This Sunday March 20th, will see the launch of the first _Reading My Panties_ zine, a project initiated by Lu Lin at [W139](https://w139.nl/) in Amsterdam. _Reading My Panties_ is a collective zine for the underrepresented discussions on panties, drawing on theories of intersectionality and feminism. The first issue of the zine, 'A Collective Manifesto', includes ten women's stories of scrutinising panties, exposing how social constructs—self-objectification, gender regulations, conventional chastity, taboos, slut-shaming, body-shaming, etc.— hinder women’s sense of safety and feeling at home in their bodies.

The zine launch of _Reading My Panties_ is a safe space for people to openly talk about their panties through interactive panty installations, a study-group, and participatory performance. The zine will be on sale at the launch.

 The study-group will consist of Lu Lin, Emma van Meyeren, Heike Renée de Wit and Hanka van der Voet (Warehouse), and will start at 15:00 on March 20th. The installation can also be visited the next day, on Monday March 21st.

The Reading my Panties zine will soon be for sale at the Warehouse webshop.

The Reading My Panties zine launch will take place at W139 on March 20th, at Warmoesstraat 139 in Amsterdam. The space will also be open on March 21st. Both days W139 is open from 12:00 to 18:00.

[@reading.my.panties](https://www.instagram.com/reading.my.panties/)

Reading My Panties zine launch

Billboards lit from the inside brighten up the city. On its surface, a roll of several posters keeps rotating to catch the eyes of passer-by’s with its advertisements of services and products. From 15 – 21 February 2022, artist Youngeun Sohn will take over one of the billboards in the centre of Amsterdam. The advertisement device at the intersection of the Amstelstraat and the Blauwbrug, will showcase images generated through her project CCTV Catwalk (a.k.a. Growing Pains). For one week, day and night Youngeun will be part of the cityscape – presenting snippets of a self-organised fashion show that has been registered fully through the all-seeing-eyes of CCTV systems in Youngeun’s hometown of Bucheon, South Korea. Over the New Year holidays in 2021, Youngeun initiated a solo fashion show there, at her father’s office building wearing her father’s clothing.

Through this intervention, Youngeun hopes to regain some agency in a highly mediatised environment, and resist the daily bombardment of advertisements on our city streets.

On Saturday February 19th at 7 pm Youngeun will stand in front of her billboard to give a short reading performance. The performance is open to visitors and also can be followed through a livestream via the Warehouse | A Place for Clothes In Context Instagram account. Follow [@amsterdam.warehouse](https://www.instagram.com/amsterdam.warehouse/) for updates.

This performance is part of Youngeun Sohn’s project _Occupying Monitors_ in Amsterdam and is set up in collaboration with the independent fashion magazine _Press & Fold | Notes on making and doing fashion_. Their new issue, on the topic of resistance, will launch in May 2022, which includes Youngeun Sohn’s contribution _CCTV Catwalk (a.k.a. Growing Pains)_.

Youngeun Sohn is supported by Arts Council Korea. _Press & Fold | Notes on making and doing fashion_ is supported by the Creative Industries Fund.

Growing Pains performance by Youngeun Sohn

On the evening of Thursday November 18th, Warehouse will host an online talk (via Zoom) moderated by Aurélie Van de Peer, with contributors Aïcha Abbadi, Dal Chodha, Megan Wray Schertler and Sophie Barr. Warehouse Review 002 editors Hanka van der Voet and Johannes Reponen will also be present. The talk will start at 19:30 (CET), and address topics such as the future of fashion reviewing, the function of reviews, online versus offline reviewing, and new modes of reviewing. If you are interested in participating, please send an email to info@thisiswarehouse.com. 

**About the Warehouse Review 002 | 'A Review of Reviews'**

In his fall 2020 collection, Nicolas Ghesquière, the creative director of Louis Vuitton womenswear, explored notions around time. Talking to Nicole Phelps, the Director of Vogue Runway, he stated: “I wanted to imagine what could happen if the past could look at us.” With that sentiment in mind, the contributors of this Warehouse Review interrogated these, now historical written records, that collectively make up a response to Louis Vuitton fall 2020 presentation. Through this meta-critique, we hope to explore what we might learn about these past examples of catwalk writing as a way to move the discipline forward. As McNeil and Miller declared “…the reviewer is the critic!” it is now time to critique the critic and to review the review.

With contributions by: Aïcha Abbadi, Chinouk Filique de Miranda, Dal Chodha, Femke de Vries, Hanka van der Voet, Isabel Mundigo-Moore, Johannes Reponen, Laura Gardner, Megan Wray Schertler, Ricarda Bigolin and Sophie Barr. Design by Line Arngaard.

Buy your copy of 'A Review of Reviews' at the Warehouse [webshop](https://www.thisiswarehouse.com/shop/2021-08-11-warehouse-review-002-a-review-of-reviews).

'A Review of Reviews' will also be sold at select bookstores such as San Serriffe (Amsterdam), Athenaeum Nieuwscentrum (Amsterdam), Tenderbooks (London), Play the Tambourine (online), Reina (Melbourne) and Dispozitiv Books (Bucharest).

Warehouse Review 002, 'A Review of Reviews' Zoom Talk

This summer will see the release of _Warehouse Review 002_, ‘A Review of Reviews’, edited by Hanka van der Voet and Johannes Reponen. _Warehouse Review_ examines alternative modes of fashion criticism. With this on-going series, we aim to give a proper analysis and contextualisation of contemporary fashion phenomena, deploying various methods of research and analysis to zoom in on specific aspects that make – in our estimation – a fashion phenomenon into what it is. With this second edition of _Warehouse Review_, ‘A Review of Reviews’, we are taking a meta approach: we are reviewing the fashion review, and in specific, those of the Louis Vuitton fall 2020 womenswear collection. Through this meta-critique, we explore what we might learn about these past examples of catwalk writing as a way to move the discipline forward. It is now time to critique the critic and to review the review!

With contributions by: Aïcha Abbadi, Chinouk Filique de Miranda, Dal Chodha, Femke de Vries, Hanka van der Voet, Isabel Mundigo-Moore, Johannes Reponen, Laura Gardner, Megan Wray Schertler, Ricarda Bigolin and Sophie Barr. Design by Line Arngaard.

‘A Review of Reviews’ will be available from mid July onwards through the Warehouse webshop and several independent bookstores. This fall the official launch will take place through an online event with editors and contributors of this edition of the _Warehouse Review_.

Launch Warehouse Review 002 | 'A Review of Reviews'

From the 27th of May till the 5th of June Warehouse | A Place for Clothes in Context makes a late entree into 2021 by sharing a series of Warehouse publications and films accompanied by a talk on fashion and education at San Serriffe. 

Warehouse aims to facilitate and create an open and critical discourse on fashion that goes beyond treating fashion as a commodity. There will be two films on show, one of JOIN Collective Clothes by Anouk Beckers and one about A Magazine Reader by Lu Lin. Furthermore a series of publications will be available which are produced and/or selected by Warehouse such as _D&K Lookbook, Mode & Mode, JOIN, PORTAL, Press & Fold, A Magazine Reader, Fat Belly Boy Booklet, Monument, Rework Magazine_ and _Collective Wandering_. 

During the talk on Thursday the 27th at 20:00, education curator David Smeulders (de Appel), artist Lu Lin and Warehouse members Anouk Beckers and Elisa van Joolen will talk about education in relation to fashion; how do we learn about, with and through fashion? We will be exploring ideas on collective learning, sharing, the role of publishing and activation towards agency and ownership.

You can watch the live talk on San Serriffe's [_Instagram page_](https://www.instagram.com/san.serriffe/?hl=en), or on our own [_Instagram page_](https://www.instagram.com/amsterdam.warehouse/?hl=en).

You can also find more information about the event on San Serriffe's [_Facebook_](https://www.facebook.com/events/474089193695133). 

To enter 2021 in style Warehouse will be giving away free Warehouse shoelaces with every purchase at San Serriffe during this period.

Hallo 2021

For this panel, focused again on _fashion against capitalism_, we have invited practitioners [Aïcha Abbadi](http://www.aichaabbadi.com/), [Shanzhai Lyric](https://shanzhailyric.info/) and [Chinouk Filique de Miranda](https://www.chinoukfilique.info/). They will elaborate on their individual contributions to the multilogue, which revolves around critical explorations of non-industrial and non-capitalist fashion. Also joining is [T’ai Smith](https://ahva.ubc.ca/persons/tai-smith/), author of the soon to be published book _Fashion After Capital_, to deepen their perspectives and share her thoughts on the agency of practitioners. The conversation will be led by sociologist, fashion theorist and culture critic [Monica Titton](https://www.monicatitton.net/). 

