
doi: 10.25820/etd.007898
By creating designs that may appear to be dangerous or unwelcoming yet comfortable and functional, I seek to challenge the idea of what femininity can mean. We use our appearance to nonverbally communicate with others about our values and interests, intentionally or not. Much like how piercings, tattoos, colored hair, and seemingly hard exteriors can be used to ward off unwanted company, I seek to do the same within my designs.
When an object is defined as feminine, it means it shares characteristics with the idealistic standards of the female body. This terminology reenforces the idea that femininity should be soft, kind, gentle, curvy, nurturing, and maternal. However, by fitting into this standard of femininity, I have found myself more frequently subjected to unwanted attention and harassment.
Through aposematic design, I am breaking free from the belief that design should be minimalistic and neutral to appeal to a broader audience. I am beginning to create designs that reflect my own personal aesthetic and bluntness to better align with my work and to also voice my frustration.
Femininity, Design, Aposematism, Furniture
Femininity, Design, Aposematism, Furniture
| selected citations These citations are derived from selected sources. This is an alternative to the "Influence" indicator, which also reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically). | 0 | |
| popularity This indicator reflects the "current" impact/attention (the "hype") of an article in the research community at large, based on the underlying citation network. | Average | |
| influence This indicator reflects the overall/total impact of an article in the research community at large, based on the underlying citation network (diachronically). | Average | |
| impulse This indicator reflects the initial momentum of an article directly after its publication, based on the underlying citation network. | Average |
