-hand clothing is affecting demand for tailor’s service, as explained one tailor in Maputo “because second-hand clothing offers reasonable prices comparing to made to measure services offered by us”. But on another side, SHC is used source for ‘new ‘fashions. As Rovine points in her study about Dakar fashions, international clothing can offer “artistic possibilities” 19

(2009: 227). And as the fieldwork identified blooming creativity came out when SHC is combined with traditional African clothing or when is the resource for new creativity. It was very common to see tailors making upcyclings of SHC by mixing different component of used clothing with certain parts made with capulana, or for example replicating the clothing (unpick the garment for the patterns) and using a capulana for making the new garment. As Hansen reminds â&#x20AC;&#x153;clothing from elsewhere mediate localized styles, appropriations and inventionsâ&#x20AC;? (Hansen, 2000:248). So second-hand clothing will be one of the topics of analysis to understand creative chains of fashion production, mixing capulana and SHC. A paper on this topic was submitted and presented at the conference Fashion Tales 2012 (Milan 7-9 Juin 2012). This article (http://issuu.com/s_vilarinho/docs/about_secondhand_clothes) was selected to make part of the first edition of the International Journal of Fashion Studies, but is still in the stage of review. A final part of the literature review included research on the subject of co-design and sustainable fashion design. I found interesting references as theoretical background for scaffolding the capulanar design process. Those references include Fletcher (2008), Fuad-Luke (2009) and Ehrenfeld (2008). This approached on sustainable fashion and co-design was important for this research because when including the community on the research the results could -

Achieve less biased results on design outcomes, because when the Mozambican community is involved together we could find most appropriate solutions for capulana designs Induce an opportunity to intervene democratically on design outcomes by

giving community the opportunity to a) identify their needs b) voice their decision making; c) reconnect and relations between stakeholders and the cloth; d) be aware of the impact of culture.

2.2.

Writings

Throughout this period I have been preparing some writings to support the development of subsequent tasks, which were approved by the Supervisor and Co-supervisor, including:

1. Thesis chapters: Writing draft chapters III, IV and V of the thesis. Chapter III

is the most advanced. Below are the topics that guided this writing: Bridge to part two: understanding of the fabric Part two: The Capulana Chapter III: Unveiling 1. The Indian Ocean World: Unveiling capulana history 2. Dimensions of the fabric 2.1.

The material

2.2.

The social

2.3.

The cultural

3. Capulana by decades: Making a visual diary 4. Coolhunting: fieldwork in Maputo 4.1(Un) sustainable tradition: local notions of being modern and breaking with tradition 4.2. Second-hand clothes: Second-hand clothing. The cutting edge of the new fashion in Maputo Chapter IV 1. The fashionable capulana 1.1 Africa today: the ‘modern’ capulana 1.2 Fashionable Africanisms: the western perspective 2. The Fashion-able capulana 2.1 Alternative readings 2.2 The cultural concepts

Chapter V Action spaces Towards a well-founded concept: taking action with the community of practice 1. The African diaspora: Tailors in Lisbon

1.1

What’s up? Observation about the tailors in Maputo

1.2

What’s up? Some observations about the tailors in Lisbon

Planning action:

1.3

1.3.1 Who? 1.3.2 Where? 1.3.3 When? 1.3.5 What? 1.3.6 How? 1.4

The applied methodologies

1.5

The results

2. Papers (see the abstracts in appendix B). These writings and reviews were

real opportunities to see my work rated by ' referees' around the world and to have a critical feedback about my research. •

“Second-hand clothing: the cutting edge of the new fashion in Lisbon and Maputo”. This paper is awaiting the final review by the scientific committee of the International Journal of Fashion Studies.

•

“Tailoring modernities in the 21th century: a co-education program designed with the African tailors in Lisbon”, presented at the conference ECAS’13: 5th European Conference on African StudiesAfrican dynamics in a multipolar world. I decided not to publish this paper with ECAS, because I took the chance to attempt the IJURR Symposium (International Journal of Urban and Regional Research). The deadline for the proposal is 30th May 2014, but the acceptance and publication process can take up to 18 months. I took this chance/risk because the proceedings of this kind of publications are more prestigious than conference proceedings.

2.3.