**How can practitioners address and criticize the limits and enclosures of a capitalist fashion industry, and what could be ways and tools to opt out and create an alternative approach to fashion?**

The panel takes place on Wednesday 10 February, from 16:00 – 17:30. You can register for this free online event by sending an e-mail to events@stateoffashion.org including your full name and mentioning 'Whataboutery 03' in the subject. After registration you will receive a confirmation e-mail with more information.

_Monica Titton_ is a sociologist, fashion theorist and culture critic. She currently works as a Senior Scientist at Modeklasse, the Fashion Department of the University of Applied Arts Vienna. Her work develops a critical, sociological perspective at the intersections of fashion, politics, art and identity. Titton’s research is guided by an effort to expand and develop theoretical frameworks for critical analyses of fashion, and is informed by the traditions of poststructuralism, Marxism, feminism and postcolonialism.

Design researcher and critical fashion practitioner _Chinouk Filique de Miranda_ explores the crossover between the fashion system and digital culture by focusing on introducing digital literacy in fashion. In her practice she approaches fashion as a subliminal communication vehicle which she aims to de-mystify in order to inform consumers on complex matters regarding individual agency within our current digital culture. In her on-going research project ‘[The Algorithmic Gaze](https://www.algorithmicgaze.online/)’ the digitization of fashion and the new ways the fashion system and its consumers connect and communicate through newly acquired technological rhythms is explored and explained.

Through theory and practice, Berlin-based _Aïcha Abbadi_ explores fashion’s boundaries and reflects on the discipline itself. She is interested in niche fashion practices and alternative ways of making and being in fashion, she considers these contributions to be essential for a shift in perspective that interrupts fashion’s main narratives. She is also invested in neighbourhood initiatives in Berlin that create shared community spaces and foster active participation, for creative, culturally and socially diverse environments.

_Shanzhai Lyric_ is a body of research focusing on radical logistics and linguistics through the prism of technological aberration and nonofficial cultures. The project takes inspiration from the experimental English of shanzhai t-shirts made in China and proliferating across the globe to examine how the language of counterfeit uses mimicry, hybridity, and permutation to both revel in and reveal the artifice of global hierarchies. Through an ever-growing archive of poetry-garments, Shanzhai Lyric explores the potential of mis-translation and nonsense as utopian world-making (breaking) and has previously taken the form of poetry-lecture, essay, and installation.

_T’ai Smith_ is associate professor of modern and contemporary art history and media studies at the University of British Columbia, Vancouver. Author of _Bauhaus Weaving Theory: From Feminine Craft to Mode of Design_ (University of Minnesota Press, 2014), she has lectured and published internationally on textile art, design, and theory. She is currently working to complete two book manuscripts: _Fashion After Capital_ and _Textile Media: Tangents from Modern to Contemporary Art_.

State of Fashion 2021 | Intervention 03: Transition | Panel Talk

Now online, the fourth part of our multilogue longread by [Shanzai Lyric](https://shanzhailyric.info/), titled "aDREAM INTO AN EMPTy: Some Threads on Doubles and Desires". Check it out [_here_](https://thisisanintervention.org/en/intervention-03-transition-an-introduction/longread-03-part-4-shanzhai-lyric/).

State of Fashion 2021 | Intervention 03: Transition | Longread part 04: Shanzai Lyric

Now online, the third part of our multilogue longread by [Chinouk Filique de Miranda](https://www.chinoukfilique.info/), titled "Online Fashion and the Elusive Act of Identity Creation". Check it out [_here_](https://thisisanintervention.org/en/intervention-03-transition-an-introduction/longread-03-part-3-chinouk-filique-de-miranda/).

State of Fashion 2021 | Intervention 03: Transition | Longread part 03: Chinouk Filique de Miranda

Now online, the second part of our multilogue longread by [Aïcha Abbadi](http://www.aichaabbadi.com/), titled "From Fashion Industry to Fashion Culture". Check it out [_here_](https://thisisanintervention.org/en/intervention-03-transition-an-introduction/longread-03-part-2-aicha-abbadi/).

State of Fashion 2021 | Intervention 03: Transition | Longread part 02: Aïcha Abbadi

Whether you are using social media a lot or more occasionally, they influence our life. Maybe even more than you know? Within this Digital Footprint Workshop guided by [Chinouk Filique de Miranda](https://www.chinoukfilique.info/), you will look for the way in which you position yourself as a user-consumer within your personal digital landscape. By investigating your ‘scrolling behaviour’ while using new media platforms and its algorithms, in order to analyse your personal digital footprint, we will try to find and highlight interrelated (subliminal) commercial structures. During the session you will translate your findings into something visually tangible, that reinterprets your digital environment. This enables you to reclaim some agency in the digital landscape. Something which is maybe more relevant than you think now..

_What is a digital footprint?_

One’s digital footprint contains information about a particular person that exists on the Internet as a result of their online activity. In abstract form, it is a unique set of traceable digital activities, actions, contributions and communications manifested on the Internet and through the use of digital devices.

CHINOUK FILIQUE DE MIRANDA

Chinouk is the author of the third part of the multilogue and will be organizing the Digital Footprint Workshop on Sunday January 31st.

Chinouk Filique de Miranda, a design researcher and critical fashion practitioner, aims to explore the crossover between the fashion system and digital culture by focusing on introducing digital literacy in fashion. In her practice she approaches fashion as a subliminal communication vehicle which she aims to de-mystify in order to inform consumers on complex matters regarding individual agency within our current digital culture.

In her on-going research project ‘[The Algorithmic Gaze](https://www.algorithmicgaze.online/)’, the digitization of fashion and the new ways the fashion system and its consumers connect and communicate through newly acquired technological rhythms is explored and explained.

The workshop takes place on Sunday 31 January, from 12:30 – 15:30. You can register for this free online workshop by sending an e-mail to events@stateoffashion.org including your full name and mentioning 'Therapy Session' in the subject. After registration you will receive a confirmation e-mail with more information.

State of Fashion 2021 | Intervention 03: Transition | Digital Footprint Workshop

State of Fashion invited us to guest-edit the third installment in their intervention series. Following the stages of introspection and origins, our contribution will focus on transition. In our programme, we will explore what agency fashion practitioners have to provide alternative, non-capitalist, non-industrial modes and frameworks for making, doing, seeing and experiencing fashion.

As today’s fashion industry and capitalism are inseparably intertwined, it is important to depart from a distinction between the fashion industry and other forms of fashion when exploring alternative approaches. The fashion industry or industrial fashion is, we believe, just one of the many forms of fashion under the umbrella of a ‘fashion system’. However, it is this capitalist form of fashion, which is one of exploitation, colonisation and pollution, that is by far the most dominant and damaging one. In regard to the theme of “transition”, we strongly believe that we can’t fix this toxic fashion system with the same capitalist culture that has created it. Therefore, we decided to focus on and connect with several critical (fashion) practitioners who in their practice address and criticize the limits and enclosures of a capitalist fashion industry, but also show us ways and tools to opt out and create an alternative approach to fashion.

To kick of our guest-editorship, we would like to present a longread in parts, which we wrote together with 3 co-authors: [Chinouk Filique de Miranda](https://www.chinoukfilique.info/), [Aïcha Abbadi](http://www.aichaabbadi.com/) and [Shanzai Lyric](https://shanzhailyric.info/). First up is the Warehouse contribution: ‘Fashion Against Capitalism’. You can find the longread [_here_](https://thisisanintervention.org/en/intervention-03-transition-an-introduction/longread-03-part-1-warehouse/).

State of Fashion 2021 | Intervention 03: Transition

*Eight Cubic Meters by JOIN Collective Clothes* shows the result of a collaboration between JOIN Collective Clothes, an initiative by Anouk Beckers and photographers Maurice Scheltens and Liesbeth Abbenes. This exhibition is on view from 01.07.2020 - 22.09.2020. Open 24/7 in Sint Nicolaasstraat, Amsterdam. 

A series of images, titled *JOIN Collective Clothes with Scheltens & Abbenes,* captures a selection of works which are made with the JOIN approach; a modular clothing system that invites people to make garments together and explore fashion as a collective practice. In the background of every photo you see the black-lined JOIN patterns; a set of shapes – top (J), sleeve (O), trouser leg (I), part of a skirt (N)– that can connect through regular placed attachment marks. Anyone can participate by choosing one of these shapes and making their own JOIN piece which can eventually be connected to a piece made by another maker. The simplicity of the modular JOIN system, which functions as the fundament of the project, is translated into an open source manual, designed by Beau Bertens, which makes it possible for everyone to join. Regardless of location and experience, either working from home, or participating in one of the JOIN workshops, JOIN creates the possibility to come together, share ideas and experiment with form, texture, technique and material.

