In Maria Mackinney-Valentin’s article, Trend Mechanisms in Contemporary
Fashion, Design Issues volume 29, issue 1, the thesis is that the development of
globalization, digital communication and social change has transformed design
from the temporal, arboreal model to a new spacial model. Where the old system is
hierarchical, closed and limited, the new system is open, fluid and non-hierarchical.
The old model is based on a tree, while the new model is based on the rhizome
which spreads horizontally underground.
Fashion, Design Issues volume 29, issue 1, the thesis is that the development of
globalization, digital communication and social change has transformed design
from the temporal, arboreal model to a new spacial model. Where the old system is
hierarchical, closed and limited, the new system is open, fluid and non-hierarchical.
The old model is based on a tree, while the new model is based on the rhizome
which spreads horizontally underground.
I see a clear analogy between the rhizome and the grid. Both are hidden and both
are limitless in scope.
are limitless in scope.
The typeface used is Univers to reflect my grid-based design concept.
Dimensions are 7.8 x 11 inches/page, 31.2 x 11 inches opened flat, a proportion
based on the √2 rectangle, a standard proportion used in Europe and many
other countries (Design Issues has an international audience). This system also
optimizes the use of paper through a system that has no waste. It is an
archival ultrachrome print on Bradford Rag paper in brilliant white (190 gsm).
Dimensions are 7.8 x 11 inches/page, 31.2 x 11 inches opened flat, a proportion
based on the √2 rectangle, a standard proportion used in Europe and many
other countries (Design Issues has an international audience). This system also
optimizes the use of paper through a system that has no waste. It is an
archival ultrachrome print on Bradford Rag paper in brilliant white (190 gsm).