Current Status of the research 2.3.1

Lab I: The African Immigrant Tailors

2012 was the year were further research was conducted among the African immigrant tailors group both during the course and at their workshops locations. Several video records and photographic records were made in both contexts: school and natural 22

working place. Also during 2013 I have involved, with the aid of the tailors, a new group of tailors that might have interest to follow the second course edition for African Tailors (the platform founded at Modatex). I also tried to get the help of immigrant associations but (again) I got no answers from them about this subject. So, the conclusion was that the best method to involve more people was to have a tailor agent in the African community that could influence other tailors to start the course2. In July 2013 we got the assurance that eleven tailors would follow the course after some others had quit due to immigration difficulties. On July 15th we started this second edition, but it was not a good timing because tailors were in Ramadan, reason why their motivation and productivity was lower. Finally we kept eight tailors that until today - are following the course: five tailors from Guinea Bissau and three tailors from Guinea Conakry. Most of the members of this group have a lack of schooling. Their age ranges from 38 to 60 years. After the analysis of the previous edition of the course, we had decided to reformulate the course and to start with the following program: 1)

Drawing of clothes (25 hours) 2)

Pattern making (50 hours) 3)

Informatics (basic level) (25 hours) 4)

Sewing techniques (50 hours) 5)

Textile cutting (25 hours) The changes from the previous course are as follows: drawing classes were the first ones to start with so that they should already have the skills to apply in the next subjects. The discipline of textile technology was skipped due the lack of schooling of these students. It was replaced by 25 hours extra of sewing practice. Again we worked on the basis of two objectives:

2 It is important to consider that many tailors donâ&#x20AC;&#x2122;t see schooling as a great benefit. It is a question of mentality and cultural behaves. I experienced that Senegalese tailors donâ&#x20AC;&#x2122;t feel confortable to come to school, so until today I could have any Senegalese tailor at the course, although they are working as tailors in urban Lisbon.

Build an educational program in the field of tailoring, that is partly at the forefront of available Modatex programs (so International programs) .

Integrate tailors knowledge and skills (build from informal education and local production) within the educational experience.

As a result, the action with the African tailors proposes individual possibility of participation towards a constant incitement of the immigrant participants for their personal development and social inclusion, but also to learn from them other cultural perspectives about tailoring, transforming the action EPAT into a space of mediation and dialogue to develop an in-depth inquiry about African and Western ways of developing clothing. EPAT is also the beginning of an extended action that includes business. In 2013 I found a platform called “AAA: Atelier Alfaiates Africanos”. This platform is an atelier that allows tailors to work on tailoring services and a worthy place to develop the skills. This project is on a beginning stage and further development will be potentiated from 2015 onwards. So the platform AAA closes the all picture about this action that can be resumed as qualify to include. 2.3.2

Lab II: Mozambican women

a) Forums of dialogue Forums of dialogue intended to be a platform for dialogue about capulana. My aim was to develop a space for dialogue where the Mozambican immigrant community could share thoughts, ideas and memories about capulana and fashions across twentieth century history. The intention was that those dialogues could enliven the memory and raise new challenges by triggering processes of ‘voice’ of this community. Departing from the fact that Museums are centres of/for culture, memory, experimentation and multidisciplinary creations/activities I decided to propose collaboration with the National Costume Museum in Lisbon. The collaboration between FAUTL and MNT was signed and agreed upon on May 2nd, 2013 (see appendix A). The forums took place on three separate dates: June 22nd, July 6th and July 27th. The sessions addressed different topics about colonial legacy, migrations, capulana fashions and identity. The forums were intended to develop storytelling 24

through memory and re-memory, and to discuss how capulana shapes identities in the Mozambican Diaspora context. The three sessions mixed several generations. We had participants ranging from young to middle-aged women. In some forums Mozambican men also participated. Even though I put lots of efforts in contacting the Mozambican Embassy, OMM (Organização da Mulher Africana) and Mozambican Associations I couldn’t reach the Afro-Mozambican community as I had expected before. The numerous emails and approaches via the social web were not answered. As replacement I went to the Museu Nacional do Traje (Costume Museum in Lisbon) to organize the second phase on another way. I proposed three forums of dialogue that hapened in Juin 22; July 6 and July 27. Also, as a next step in this phase the activity of product development was planned. Because of the difficulty of getting enough Mozambican women interested I decided to work only with four young African women that were engaged in the forums of dialogue (three of them made the laboratory developed at UBI). Further analysis of these laboratories, will be explained in the next section. b) Fashion-able | Product development | Capulanar To expose the process of this fashion-able development I will explain how I get the candidates for this label. The process of the 3rd laboratory was called Capulanar and started at UBI (Beira interior University) in Covilhã. The responsible person of the fashion department, prof. Rita Salvado, proposed me to develop a workshop based on the lecture I gave at that University, titled "Crosscultural Dialogues: from Mozambique to Covilhã" (May 9th 2013). This chance became a solution to give continuity to the proposed program for the second semester on the Faculty of Architecture–FAUTL (reported in the last report). As explained in the previous report this program was interrupted due to external circumstances. So this lecture became crucial to add more results to my research project and specifically to work for the Lab III (see figure 1). The workshop was operationalized during 5 days, from June 17th to 21st, with a group of nine fashion-design students (two students of the first year; three students of the second year and four master students).