Brought together, the pieces from different makers with various backgrounds and experience form a series of garments that encapsulate an explorative and collaborative process of garment design and making. Made by Scheltens and Abbenes, these images show the work of a commissioned designer combined with a work made during one of the JOIN workshops. The flat textile shapes, with some 3D elements, are presented like a landscape of abstract geometric shapes interchanged with clear garment-related references. Captured in these visual landscapes, the images show how the various makers use the JOIN patterns differently; their personal choices coming to the surface in form, texture, technique and material, showing the endless possibilities within the modular JOIN system. Hinting towards garments and the potentiality of the bare pattern at the same time, the visualization of these fragments presents us with the infinite possible assemblages of this ongoing project. How would the sleeve of one maker combine with the top of another? Together the images thus present the main goal of the project; exploring the relation between various disciplines and backgrounds, the individual maker and the collective, the commissioned designer and the workshop participant.

The project can be viewed on [www.joincollectiveclothes.com](www.joincollectiveclothes.com) where the various pieces, made by different makers, are brought together in one archive, a collective collection.\
More information about Maurice Scheltens and Liesbeth Abbenes can be found on [www.scheltens-abbenes.com](www.scheltens-abbenes.com)

Exhibition
JOIN Collective Clothes with Scheltens & Abbenes

**“SUMMER READING”**

Summer 2020 marks the launch of the first edition of *Warehouse Review*, a publication that aims to explore alternative modes of fashion criticism. The series, initiated by Amsterdam-based fashion platform Warehouse, has the intention to fill gaps left by the fashion industry when it comes to fashion critique. *Warehouse Review* strives to give a thorough analysis and contextualisation of various contemporary fashion phenomena. The inaugural issue of *Warehouse Review*, titled ‘People Wearing Off-White’, is dedicated to Virgil Abloh’s highly visible and recognizable luxury streetwear brand Off-White.



**“POPULAR”**

The project started as the documentation of a personal fascination with the overwhelming presence of a yellow industrial belt and a logo with crossed arrows on the streets of Amsterdam. What was it, and where did it originate from? And why was it so popular? At the end of the summer of 2019, Warehouse co-founder Hanka van der Voet started documenting people wearing Off-White she encountered in the streets. The results were collected through her Instagram stories. Using the hashtag #peoplewearingoffwhite, Hanka asked her followers to contribute images as well. In five months time, a collection of over 200 images of people wearing Off-White was established. Starting off as an obsession with collecting the images, this project quickly turned into a fascination with Off-White designer Virgil Abloh, the immense popularity of his brand, and the lack of contextualisation the mainstream fashion media was providing for this phenomenon.



**“FRESH”**

‘People Wearing Off-White’ offers a fresh critique on Virgil Abloh’s presence in the fashion and art world. It dissects the hype by addressing the specific brand language, analysing Off-White’s Instagram presence and providing a new perspective on one of Off-White’s most popular product: the yellow industrial belt. The publication also presents an analytical essay and overview of the #peoplewearingoffwhite photo collection. How did this brand come into being, in what context can it exist and what tactics are used to build this specific brand image? Designed by Line Arngaard, the zine features contributions by Chinouk Filique de Miranda, Denise Bernts, Femke de Vries and Hanka van der Voet.



**IMPORTANT INFORMATION**

*Warehouse Review 001* | 'People Wearing Off-White' drops in a run of 150 copies on 23 July 2020. The zine is not available for sale, but can be obtained through swapping only, exclusively at San Serriffe in Amsterdam and through the Warehouse website.

Launch Warehouse Review 001 | People Wearing Off-White

Warehouse will take part in 2020 abC online art book fair which intends to re-establish connections with different international publishers and present their work and publications to the Chinese audience. We will show and sell a selection of Warehouse publications, among them *PORTAL 002* and *004*, the *JOIN* manual, *A Magazine Reader 03* and *Press & Fold* #0 and #1.  

2020 abC online will be held from July 2nd until July 5th through the Chinese app TANGPING with 148 exhibitors from 15 countries. Within the app, you can travel through tons of artists' books and independent publications on your fingertips, bring your favorites home, and meet the exhibitors in say-hi video screening. 

Visit [abC Online](http://artbookinchina.com/en/2020online/) for more information, or check out their [Instagram](https://www.instagram.com/abcartbookfair/?hl=en).

abC Art Book Fair 

On Monday 6 July 2020 the JOIN Collective Livestream Walk in Amsterdam's main shopping street the Kalverstraat took place. This livestream walk showed the results of the JOIN Collective Clothes workshop, using the JOIN open source manual. This manual made, and still makes, it possible for everyone to design and make a piece of a garment within this modular clothing system. Within a year more than 120 different garment-pieces were made. This collective collection was the effort of various makers: workshop participants, designers and friends of JOIN. 

Stylist Pieter Eliens composed the pieces into a variety of garments that were presented by 30 people. The choreography was developed in collaboration with[](https://www.instagram.com/luncatics.and.poets/) Lunatics and Poets. 

Watch the entire show via the [JOIN IGTV](https://www.instagram.com/tv/CCTvHQXFenB/).

Performance
JOIN Collective Livestream Walk

This *JOIN Collective Clothes* workshop at [Dordrechts Museum](https://www.dordrechtsmuseum.nl/tentoonstellingen/slowfashion/) is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment.

The base of *JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). At the end of the workshop, the results from the participants are joined into one complete outfit. The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project *JOIN Collective Clothes* proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at www.joincollectiveclothes.com/manual. The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

Workshop JOIN Collective Clothes

A conversation with Mary-Lou Berkulin, Mo Veld and Keupr/van Bentm (Michiel Keuper and Francisco van Benthum).

On January 16, the second issue of *Monument* was published, a fanzine dedicated to the 'Dutch Wave', a group of Dutch fashion designers who created international fame around the turn of the century. Each number is dedicated to one designer or design duo. This second issue focuses on the work of the duo Keupr/van Bentm (Michiel Keuper and Francisco van Benthum). Between 1997 and 2001, they challenged the fashion industry with their surprising and colorful statement collections.

In *Monument*, a project by stylist and fashion researcher Mary-Lou Berkulin and graphic designer Karen van der Kraats, images and texts from various archives are combined with new interviews and photography. Each issue has its own unique design and editorial approach, completely in keeping with the designer to whom the issue is dedicated. Central to this paper monument for Keupr/van Bentm is the work that they made between 1997 and 2001. A conversation between Mary-Lou Berkulin and Keupr/van Bentm has been supplemented with quotes and texts from articles from the archive and a new long-read, written by fashion researcher Laura Gardner. The items from the archive have been photographed by Roos Quakernaat.

In addition to original images from the designers' archives, *Monument* also contains newly created photography. For this issue Mary-Lou Berkulin collaborated with photographer Roos Quakernaat. She took pictures in the depot of the Centraal Museum in Utrecht, where the most special items from Keupr/van Bentm have been carefully stored. In addition, together with Mary-Lou, she created a new fashion series in which she combines her own photography with clothing from the designers' archives into surprising collages.

Launch Monument Issue #2 | Keupr/van Bentm

A conversation with Rebecca Stephany and Amelia Groom on *200 Sisters Souvenirs* accompanied by a presentation of the *200 Sisters Souvenirs* clothing and accessoiries.

*200 Sisters Souvenirs – 200 years of exhibition* catalogues, side notes and slippery images, a feminist exhibition (mis)reading is a project by Rebecca Stephany developed on the occasion of the 200-year anniversary of The Baden Art Association (Badischer Kunstverein) in Karlsruhe in 2018.

The project is the result of an intensive exploration of the catalogue archive of Badischer Kunstverein from a decidedly slippery feminist point of view. Drawing from the archive, which consists of over 300 catalogues and monographs, Stephany developed a publication with an accompanying line of merchandise. In addition, current members of Badischer Kunstverein were invited to donate a piece of used clothing in exchange for a modified one, with a process resulting in an edition of logo-bleached and modified second-hand garments and accessories.

The project transposes methodologies of uncovering, misreading and zooming-in from the archival research to wearable and useable objects. In reference to low-fi souvenir articles found in museum shops, the merchandise ranges from key chains, eyewear straps and bookmarks to custom-made woven ribbons featuring text fragments from the catalogue archive. Weaving is taken up as an analogy for joining forces, while bleaching is deployed throughout as a “printing” method, with the 200 Sisters logo inscribed through the removal of dye, as a model for uncovering what is there but hidden.

“In my approach to the BKV catalogue archive, consciously misreading discriminatory or otherwise questionable material, became my method of disrupting the predominantly male-dominated writing of art history, of which the exhibition history of Badischer Kunstverein is only one of many examples. But the act of “misreading” is also very much about celebrating the many unknown women depicted in painting and sculpture and the few female, queer or otherwise marginalised artists in the 200-year history of Badischer Kunstverein. Instead of claiming moral and political correctness, I am pointing to the side notes and allow the images to be slippery and potent with alternative, emancipatory, at times absurd or humorous meanings.” – Rebecca Stephany.

Following the 200 Sisters Souvenirs presentation by Rebecca Stephany, writer Amelia Groom will give a personal response to the project, focusing on questions of historical erasure as well as the possibilities of bleach-inscriptions within feminist responses to archival inheritance.

Talk 200 Sisters Souvenirs

A conversation with Hanka van der Voet, Chet Bugter, Johannes Reponen and Maria Kley.

*Press & Fold* is an independent fashion magazine that aims to explore alternative fashion forms and narratives. The magazine provides a platform for critical fashion practitioners who actively seek out the cracks and fissures in the current fashion system to propose new opportunities for making and doing fashion. More than 20 contributors – ranging from visual artists and writers to fashion designers and researchers – present their view on this issue’s theme: luxury.

From luxury characterised as uniqueness created by lowly and anonymous artisans in pre-democratic times, to made-to-measure haute couture and the cult of the star designer at the end of the 19th century, from the merging of mass market and prestige into ‘masstige’ (a term coined by Karl Lagerfeld, introducing his H&M collaboration in 2004) to the hunger for street credibility by luxury fashion houses causing them to sell 2000 euro hoodies, and from the conspicuous consumption showcased on Instagram to the explosion of wellness and self-care culture; luxury has had many faces over the past few decades.

Among a new generation of fashion designers, researchers, writers and curators, very different views on luxury, and fashion in general, exist. Motivated by the sorry state of the current fashion system and its exploitative labour practices, environmental pollution, depletion of resources and exclusionary marketing language among other things, this generation is not only critiquing the system, its individualistic approach and its limiting views on the concept of luxury (among other things), but also seeking to create alternative, more inclusive ways of defining luxury. In this issue of *Press & Fold*, we give voice to these new ideas and propositions on contemporary luxury and its material and immaterial characteristics.

These new imaginations on luxury show a radical departure from the classical interpretation of the concept; a concept that is firmly rooted in the idea that luxury is above all about abundance and indulgence, and therefore is not absolutely necessary, but a privilege for the happy few. But what actually is a ‘necessity’ in contemporary society, and what do we define as ‘abundance’? In the context of late capitalism and its inequities and growing political polarization, the ideas on what luxury constitutes are rapidly shifting. Self-care is making way for a collective form of care: for creating together, performing together, learning together, regaining agency together.

In this issue of *Press & Fold*, you’ll find the views of our contributors on the meaning of ‘luxury’ in the context of today’s and tomorrow’s fashion world and society at large. We aim to show a plurality of perspectives, but all seem to have its root in the common understanding that change is required, not just within the fashion industry, but beyond. And as fashion can be regarded as a social practice – something we all participate in – why not start here?

*Press & Fold*’s cover for ‘The Luxury Issue’ comes from a photo series by Jessica Buie called ‘Exposure’, where she gives the viewer the luxury of gazing without shame or judgment. The subjects in ‘Exposure’ are inherently objectified; devoid of a face, limbs, or any identifying features. They've opened themselves up to being looked at as purely form. Playing with the language of fashion advertisements – particularly images for watches and fragrances where the body is often severed into a faceless torso – the series questions the passivity of being looked at and the dynamic power relations inherent in looking. In the opening article ‘Opening Up Fashion as a Practice of Commoning’, Danielle Bruggeman discusses the recent rise of practices of commoning in contemporary culture and society, and specifically in the field of fashion, and to what extent these goals are a luxury in today’s society. Chet Bugter reflects on how the luxury fashion magazine functions as a disciplinary agent, and how an embodied and affective approach to fashionable imagery might be used to reconfigure the fashion system on a wider scope. Articles of Clothing shows how garments can shift easily between work and leisure, breaking down the classic impulse to compartmentalise aspects of life, and thus, giving luxury new meaning, and JOIN Collective Clothes makes the luxury of making one’s own clothes available for everyone, by creating an open source manual which makes it possible for us to set up our own modular clothing system.

An overview of all contributors to ‘The Luxury Issue’: A March Issue, Adele Varcoe, Agnieszka Chabros, Aimée Zito Lema, Amelia Winata, Annie Wu, Beau Bertens, Chet Bugter, Colby Vexler, Danielle Bruggeman, Elisa van Joolen, Femke de Vries, Jessica Buie, Johannes Reponen, JOIN Collective Clothes, Justin Clemens, Laura Gardner, Maria Kley, Rowan McNaught, Storage Solutions and Shanzhai Lyric.


About Press & Fold

*Press & Fold | Notes on making and doing fashion* is initiated by Hanka van der Voet in collaboration with art director and graphic designer Beau Bertens. The magazine is a collaborative research project that connects critical fashion practitioners from all over the world. With *Press & Fold* we aim to create a safe space for alternative fashion practices and dissonant voices within and outside of the fashion system, and communally explore fashion beyond the commodity. Through discussing our experiences through fashion, the *Press & Fold* contributors facilitate an alternative discourse that is not just about consuming the latest fashions.

Launch Press & Fold Issue #1 | The Luxury Issue

A conversation with Brad Haylock, Laura Gardner and Ricarda Bigolin on the book *LOOK BOOK 2019 |* *All or Nothing*. This launch at San Serriffe will include a performative show of a series of book-carrying-garments ('covers') and a reading with Chet Bugter and Ricarda Bigolin.

Warehouse invited Melbourne fashion designer and researcher Ricarda Bigolin to Amsterdam for the launch of the *D&K LOOK BOOK 2019*. D&K explores the potential of fashion practice as a site of critical questioning and ubiquitous revelations. The project was co-founded in 2012 by fashion designer and researcher Ricarda Bigolin and curator Nella Themelios (2012–2017) and includes a wide array of collaborators including fashion designer and lecturer Chantal Kirby as core collaborator from 2019. The publication questions the ubiquity and mass consumption of fashion (images), and their relationships to the products depicted and how fashion produces and circulates collections of images.

The *D&K LOOK BOOK 2019*, designed by Brad Haylock and published by Surpllus is co-launched with *Mode and Mode* issue seven, by Laura Gardner and Karina Soraya, which serves as an anthology of text works and biographical listings of key D&K projects from 2012 to present. Continuing the mission of *Mode and Mode* in exploring experimental publishing practices at the margins of fashion, this issue shares, in chronological order, a body of experimental text works by a critical fashion practice. As intrinsic to their exhibition and garment-based work, D&K produce writing—including ficto-critical prose, cut-and-paste collage, poetry, and screenwriting—to reconstitute components of fashion, such as the garment, atmospheric conditions of retail space and packaging ephemera. Their interrogation of fashion language in (and as) branding highlights the plasticity of words, which are always both meaningless and meaningful.

The co-launch of *D&K LOOK BOOK 2019* and *Mode & Mode 7* coincides with a limited-edition series of publication ‘covers’ created by D&K (Ricarda Bigolin & Chantal Kirby) and a performance. Dressing a crew of stand-in models, the collection of ‘covers’ re-fashions lurid, synthetic, reclaimed pre-fab curtains, as covers with pockets that hold the D&K look books. These ‘looks’ are fashioned around garments and the publication itself, smuggling the publications to the launch event on stand-in models tasked with carrying the publications.

Launch D&K LOOK BOOK 2019 | All Or Nothing

Warehouse participates in Printing Plant Art Book fair with a selection of independent fashion publications.

As Warehouse aims to create an engaging environment that facilitates dialogue and an alternative fashion discourse that goes beyond seeing fashion as a commodity, Warehouse supported and produced a number of projects that explore the trademarks of fashion with a critical eye. Warehouse sells several publications like: the *JOIN manual* and the *JOIN Collective Conversation* magazine,  issues of *A Magazine Reader*, as well as issues of the *PORTAL* readers. There's an exclusive pre-sale of the newest *Press & Fold* 'The Luxury issue' and several items of Warehouse Wear.