The aim of this workshop was to develop a process of acculturation (a process that grows from Mozambique to blooms in Covilhã) using capulana (the rectangle of textile) as a base for the process. We started by analysing the Mozambican capulana (shape, designs, historical images) to challenge students to develop fashion practices that could highlight design inter-action with (and in) the local Covilhã’s community. The workshop required specific approaches (projectoriented method), where I was at the center of the project evolution. I decided that capulana cultural concepts (affectivity, co-design and slow-fashion) should be at the base of the design process. We focused on the concepts that also ask for sustainability and green fashion (see Fletcher, 2008) and co-design (see Fuadluke, 2009). The students were invited to (re) discover fashion praxis (fashionable), where the rectangle of fabric becomes space and place for the negotiation of Covilha’s cultural identity.

Fig.7: Registration of some sessions of the workshop. -

Operability: main axis -

1st phase: What about Covilha's pattern ID?

This phase covered fieldwork research at the city. The students explored historical moments of the city and cultural behaviours with the local community, particularly the old generation. They tried to collect ‘voices’ of the city using the following research techniques: informal interviews, video and photographic records, drawings and writings about the observations. -

2nd phase: ID 4 All

Based on the analysis of capulana’s historical images and the different forms and cloth draping that comes when dressing a capulana, the students were invited to use the collected ethnographic material selected from the first phase, to experiment with compositions and new forms of clothing, though always

keeping the uncut rectangle cloth. All the developed work should follow the motto "one size fits all". Appendix B shows some pictures of the sessions, while Appendix C shows some of the projects developed by the students. The workshop was guided by the syntax proposed in figure 2. The workshop showed to be a grateful experience for the students. Because academic programs show little theory about African fashion, this workshop highlighted an overview of African clothing and cloths. The practice has broken the “walls” between academic institution and population. Students mapped the place and also their place. It developed a positive dialogue between students and older generations of the city. Students got closer to the community and heard their behaviours and stories about the locality. Students revisited the past to draw a possible future. From the group of students who participated in this workshop I found three African students with the potential to integrate the team for the next step on this research and later one more student join the group. So I invited them to take part of the collaborative process for product development (laboratory III). The four young women Placida Mendes (from Guinea Bissau), Ermelinda Silva (from Mozambique), Vanessa Monteiro (from Cape Vert) and Hamarina Macuanje (from Mozambique) attended also the forums of dialogue and then we started the laboratory III - Fashion-able development. This fashion-able laboratory challenges capulana’s tradition in order to design the 21st century. -

Why Fashion-able?

The word fashion-able has a recent use, and usually is linked to a change. Sustainable change on systems of fashion production and consumption. In 2008 the designer Otto von Osh used the term fashion-able to signify a “new line of practice that takes fashion out of the context of what is more or less passive readyto-wear consumption” (2008,p.27). This designer proposes an alternative role for the designer. He highlights that the designer “…should not make participants listeners or passive choosers of existing consumer goods but as engaged coauthors of fashion, whom will be capable of inventing ways of responding and reacting to fashion. In other words to become fashion-able” (2008, p.33). By 27

following this arguments and analysing many brands who claim for sustainable practices of fashion (e.g. Edun, Ellementum, Moda 360, Fundudzi, among others) , on-line fashion communities dedicated to debates about sustainability (e.g. ethical fashion forum) and websites devoted to the future of sustainable fashion design (e.g. Ecouterre, FashionComPassion), I draw the min-map showed on Figure 8, to ilustrate a personal reflection about fashion-able meanings.

Fig. 8: Fashion-able syntax This reflection was the guide to develop the action-spaces for this research, proposing opportunities to “talk-back“ to the fashion system. On the second action “capulanar”, the verb assigns the name. I opted for the verb because the verb proposes dynamic. The verb locates facts in time. This action with the capulana is deeply explained on the next section. -

The action Capulanar

The collaborative process involved not the final client (what was intended on the first project intention- laboratory II- reported on the report of 2012) but finally I decided to develop this action-capulanar- integrating on the co-design process a working group formed by the 4 young Mozambican women. An historical analysis of the cloth became the base for understanding of culture. Thus allowing the briefing for the 28

action capulanar that has developed in 4 phases: presentation, negotiation, effectiveness and evaluation (see fig. 9). How can design become a tool to upgrade capulana tradition?

Our assumption on this project is that by developing a design program based on capulana cultural concepts affectivity, co-design and slow fashion with the Mozambican community we may achieve positive results on identity building and cultural sustainability. Drawing on Alastair Fuad-Luke (2009) and Kate Fletcher (2008) we developed a design process where collaboration was at the principle base. Both authors categorize fast production and consumption as unsustainable and highlight the negative effects on social, cultural and economic. They propose models of designing vs consumption that are reasoned by new approaches, which may develop social equity, economic stability and change in behaviours while rising cultural and environment awareness. Specifically regarding Kate Fletcher’s book we focused on Chapter 4, where the author argues about “reuse, recycle and zero waste” and on the Chapter 8 ‘User maker’ where the author focuses on defining participatory design process arguing that “the quality of design increases if the stakeholders are included in the design process”(Fletcher, 2008,p.192). On the other hand the action also took Fuad-Luke’ s observation about designing together “…participation motivates people by making them active contributors rather than passive recipients” (2009,p.147) For this author co-design (meaning design with) “… offer an opportunity for multi-stakeholders and actors to collectively define the context and problem and in doing so improve the chances of a design outcome being effective” (2009,p.147) How it worked?

The main Goals: -

to gain internal knowledge about capulana and the way this cloth inter-acts with the young Mozambican community.

to improve the value and validity of capulana cultural concepts and the design outcomes based on them.

Design process Design results in a collaborative way, becomes territory of research, analysis, testing and construction of cultural knowledge, as the following graphic seeks to account. >> Phase I: Presentation Forums of dialogue were the first moment of project presentation, but further analysis was done on the first two weeks of this lab. After meeting the design team we started by the analysis of literature (specially the books with capulana pictures). Then we follow analysing the photographic sources collected during this research. Some pictures are available at this link (https://www.youtube.com/watch? v=za0zMo0Pn0A). The group started by analysing these photos, and to draw the different ways of wrapping a capulana (fig. 6). The process allowed them to better understand the object. 3D experiments were key to the embodiment of traditional practices of wrapping the capulana (fig.7). >> Phase II: Negotiation During two intensive months, the team made an effort to work together and to arrive at collaborative decisions guided by the facilitator (the head of the project - the researcher).

Fig. 9: Proposal for the co-design process. 30

Fig.10: Embodiment- 3D experiments of traditional forms of tying the cloth. >> Phase II: Negotiation During two intensive months, the team made an effort to work together and to arrive at collaborative decisions guided by the facilitator (the head of the project - the researcher). Gradually they became more attached to the subject: the project started with an intensive historical image research to map several traditional ways of wearing a capulana. Together they developed further conceptual research based on capulana cultural concepts: affectivity, slow fashion and co-design. Several drawings and prototypes were experimented and documented in booklets with pictures of the drawings and of draping models.

Fig.11: Brainstorming as design process - negotiating paths. >> Phase III: Effectiveness Several different capulanar models were achieved. Together we developed two levels of capulanar, each of them composed by a kit made with the original capulana, the instruction manual, 2 pins and the password for the video on vimeo channel explaining each model step-by-step.

Fig.12: Capulanarâ&#x20AC;&#x2122; manuals level 1 and 2. >> Phase IV: Evaluation Evaluation was made trough two ways a design exhibition and the Facebook page Capulanar. The design exhibition was held on October 9 2013, during Lisboa Design Show (FIL). This moment was important for the dissemination of the results achieved in this project. Public from different backgrounds got to know the project, and we explained the project for the heterogeneous public that attended on the stand.

Fig.13: Capulanar moments during Mozambique Design Day (MDD)

The Facebook page Capulanar allowed participation from young women from different provinces of Mozambique. Trough this on-line tool the project could reach the local population and allowed participation.