Just like last year, we've made a selection of independent fashion publications. This year, we have publications by Chet Bugter, Chinouk Filique de Miranda, Edwin van Gelder & Johann Tangyong (*Rework* magazine), Mary-Lou Berkulin (*Monument*), Karmen Samson, Mika Perlmutter and Rebecca Stephany (in collaboration with students from the Karlsruhe University of Arts and Design).

Printing Plant Art Book Fair 2019

During this conversation, taking place in the *A Magazine Reader 03* mini-exhibition, Femke de Vries, Chet Bugter and Zuzana Kostelanská discuss the process of making *A Magazine Reader 03*, which revolves around all the non-garment related elements in the fashion magazine.

*A Magazine Reader* revolves around the analysis of a mainstream and high-end fashion magazine and its translation into an alternative new zine to provide insight into the cultural power and forms of value production that is at the core of fashion media. In it, the reader becomes an active actor in the construct of fashion. Re-reading the magazine by dissecting it, analysing the words, images, materiality, the items shown on the pages and the strategies of the specific magazine changes the way we read fashion.

In the workshop one specific magazine is selected. This magazine is thoroughly read, dissected and critically analysed on elements such as models, topicality, advertisements, material, brands, distribution, imagery, items, narrative, monetary value, colours, words and order of pages. By not starting from the perspective of the fashion system as a whole, but from the simple act of reading a fashion magazine, the reader gains an active role. Having the material in hands, seeing the images, how brands are being represented on the pages, reading the words and tracing the page numbers, but also feeling the paper, the weight and being able to smell the magazine creates an awareness of the magazine as a material object. Something that embodies and communicates the process of value production in fashion. A material representation of fashion’s ephemerality, dream worlds and fantasies.

The readers in the workshop use the material of the original ‘source magazine’ to create a new zine that provides insight into the cultural power and forms of value production that is at the core of fashion media. The existing material is elaborated on by connecting with other material (theories, visuals, artistic explorations). As such, *A Magazine Reader* focuses on the reader as an active participant – someone with agency rather than a passive consumer – in the process of creating fashion. Reading becomes making.\
\
In this edition of *A Magazine Reader* we explore how every possible element; perfume, facial creams, rosemary water, travel suggestions, gadgets, books etcetera, is used to create stories and myths of a future reality. These 'stories' are composed of so much more than garments alone, and in such a way that the joints and seams are smoothed out, turning these stories into a reality, a truth. During this workshop at Onomatopee we disconnect the elements, break the joints, cut the seams, unravel body parts and disconnect garments from bodies, from backgrounds, objects, animals and gadgets, with the aim to create space to critically explore the construct of fashion. \
\
*A Magazine Reader* is an ongoing research trajectory and series of zines initiated by Femke de Vries and Hanka van der Voet.

Design by Zuzana Kostelanská.\
Exhibition by Femke de Vries, Seok Park and Zuzana Kostelanská.

Launch A Magazine Reader 03

This *JOIN Collective Clothes* workshop at [MU](https://www.mu.nl/nl/exhibitions/the-scene-is-here) during Dutch Design Week Eindhoven is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment. 

The base of *JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). At the end of the workshop, the results from the participants are joined into one complete outfit. The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project *JOIN Collective Clothes* proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at www.joincollectiveclothes.com/manual. The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

In this *A Magazine Reader* workshop at Onomatopee we explore how every possible element; perfume, facial creams, rosemary water, travel suggestions, gadgets, books etcetera, is used to create stories and myths of a future reality. These 'stories' are composed of so much more than garments alone, and in such a way that the joints and seams are smoothed out, turning these stories into a reality, a truth.

During this workshop, guided by Zuzana Kostelanská, Hanka van der Voet and Femke de Vries we disconnect the elements, break the joints, cut the seams, unravel body parts and disconnect garments from bodies, from backgrounds, objects, animals and gadgets, with the aim to create space to critically explore the construct of fashion. 

*A Magazine Reader* revolves around the analysis of a mainstream and high-end fashion magazine and its translation into an alternative new zine to provide insight into the cultural power and forms of value production that is at the core of fashion media. In it, the reader becomes an active actor in the construct of fashion. Re-reading the magazine by dissecting it, analysing the words, images, materiality, the items shown on the pages and the strategies of the specific magazine changes the way we read fashion.

In the workshop one specific magazine is selected. This magazine is thoroughly read, dissected and critically analysed on elements such as models, topicality, advertisements, material, brands, distribution, imagery, items, narrative, monetary value, colours, words and order of pages. By not starting from the perspective of the fashion system as a whole, but from the simple act of reading a fashion magazine, the reader gains an active role. Having the material in hands, seeing the images, how brands are being represented on the pages, reading the words and tracing the page numbers, but also feeling the paper, the weight and being able to smell the magazine creates an awareness of the magazine as a material object. Something that embodies and communicates the process of value production in fashion. A material representation of fashion’s ephemerality, dream worlds and fantasies.

The readers in the workshop use the material of the original ‘source magazine’ to create a new zine that provides insight into the cultural power and forms of value production that is at the core of fashion media. The existing material is elaborated on by connecting with other material (theories, visuals, artistic explorations). As such, *A Magazine Reader* focuses on the reader as an active participant – someone with agency rather than a passive consumer – in the process of creating fashion. Reading becomes making.

*A Magazine Reader* is an ongoing research trajectory and series of zines initiated by Femke de Vries and Hanka van der Voet.

Design by Zuzana Kostelanská.

Workshop A Magazine Reader 03

This *JOIN Collective Clothes* workshop at [fanfare](https://fanfarefanfare.nl/), in collaboration with [studio bonbon](http://www.studiobonbon.org/) is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment. 

The base of JOIN Collective Clothes is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). The materials used during this workshop were offered especially by Studio Bonbon: printed textile which were functioning as table cloths during the relaunch of the studio in 2018. At the end of the workshop, the results from the participants were joined into one complete outfit. This result was exhibited at fanfare from 02.10.2019 to 06.10.2019 as part of the exhibition [Studio Bonbon Invites](https://fanfarefanfare.nl/1659-studio-bonbon-invites).

The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together. 

Initiator Anouk Beckers on JOIN Collective Clothes: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project JOIN Collective Clothes proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at the [JOIN website](https://www.joincollectiveclothes.com/manual) or from [here](https://www.thisiswarehouse.com/shop/2020-04-11-join-collective-clothes-manual/). The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the JOIN Collective Clothes website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director [Beau Bertens](http://beaubertens.nl/).

Studio Bonbon is a textile printing studio founded in 1979. The printing workshop closed its doors in 1988, but Studio Bonbon kept on existing. As daughter of the founder, Teuntje Kranenborg decided to continue on the studio, among other things creating silkscreen printed textiles.

This *JOIN Collective Clothes* workshop at [Cube Design Museum](https://www.cubedesignmuseum.nl/) is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment.

The base of *JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). At the end of the workshop, the results from the participants are joined into one complete outfit. The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project *JOIN Collective Clothes* proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at www.joincollectiveclothes.com/manual. The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

For the *PORTAL 005* workshop Elisa van Joolen worked with visitors of the *Don't Feed the Monster* in Punkt Ø - Galleri F 15, Moss, Norway to research the economic, social and emotional value of clothing. 

*PORTAL* is a research project that explores the economic, social and emotional value of clothing and offers a ‘way in’ to understanding garments from a multitude of overlapping and intersecting perspectives. Could different garments worn by different people be related? In what ways are emotional and monetary values of clothing connected? To whom does a piece of clothing belong?

For every edition, participants are asked to take off a garment, lay it down on a large Tyvek sheet, outline their garment with tape and answer a series of questions regarding its production (Where was it made?), materials (What is it made of?), ownership (Is it yours?) and value (How much did it cost? What is the emotional value?). Subsequently connections are made between the garments by literally drawing lines between the items of the various visitors, creating a network that reveals connections between and intersections of personal, economic, social, cultural and political realms surfacing a complex and layered system of the reality of clothing. This culminates in a map, or landscape of personal stories that connect to form a fashion network which inverts our gaze, shining a spotlight on the intricacies of our own outfits and extraordinary aspects of the everyday as opposed to the myth of the exclusive fashion image. *PORTAL* thus provides an entryway to a vision that begins to prioritise values that are ephemeral and yet integral in “influencing hearts and minds and shaping the way we live together”. It captures and visualises information that circumvents established hierarchies and disrupts the homogeneity of the commercially driven fashion system with the refreshing diversity of fashion that is worn; embodied and imperfect.

The collected information of each *PORTAL* edition is visualized and brought together in a reader using the sixteen *PORTAL* questions as a starting point.