Fig.14: Two examples of participation from Maputo and Quelimane. The results have been evaluated wise on the fourth pillars of sustainability: people, profit, planet and cultural Knowledge. Capulanar has a people focus, because it has a social (people) component and is based on inclusive processes. Capulanar has a profit focus, because it offers a design tool to make local fashion industry more competitive.Capulanar has a planet focus, because is concentrated on ecological aspects (eg.one capulana answers 10 different outfits; one capulana fits different body sizes). Capulanar has a cultural knowledge focus, because capulana traditions are the base to develop design answers on how to wrap the cloth in a ‘modern’ way.

Overall Outcomes On this design research project we delivered a range of positive outcomes including: - The opportunity for the participant community to be ‘at the table’ reviving memories and discussing issues about capulana. A different and new opportunity to discuss about African traditional textiles and the issues based on tradition and contemporaneity; -

An opportunity for the Community of practice (COP) to participate in design process of capulanar;

Understanding the designer role in developing projects with the COP;

COP valuing their participation in the project and having the opportunity to influence design process

Establishing new contacts and networks for the COP

The development of creativity based on the collaborative process with a feeling of ownership and a forward design process

Design –upgrade of African traditions of wearing a rectangle of textile.

Opportunity to exhibit the results at the design event LXD, which had 35000 visitors along five days event.

Capulanar http://capulanar.wordpress.com, and a facebook platform, where we challenge the ‘virtual’ community to participate by trying capulanar and proposing new capulanar forms (see fig.11).

An alternative way of designing Involving selected members of the community of practice to work on the Lab III generated innovative ideas. The depth engagement and diversity in thinking that arose from the project indicates this engagement approach is a potential complement for design process on developing a new product. One of the findings was that the majority of participants expressed the view that this laboratory had changed the way they thought about capulana tradition. The different perspectives during various brainstorming’s created an environment where participants were able to widen the scope of discussion and dare into ideas, which would have previously not been considered at the beginning of the project, in other words, the project evolved vibrantly. What made Capulanar different from existing design processes was the characteristics of involved participants and the nature of the dialogues about tradition and possibilities for contemporary design. Reflecting about the findings For the research project, Capulanar provided clear evidence that community engagement is a valuable tool for co-design. Because the author of the project is a western designer cultural biased can occur, but working with African community elements proved to be an efficient technique to avoid less biased design. The codesign methodology, proved to have had positive impacts on participants motivation as they feel the project as their own project. The project potentiated inclusion and promoted tradition’s revitalization.

The first goal has been achieved in its entirety. Participants made several and important observations that helped changing some of my ideas about how new generations are attached to capulana and its tradition. For example I found that some of these young women make use of capulana in public spaces, not by habit but because by using it. Like this they found a way to assert their identity in contexts of diaspora. This led to the identification of new areas for future research. This methodology of co-design facilitated the possibility of individual participation (as a human need) in the design process. And may prove to be important for the construction of self-making (identity, personality, enhance autonomy and welfare) and cultural revitalization of the cloth through the different achieved ways of capulanar. Through co-design, it was possible to generate an ongoing dialogue with the group. This allowed verifying and developing together the capulanar results (two levels of knowledge an ten different ways to tie capulana). This method of “collective creativity” (Sanders and Stappers, 2008) allowed the creation of both, values and conceptual levels. The interaction with the African community favored coherent results with less bias then if the same project had been developed with non-African people. As a next step it is the intention to test the product’s results with the young AfroMozambican community in the next year 2014. These workshops will be hold at the National Costume Museum.

Fig.15: Capulanar brand image. 3.Public presentations of the research Conferences -

April 6th: Speaker “A Capulana, nossa identidade”, presented at

the OMM ’s colloquy: Celebration of the Mozambican Women's Day. Coimbra.

April 28th: Speaker at ENED (Encontro Nacional Estudantes

Design), Porto http://enedesign2013.i2ads.org/28/fios/. -

Seminary UBI (Universidade da Beira Interior) "Cross-cultural

Dialogues: From Mozambique to Covilhã", this seminary worked as introduction for the workshop held from Juin 17th to 21st. -

July 29th: Vilarinho, S. “Tailoring modernity’s in the 21th

century: a co-education program designed with the African tailors in Lisbon”. -

Presented at ECAS: The Fifth European Conference on African

Studies, Center of African Studies of the University Institute, Lisboa. -

September 21st: Speaker at the Round Table “O Pano

Património: outros lugares/lugares interseccionados” integrated into the European Heritage Journeys holded at National Costume Museum, Lisbon. Communications on the media February 22nd - TV Show Bem-vindos, RTP Africa February 27th -TV Show Rumos RTP Africa February 28th - Radio Antena 1 "gente como nós" March 4th - Visão Magazine October 3rd - TV Show, SIC Mulher “ Mais Mulher” program October 10th - TV Show: Portugal no Coração, SIC Channel October 11th - Sapo Mulher Moçambique: interview October 23rd - Time Out Magazine interview 4. Future Work For the next year, I expect the following to achieve: - Finishing writing the thesis - Organizing workshops capulanar with the Afro Mozambican community. Deeper contact with Mozambican associations must be done to really get closer to the Afro-Mozambican community. It might be possible to develop these workshops at the Costume Museum. Like this we can give a coherent continuity on this research that also proposes the museum as a space for design action. This contact with Afro Mozambican 36

community will be conclusive. It is important to test capulanar and also to have feedback from this community. To get new proposals within the communityâ&#x20AC;&#x2122;s co-design process is also a goal of this phase.

5. Conclusion This year the research took place according to the planning even though there were some discrepancies compared to the original planning. However, in my opinion these small changes were not compromising the development of the research. On the contrary during the investigation important opportunities emerged for both the development of the project and for the dissemination of the results, the latter having been of utmost importance in the course of Mozambique Design Day. One of the key lessons from this experience was the need for the researcher to adopt non-conventional ways of meeting with the Mozambican community in Lisbon and to develop a closer relation with them. Second, considerable effort needs to be taken in planning community engagement and in trying to organize some activities during Mozambican celebration parties. Another lesson from the forums was the need to have a clear idea of the research goals, and to use more direct questions to achieve clear results about the way Mozambican engage with the capulana on diaspora contexts. Each forum had a different topic, selected by the researcher, and some themes were very broad, resulting in a restricted feedback from the participants. Concerning colabborative design processes, it is important that the researcher stay focused on the main objectives, otherwise the emotionally links that are developed during the process may distort clear aims. Also when the researcher gives so much space for people to co-design it is important to keep guide paths.

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Appendix A: Agreement of collaboration FAUTL/MNT

Appendix B

Second-hand clothing The cutting edge of the new fashion in Lisbon and Maputo Sofia Vilarinho The movement of second-hand clothes (SCH) is gaining more and more visibility due its mobility and the mutability of meanings clothing acquire within cultural, spatial and temporal contexts. Starting from an historical overview of SHC trade, this article reviews consumption practices of SHC by examining two contexts: Lisbon and Maputo. The paper focuses deeply on SHC’s consumer culture to sharpen an understanding of how this used garments creates ‘value’ while communicating ‘authentic ‘ identities on both markets, from 1990’s to nowadays. By stressing both cultural expressions Vintage vs. Xicalamidade as articulators of the ‘new’ garment made by participative stories, dreams and meanings of personal narratives, this article seeks to unveil the interweaving fashion-able map of the cosmopolitan cultural landscape both in Lisbon and Maputo. Thus the paper will also shows the importance of SHC to work appearance and visual identity through sustainable consumption practices on the 21st century. Key-words: second-hand clothing (SHC), value, identity, sustainability.

“Tailoring modernity’s in the 21th century: a co-education program designed with the African tailors in Lisbon” Short Abstract for ECAS’13 African tailors are one of the main agents in the creation of local/regional fashion. This article discusses a case study with African tailors in Lisbon. In a one-year Lab/workshop, culture, creativity and sustainable development met cross-knowledge sharing on tailoring. Abstract for ECAS’13

Working with a cosmopolitan vision, African tailors are readers and narrators of a dialectic relationship between Africa’s tradition and contemporaneity. Aesthetics par excellence, tailors, using mainly capulana and African wax fabrics, baste ‘new’ cloth to dress the ‘new’ Africa(s). As this research identified, the endogenous knowledge these tailors hold is not recognized as a cultural (re) generator. This project is part of a PHD research project aiming both to apply, at an academic level, identity, tradition and fashion-able challenges of African capulana fabric into the 21th century fashion and, in parallel, to contribute, in a applied form, towards social justice through sustainable fashion design; this latter seen as a vehicle for knowledge empowerment, to improve better livelihood and self-representation. Specifically, this article proposes the first co-learning platform for African tailors, where culture works as mediation for space and dialogue. Conceived by the author and fashion designer Sofia Vilarinho and supported by the Fashion Institute Modatex, the model has been developed in Lisbon, with the aim to apply it locally, in various African contexts. This program may contribute to develop a model of working, facing an alternative approach to the 21th fashion/clothing system and exchanging deeper values that work on cognitive levels, identity, and cultural narratives together with economic sustainability.