Workshop PORTAL 005 

This JOIN *Collective Clothes* workshop at [De Kerk by Museum Arnhem](https://www.museumarnhem.nl/tentoonstellingen/were-together/) is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment.

The base of*JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). At the end of the workshop, the results from the participants are joined into one complete outfit. The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project *JOIN Collective Clothes* proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at www.joincollectiveclothes.com/manual. The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

This *JOIN Collective Clothes* workshop at [Capsicum Natural Fabrics](https://www.capsicum.nl/) is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment.

The base of*JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). At the end of the workshop, the results from the participants are joined into one complete outfit. The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project*JOIN Collective Clothes* proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at www.joincollectiveclothes.com/manual. The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

During the launch of *A Magazine Reader 02* Chet Bugter, Femke de Vries and students of MA Fashion Strategy generation 28 will discuss the use of text in fashion magazines and how it affects our relationship to fashion.

*A Magazine Reader* revolves around the analysis of a mainstream and high-end fashion magazine and its translation into an alternative new zine to provide insight into the cultural power and forms of value production that is at the core of fashion media. In it, the reader becomes an active actor in the construct of fashion. Re-reading the magazine by dissecting it, analysing the words, images, materiality, the items shown on the pages and the strategies of the specific magazine changes the way we read fashion.

In the workshop one specific magazine is selected. This magazine is thoroughly read, dissected and critically analysed on elements such as models, topicality, advertisements, material, brands, distribution, imagery, items, narrative, monetary value, colours, words and order of pages. By not starting from the perspective of the fashion system as a whole, but from the simple act of reading a fashion magazine, the reader gains an active role. Having the material in hands, seeing the images, how brands are being represented on the pages, reading the words and tracing the page numbers, but also feeling the paper, the weight and being able to smell the magazine creates an awareness of the magazine as a material object. Something that embodies and communicates the process of value production in fashion. A material representation of fashion’s ephemerality, dream worlds and fantasies.

The readers in the workshop use the material of the original ‘source magazine’ to create a new zine that provides insight into the cultural power and forms of value production that is at the core of fashion media. The existing material is elaborated on by connecting with other material (theories, visuals, artistic explorations). As such, *A Magazine Reader* focuses on the reader as an active participant – someone with agency rather than a passive consumer – in the process of creating fashion. Reading becomes making.

For this issue, which was made in collaboration with Ruby Hoette and MA Fashion Strategy generation 28 and designed by Corine van der Wal, we have focused on reading each and every word. This process of dissecting and analysing reveals the actual structure and content of the magazine. (Which words are used? Is it readable at all? Is the meaning clear? Which values are given precedence? Which brands are represented? What are the topics covered (or left out)? How are they ordered in the magazine? Where are the page numbers?) Most importantly it uncovers opportunities for the re-definition and re-imagination of these texts and their intentions. Each contribution to this edition of *A Magazine Reader* takes on a slightly different reader perspective, unravelling a particular aspect of embedded meaning and value and reframing it in a broader social and cultural context. Together they remind us that becoming aware of our position as readers means we become aware of our position to shape and create fashion.

*A Magazine Reader* is an ongoing research trajectory and series of zines initiated by Femke de Vries and Hanka van der Voet.

Launch A Magazine Reader 02

This *JOIN Collective Clothes* workshop at [De Appel](https://deappel.nl/en/programme) is part of a series of workshops by Anouk Beckers in which everyone is invited to make a piece of a garment.

The base of *JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). At the end of the workshop, the results from the participants are joined into one complete outfit. The process of the workshop is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project *JOIN Collective Clothes* proposes fashion as a collective practice. Besides joining one of the workshop, an easy-to-use open source can be downloaded at www.joincollectiveclothes.com/manual[](http://www.joincollectiveclothes.com/). The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

During this launch of the *JOIN Collective Clothes Manual* at San Serriffe bookstore*,* Anouk Beckers, Beau Bertens, Danielle Bruggeman and Eduardo Leon will have a conversation about making clothes collectively, modularity and ownership/ego in fashion.

The fashion industry focuses mostly on designer status, brand identity, commodities as magical results of invisible processes and an adoration of values such as originality and ‘the new’. And although it is often perceived as something that is not for everyone, fashion surely is a collective practice. By making and wearing clothes together, the design and research project *JOIN Collective Clothes* proposes fashion as a collective practice.

Initiator Anouk Beckers on *JOIN Collective Clothes*: “What if we open up the fashion system and explore it as a non-fixed entity, a system where people can playfully join in, where everyone is invited to create fashion together?”

The base of *JOIN Collective Clothes* is a modular clothing system that consists of four different shapes which can be combined into a full outfit (a sleeve, a top, a trouser leg and a part of a skirt). An easy-to-use open source manual invites people to get started in designing and making the pieces themselves. This manual can be downloaded at www.joincollectiveclothes.com and from the Warehouse webshop. The pieces made by various makers from all over the world form an ever-growing collection that can be seen on the *JOIN Collective Clothes* website.

This launch of the open-source manual, designed by Beau Bertens, marks the start of the project and is followed by a series of workshops and designer commissions. Everyone is invited to join one of the 4-hour workshops to design and make a garment-piece. At the end of the workshop, the results from the participants are joined into one complete outfit. The process is playful, but at the same time it critically questions the characteristics of the fashion system exploring ownership, identity, (intellectual) property, production methods, alienation, mystification and value creation in fashion together.

[JOIN Collective Clothes](https://www.joincollectiveclothes.com/) is an initiative by Anouk Beckers in collaboration with graphic designer and art director Beau Bertens.

Launch JOIN Collective Clothes Manual

Warehouse will join [Hordaland Kunstsenter](http://www.kunstsenter.no) at the Bergen Art Book Fair with a selection of independent fashion publications.

As Warehouse aims to create an engaging environment that facilitates dialogue and an alternative fashion discourse that goes beyond seeing fashion as a commodity Warehouse supported and produced a number of projects that explore with a critical eye the trademarks of fashion.

Warehouse is selling several publications such as the *JOIN* manual and the *JOIN Collective Conversation* magazines, issues of *A Magazine Reader*, as well as issues of the *PORTAL* readers, *Press & Fold '*The Street Issue' and several items of Warehouse Wear.

Bergen Art Book Fair 2019 with Hordaland Kunstsenter

Warehouse will participate in Printing Plant Art Book Fair with a selection of independent fashion publications. Also, Beau Bertens, Elisa van Joolen, Femke de Vries, Jan Schoon and Mary-Lou Berkulin will have a conversation about independent fashion publishing.

As Warehouse aims to create an engaging environment that facilitates dialogue and an alternative fashion discourse that goes beyond seeing fashion as a commodity Warehouse supported and produced a number of projects that explore with a critical eye, the trademarks of fashion. Some of these projects are *PORTAL*, *Press & Fold*, *A Magazine Reader* and *Monument*. During their talk at Printing Plant, Femke de Vries and Elisa van Joolen, along with Jan Schoon, Mary-Lou Berkulin (*Monument*) and Beau Bertens (*Press & Fold*), share insights on how they dissect fashion magazines, make fashion publications, approach the garment as carrier and medium and redefine the role of the wearer and the maker.\
\
For this year's fair we've selected independent fashion publications by the following makers: Chet Bugter, Rosita Kaer, Stijn Pommée and Zoe Philine Pingel.

Printing Plant Art Book Fair 2018 | Talk on Printed Matter in Fashion

A conversation with Elisa van Joolen and Matthias Kreutzer (Our Polite Society).

Elisa van Joolen’s new publication *One-to-One Reader* refers to her working method in which items of clothing became large-sized printing tools, covered in black and blue ink. Each clothing item served as a stamp, and was simultaneously being stamped on, thus creating a chain reaction and making each clothing item an original and a copy. As such the project *One-to-One* offers new perspectives on reproduction – it allows us to look beyond the status conveyed by the label and see the actual, material properties of clothing.

Bringing together contributions by Amelia Groom, Ruby Hoette, Joke Robaard, T’ai Smith and Hanka van der Voet this reader explores some of the project’s core questions: What does it mean to copy in fashion? What if a garment could be both a copy and an original at the same time? What if reproduction and production are one and the same? This reader, designed by Our Polite Society and published by Onomatopee, documents the process and outcomes of the *One-to-One* project as well as exploring the implications and possibilities of this unique working method in the broader context of the fashion system.

Launch One-to-One Reader

A conversation between Elisa van Joolen, Anouk Beckers and Renee van der Hoek addressing the following: Could different garments worn by different people be related? In what ways are emotional and monetary values of clothing connected? To whom does a piece of clothing belong?