Abstract for IJURR Symposium

Tailoring modernity’s in the 21th century: a co-education program designed with the African tailors in Lisbon

Urban centers are a melting pot of dressing practices, and many different agents contribute to the quest of authenticity through cloths. In contemporary societies people look for identity and the value of a unique garment. In a research project that started in Maputo and continued in Lisbon (Lisboa Africana), the author observed that African tailors are readers and narrators of new cloths being situated between Africa’s tradition and its contemporaneity. Working with a cosmopolitan vision, tailors develop a unique clothing grammar by mixing European and African codes. As this research identified, the endogenous knowledge these tailors hold and their creative role in the fashion system is not recognized as a cultural (re)generator. In Lisbon, many tailors came from West Africa hoping to have a better live, but many are now working for construction business without a chance yet to work as a tailor. They also show to be distant from institutionalized mechanisms of schooling and fashion systems. Facing those problematics,

how can African tailoring be re-appropriated as â&#x20AC;&#x153;formalâ&#x20AC;? education system, upgrading their knowledge and experience while at the same time meeting the demands of better working conditions in postcolonial and global contexts today? Specifically, this article proposes the first co-learning platform for African tailors, where culture works as mediation for space and dialogue. Initiated and implemented by the author and supported by the Fashion Institute Modatex, a model for a co-learning program has been developed in Lisbon with the aim to apply it in various local African contexts. This program may contribute to a new way of working based on an alternative approach to the 21th clothing system. The hypothesis is that it will exchange deeper values regarding human and social transformation sustainability.

that

stimulates

identity,

self-representation

together

with

economic

Appendix C Photos from the workshop "Cross-cultural Dialogues: from Mozambique to Covilh達"

Appendix D: Other research activities

relevância deste tipo de celebrações, ligadas à presença de comunidades emigradas e à glorificação de regimes políticos, na construção das identidades nacionais. Tal como refere, as festas são "um veículo para investigar acerca da etnicidade" (p. 34), pois constituem recursos de instrumentalização e de exercício de poder simbólico (p. 136). -

January 10th “Ocupações”, do fotógrafo e artista plástico moçambicano Filipe Branquinho, Galeria Bozart, em Lisboa

January 25th, “O Vento Sopra do Norte”, do realizador José Cardoso. Cinemateca Portuguesa

February 28th “Nas Margens do Índico” de biólogo marinho José Paula, Jardim Botânico Tropical, em Belém

7 Maio 2013, “Catembe – 7 Dias em Lourenço Marques”, no ambito do festival Panorama, a Mostra do Documentário Português.

8 maio “Amanhecer a Andar”, no ambito do festival Panorama, a Mostra do Documentário Português.

April 7th Moçambique emAbril – Histórias e Culturas do Índico, Centro Interculturalidade, Lisboa

April 11th , “Tempo”: fotografia de Mário Macilau, exposição Galeria Belo-Galsterer, em Lisboa.

May 22nd, “Ocupações”, Fundação Calouste Gulbenkian

Juin 21st Festa da Literatura e do Pensamento do Sul da África na Fundação Calouste Gulbenkian

Juin 23rd “Tempo e Espaço: Os Solos da Marrabenta”, coreografia e interpretação do moçambicano Panaíbra Gabriel Canda

July 25th , “sem flash.Homenagem a Ricardo Rangel (1924-2009), de Bruno Z‘Graggen (Moçambique), http://www.proximofuturo.gulbenkian.pt/cinema/cacheu-conakry-ecuba-trilogia-sem-flash-homenagem-a-ricardo-rangel-1924-2009.

Juin 29th Dia Primeiro Passo Moçambique no Clube Ferroviário, commemoration of the 28 years of Independence of Mozambique.

October 12th Lançamento do Livro “Madalena – o tradicional casamento sem amor” do escritor Hosten Yassine Ali

November 21st, film “Virgem Margarida”

November 29th “Gala Miss Beleza Moçambique Portugal 2013”

December 7th - open day International Art residency OFFLINE | Entre Tr창nsitos e Viagens