*PORTAL* is a research project that explores the economic, social and emotional value of clothing and offers a ‘way in’ to understanding garments from a multitude of overlapping and intersecting perspectives.

For every edition, participants are asked to take off a garment, lay it down on a large Tyvek sheet, outline their garment with tape and answer a series of questions regarding its production (Where was it made?), materials (What is it made of?), ownership (Is it yours?) and value (How much did it cost? What is the emotional value?). Subsequently connections are made between the garments by literally drawing lines between the items of the various visitors, creating a network that reveals connections between and intersections of personal, economic, social, cultural and political realms surfacing a complex and layered system of the reality of clothing. This culminates in a map, or landscape of personal stories that connect to form a fashion network which inverts our gaze, shining a spotlight on the intricacies of our own outfits and extraordinary aspects of the everyday as opposed to the myth of the exclusive fashion image. *PORTAL* thus provides an entryway to a vision that begins to prioritise values that are ephemeral and yet integral in “influencing hearts and minds and shaping the way we live together”. It captures and visualises information that circumvents established hierarchies and disrupts the homogeneity of the commercially driven fashion system with the refreshing diversity of fashion that is worn; embodied and imperfect.

The collected information of each *PORTAL* edition is visualized and brought together in a reader using the sixteen *PORTAL* questions as a starting point.

For *PORTAL 002* Elisa van Joolen worked with visitors of *State of Fashion* in Arnhem to research the economic, social and emotional value of clothing. The collected data is visualized and brought together in a reader designed by Beau Bertens.

Launch PORTAL 002

During this launch, students from MA Fashion Strategy generation 27 will discuss the representation and meaning of luxury in the fashion magazine with Femke de Vries and Line Arngaard and Sonia Oet (*A March Issue*).

*A Magazine Reader* revolves around the analysis of a mainstream, high-end fashion magazine and its translation into an alternative new zine to provide insight into the cultural power and forms of value production that is at the core of fashion media. In it, the reader becomes an active actor in the construct of fashion. Re-reading the magazine by dissecting it, analysing the words, images, materiality, the items shown on the pages and the strategies of the specific magazine changes the way we read fashion.

In the workshop one specific magazine is selected. This magazine is thoroughly read, dissected and critically analysed on elements such as models, topicality, advertisements, material, brands, distribution, imagery, items, narrative, monetary value, colours, words and order of pages. By not starting from the perspective of the fashion system as a whole, but from the simple act of reading a fashion magazine, the reader gains an active role. Having the material in hands, seeing the images, how brands are being represented on the pages, reading the words and tracing the page numbers, but also feeling the paper, the weight and being able to smell the magazine creates an awareness of the magazine as a material object. Something that embodies and communicates the process of value production in fashion. A material representation of fashion’s ephemerality, dream worlds and fantasies.

The readers in the workshop use the material of the original ‘source magazine’ to create a new zine that provides insight into the cultural power and forms of value production that is at the core of fashion media. The existing material is elaborated on by connecting with other material (theories, visuals, artistic explorations). As such, *A Magazine Reader* focuses on the reader as an active participant – someone with agency rather than a passive consumer – in the process of creating fashion. Reading becomes making.

This first edition of *A Magazine Reader,* designed by Corine van der Wal is titled *VGUE*.The content came together through a workshop with MA Fashion Strategy students of generation 27 at ArtEZ University of the Arts, where we explored a *British Vogue* from the perspective of luxury today, and the way luxury is being sold through fashion mass media. 

*A Magazine Reader* is an ongoing research trajectory and series of zines initiated by Femke de Vries and Hanka van der Voet.

Launch A Magazine Reader 01

This launch of *Monument Issue #1 | Rozema/Teunissen* at Sexyland will coincide with an installation by Maria Kley.

On June 20, the first issue of *Monument* was published, a fanzine dedicated to the 'Dutch Wave', a group of Dutch fashion designers who created international fame around the turn of the century. Each number is dedicated to one designer or design duo. This first issue focuses on the work of the duo Rozema/Teunissen (Melanie Rozema and Jeroen Teunissen).

In *Monument*, a project by stylist and fashion researcher Mary-Lou Berkulin and graphic designer Karen van der Kraats, images and texts from various archives are combined with new interviews and photography. Each issue has its own unique design and editorial approach, completely in keeping with the designer to whom the issue is dedicated. A conversation between Mary-Lou Berkulin and Rozema/Teunissen has been supplemented with quotes and texts from articles from the archive and a new long-read, written by fashion researcher Renée van der Hoek. The items from the archive have been photographed by Barrie Hullegie.\
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Some words by initiator Mary Lou Berkulin from the introduction of this first edition of *Monument*:

“Rozema/Teunissen’s designs are part of a defining time in Dutch Fashion. With their work, they have paved the way for generations. But unfortunately, until today, their heritage is not tangible or visible. The majority of their archive is analogue and put together before the rise of social media and the internet. The items are held in bags, folders, in storage spaces and attics. Some lucky pieces have made it into the museum depot where they quietly lie, wrapped in acid-free paper, carefully held in climate-controlled spaces. Although this is a comfortable situation, it’s the reason they remain far from our memory. It’s a place unworthy of their essence”.

*“Monument* aims to bring these items back to the surface. By doing so, I want to show you that we maybe first need to look back in order to move forward into changing today’s fashion system”.\
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“This is not only the story of a young, talented label, bursting with ambition and creativity, but also a story about how external factors, both local and global, can have an impact on creatives and ultimately change their perspectives”.

“After almost 20 years since they’ve been made, Rozema/Teunissen’s designs still embody an exceptionally modern look, and photographer Barrie Hullegie beautifully caught this in the three stories we created together with items from the archive. In our constant hunger for new fashion we have forgotten about the artistry that is fashion design and the amount of energy and dedication it takes for a designer to create their work. Glossies, social media and the internet are happy to help you long for change, by constantly emphasizing on ‘what’s new’. Whilst autonomous artists create a body of work during the length of their career, fashion designers are expected to reinvent themselves several times per year which subsequently, makes their previous work look irrelevant to the public. This fascinating side of fashion is the reason why this first edition is dedicated to Rozema/Teunissen. They deserve a *Monument* for creating work that goes well beyond fashion’s transitory aspect".

Launch Monument Issue #1 | Rozema/Teunissen

For the *PORTAL 002* workshop Elisa van Joolen worked with visitors of *State of Fashion* in Arnhem to research the economic, social and emotional value of clothing. The collected data is visualized and brought together in a reader designed by Beau Bertens.

*PORTAL* is a research project that explores the economic, social and emotional value of clothing and offers a ‘way in’ to understanding garments from a multitude of overlapping and intersecting perspectives. Could different garments worn by different people be related? In what ways are emotional and monetary values of clothing connected? To whom does a piece of clothing belong?

For every edition, participants are asked to take off a garment, lay it down on a large Tyvek sheet, outline their garment with tape and answer a series of questions regarding its production (Where was it made?), materials (What is it made of?), ownership (Is it yours?) and value (How much did it cost? What is the emotional value?). Subsequently connections are made between the garments by literally drawing lines between the items of the various visitors, creating a network that reveals connections between and intersections of personal, economic, social, cultural and political realms surfacing a complex and layered system of the reality of clothing. This culminates in a map, or landscape of personal stories that connect to form a fashion network which inverts our gaze, shining a spotlight on the intricacies of our own outfits and extraordinary aspects of the everyday as opposed to the myth of the exclusive fashion image. *PORTAL* thus provides an entryway to a vision that begins to prioritise values that are ephemeral and yet integral in “influencing hearts and minds and shaping the way we live together”. It captures and visualises information that circumvents established hierarchies and disrupts the homogeneity of the commercially driven fashion system with the refreshing diversity of fashion that is worn; embodied and imperfect.

The collected information of each *PORTAL* edition is visualized and brought together in a reader using the sixteen *PORTAL* questions as a starting point.

Workshop PORTAL 002

A conversation with Hanka van der Voet, Beau Bertens, Hendrickje Schimmel (Tenant of Culture), Anouk Beckers, Elisa van Joolen and Femke de Vries. Installation by Tenant of Culture.

*Press & Fold* is a new independent fashion magazine that aims to explore alternative fashion forms and narratives. The bi-annual magazine provides a platform for critical fashion practitioners who do not obey the rules the fashion system is currently dictating.

In a time where everything in fashion is in flux so little of it seems to be discussed on the pages of fashion magazines, forever trying to sell us more things we do not actually need. Ever since the first fashion magazine appeared the goal has been to show and sell – some more explicit than others – the latest fashions. This obsession with ‘the new’ has had a constraining influence on the development of an independent fashion media and a serious fashion critique. *Press & Fold* wants to discuss, but more importantly, imagine what fashion would like if we take away advertising and editorials, take away the need to sell something through the magazine, and instead focus on having conversations on the production, presentation, consumption of clothes and the contexts in which this takes place. *Press & Fold* focuses on a fashion reality that isn’t based solely on consuming the latest fashions but on our experiences through fashion, seeking an alternative fashion discourse that goes beyond treating fashion as a commodity.

For its inaugural issue, *Press & Fold* reflects on the relation between fashion and the street, as the street has always played a pivotal – but ever-changing – role in the generation, presentation and perpetuation of fashion. A short overview of the content: Beau Bertens researches the impact of visual language on the street by deconstructing the shopping bag and examining its rhetoric power by placing it in an editorial context, Johannes Reponen critically examines concepts of ‘street style’ and ‘streetwear’, Laura Gardner writes about how 90s art groups such as Art Club 2000, Honey-Suckle Company and Bernadette Corporation presented a critique of the institutions of fashion through the concept of ‘collectivity’, Renee van der Hoek discusses with Camiel Fortgens how to find one’s place within a changing fashion system, Ricarda Bigolin of D&K explores the slippages between workwear, streetwear and branding in the context of current high end and luxury fashion practices, Duran Lantink shows his daily observations from the streets of South Africa, the urban tales of streetwear brand AVOIDSTREET are imagined in an advertorial, Tenant of Culture reflects on narratives surrounding waste in fashion, Ruby Hoette documents items of clothing found in public spaces, reflecting on concepts inherent to the current fashion system such as newness, brand value versus material quality and uniqueness, Femke de Vries constructs a fashion column, and Elisa van Joolen proposes an alternative fashion editorial that shows the material properties of clothes by Dutch streetwear labels Bonne Suits, By Parra, Ontour and Patta with the precision of an X-ray vision.

*Press & Fold | Notes on making and doing fashion* is initiated by Hanka van der Voet in collaboration with art director and graphic designer Beau Bertens. The magazine is a collaborative research project that connects critical fashion practitioners from all over the world.

Launch Press & Fold Issue #0 | The Street Issue

A conversation between Elisa van Joolen, Hanka van der Voet and students from MA Fashion Strategy generation 27 exploring the following: Could different garments worn by different people be related? In what ways are emotional and monetary values of clothing connected? To whom does a piece of clothing belong?

*PORTAL* is a research project that explores the economic, social and emotional value of clothing and offers a ‘way in’ to understanding garments from a multitude of overlapping and intersecting perspectives.

For every edition, participants are asked to take off a garment, lay it down on a large Tyvek sheet, outline their garment with tape and answer a series of questions regarding its production (Where was it made?), materials (What is it made of?), ownership (Is it yours?) and value (How much did it cost? What is the emotional value?). Subsequently connections are made between the garments by literally drawing lines between the items of the various visitors, creating a network that reveals connections between and intersections of personal, economic, social, cultural and political realms surfacing a complex and layered system of the reality of clothing.This culminates in a map, or landscape of personal stories that connect to form a fashion network which inverts our gaze, shining a spotlight on the intricacies of our own outfits and extraordinary aspects of the everyday as opposed to the myth of the exclusive fashion image. *PORTAL* thus provides an entryway to a vision that begins to prioritise values that are ephemeral and yet integral in “influencing hearts and minds and shaping the way we live together”. It captures and visualises information that circumvents established hierarchies and disrupts the homogeneity of the commercially driven fashion system with the refreshing diversity of fashion that is worn; embodied and imperfect.

The collected information of each *PORTAL* edition is visualized and brought together in a reader using the sixteen *PORTAL* questions as a starting point.

For *PORTAL 001* Elisa van Joolen worked with MA Fashion Strategy students generation 27 to research the economic, social and emotional value of clothing worn by visitors of the *Change the System* exhibition at Museum Boijmans van Beuningen in Rotterdam. Information on 159 pieces of clothing worn by visitors was collected. The collected data is visualized and brought together in a reader designed by Beau Bertens.

Launch PORTAL 001

For the *PORTAL 001* workshop*,* Elisa van Joolen worked with MA Fashion Strategy students generation 27 to research the economic, social and emotional value of clothing worn by visitors of the *Change the System* exhibition at Museum Boijmans van Beuningen in Rotterdam. Information on 159 pieces of clothing worn by visitors was collected. The collected data is visualized and brought together in a reader designed by Beau Bertens.

*PORTAL* is a research project that explores the economic, social and emotional value of clothing and offers a ‘way in’ to understanding garments from a multitude of overlapping and intersecting perspectives.

For every edition, participants are asked to take off a garment, lay it down on a large Tyvek sheet, outline their garment with tape and answer a series of questions regarding its production (Where was it made?), materials (What is it made of?), ownership (Is it yours?) and value (How much did it cost? What is the emotional value?). Subsequently connections are made between the garments by literally drawing lines between the items of the various visitors, creating a network that reveals connections between and intersections of personal, economic, social, cultural and political realms surfacing a complex and layered system of the reality of clothing.This culminates in a map, or landscape of personal stories that connect to form a fashion network which inverts our gaze, shining a spotlight on the intricacies of our own outfits and extraordinary aspects of the everyday as opposed to the myth of the exclusive fashion image. *PORTAL* thus provides an entryway to a vision that begins to prioritise values that are ephemeral and yet integral in “influencing hearts and minds and shaping the way we live together”. It captures and visualises information that circumvents established hierarchies and disrupts the homogeneity of the commercially driven fashion system with the refreshing diversity of fashion that is worn; embodied and imperfect.

The collected information of each *PORTAL* edition is visualized and brought together in a reader using the sixteen *PORTAL* questions as a starting point.

Reading My Panties zine launch

March 20, 2022

W139, Amsterdam

Growing Pains performance by Youngeun Sohn

February 19, 2022

Blauwbrug, Amsterdam

Warehouse Review 002, 'A Review of Reviews' Zoom Talk

November 18, 2021

Online

Launch Warehouse Review 002 | 'A Review of Reviews'

July 16, 2021

Amsterdam

Hallo 2021

May 27, 2021

San Serriffe, Amsterdam

State of Fashion 2021 | Intervention 03: Transition | Panel Talk

February 10, 2021

Arnhem

State of Fashion 2021 | Intervention 03: Transition | Longread part 04: Shanzai Lyric

February 9, 2021

Arnhem

State of Fashion 2021 | Intervention 03: Transition | Longread part 03: Chinouk Filique de Miranda

February 6, 2021

Arnhem

State of Fashion 2021 | Intervention 03: Transition | Longread part 02: Aïcha Abbadi

February 2, 2021

Arnhem

State of Fashion 2021 | Intervention 03: Transition | Digital Footprint Workshop

January 31, 2021

Arnhem

State of Fashion 2021 | Intervention 03: Transition

January 21, 2021

Arnhem

Exhibition JOIN Collective Clothes with Scheltens & Abbenes

September 22, 2020

Eight Cubic Meters, Sint Nicolaasstraat, Amsterdam

Launch Warehouse Review 001 | People Wearing Off-White

July 23, 2020

San Serriffe, Amsterdam

abC Art Book Fair

July 10, 2020

Beijing Times Art Museum

Performance JOIN Collective Livestream Walk

July 6, 2020

Kalverstraat, Amsterdam

Workshop JOIN Collective Clothes

March 1, 2020

Dordrechts Museum, Dordrecht

Launch Monument Issue #2 | Keupr/van Bentm

January 16, 2020

Athenaeum Nieuwscentrum, Amsterdam

Talk 200 Sisters Souvenirs

January 11, 2020

San Serriffe, Amsterdam

Launch Press & Fold Issue #1 | The Luxury Issue

December 7, 2019

San Serriffe, Amsterdam

Launch D&K LOOK BOOK 2019 | All Or Nothing

November 30, 2019

San Serriffe, Amsterdam

Printing Plant Art Book Fair 2019

November 21, 2019

Looiersgracht 60, Amsterdam

Launch A Magazine Reader 03

October 26, 2019

Onomatopee, Eindhoven

Workshop JOIN Collective Clothes

October 25, 2019

Dutch Design Week, Eindhoven

Workshop A Magazine Reader 03

October 4, 2019

Onomatopee, Eindhoven

Workshop JOIN Collective Clothes

October 3, 2019

Fanfare, Amsterdam

Workshop JOIN Collective Clothes

September 28, 2019

Cube Design Museum, Kerkrade

Workshop PORTAL 005

September 24, 2019