<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2184-0180</journal-id>
<journal-title><![CDATA[Convergências - Revista de Investigação e Ensino das Artes]]></journal-title>
<abbrev-journal-title><![CDATA[Revista Convergências]]></abbrev-journal-title>
<issn>2184-0180</issn>
<publisher>
<publisher-name><![CDATA[Escola Superior de Artes AplicadasInstituto Politécnico Castelo Branco]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2184-01802022000200099</article-id>
<article-id pub-id-type="doi">10.53681/c1514225187514391s.30.146</article-id>
<title-group>
<article-title xml:lang="en"><![CDATA[Has Genderless Become a Fashion Design Label?]]></article-title>
<article-title xml:lang="pt"><![CDATA[Será o Genderless uma Marca de Moda?]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Loureiro]]></surname>
<given-names><![CDATA[Eduarda]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade de Lisboa Faculdade de Arquitetura Research Center for Architecture, Urbanism and Design]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Portugal</country>
</aff>
<pub-date pub-type="pub">
<day>30</day>
<month>11</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>30</day>
<month>11</month>
<year>2022</year>
</pub-date>
<volume>15</volume>
<numero>30</numero>
<fpage>99</fpage>
<lpage>109</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_arttext&amp;pid=S2184-01802022000200099&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_abstract&amp;pid=S2184-01802022000200099&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://scielo.pt/scielo.php?script=sci_pdf&amp;pid=S2184-01802022000200099&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The word &#8216;genderless&#8217; carries a cultural and social burden that hasn&#8217;t bestowed upon the general audience nor some of the most spoken about brands in the world. There have been top tier designers that have dipped their toes and tried to show a world without binary gender boundaries, but the message is still not accurate. If fashion design seeks its roots in the lifestyle of the beholder, than what lifestyle are some brands representing by showcasing their genderless ideas as neutral, basic and shapeless designs? Fashion is the art through which people can express themselves, but there always seems to be a limitation. The younger generations are questioning those limitations and establishing that we can wear what we want, as long as it&#8217;s representative of the gender we feel most, or not at all. There has been a surge of the word &#8216;genderless&#8217; and several well-established brands are using it to promote, of what can only be pointed out as their marketing agendas. It&#8217;s important to understand that most of these brands haven&#8217;t done their homework and they haven&#8217;t talked to the people who actually go through the experience of a non-binary reality. The problematic isn&#8217;t necessarily the use of the word &#8216;genderless&#8217;, it&#8217;s the appropriation of the experience of people who aren&#8217;t even a part of the conversation. The present paper wants to explore how genderless seems to have become a label and a marketing move for brands and designers to try and engage with yet another audience. But also an exploration of how that is failing, especially when it comes to communicating and relating to the everyday experiences of people who live beyond the binary. Through contextual inquiries and personal interviews, we intent to dive into this experience of the world, with the positives and negatives, trying to sort if genderless is just a trend, or something else entirely.]]></p></abstract>
<abstract abstract-type="short" xml:lang="pt"><p><![CDATA[Resumo O termo &#8220;genderless&#8221; carrega uma conotação cultural e social que parece ainda não existir no mainstream de um público mais vasto, e das próprias marcas de moda com mais impacto no mundo. Alguns designers começam já a tentar perceber de que forma podem abordar esta questão de um mundo que não se rege pelas limitações do género binário, mas a mensagem parece ficar aquém do que se espera. Se o design de moda, e a própria indústria, procura as suas raízes e inspiração no estilo de vida de quem observa, então que estilo de vida representam as marcas que mostram o genderless como designs neutros, básicos e sem forma? A moda é uma arte através do qual cada pessoa se pode expressar, mas parece existir sempre uma limitação. As gerações mais novas estão, finalmente, a questionar essas barreiras e a perceber que podemos, e devemos, usar aquilo que queremos, desde que represente o género que sentimos que melhor nos representa. Tem existido um aumento da palavra genderless e várias marcas já estabelecidas no mercado internacional utilizam-na como forma de promover uma ideia de inclusividade falsa. É importante perceber que são marcas que não fizeram a pesquisa de mercado relevante e não falaram com quem realmente vive neste formato não-binário. O problema não está necessariamente, no uso da palavra, mas na apropriação da experiência de vida de pessoas que nem fazem parte da conversa. Serve este artigo para explorar a forma como o genderless se está a tornar uma marca em si e uma estratégia de marketing de designers para tentarem captar mais uma audiência. Mas também uma análise de como essa táctica está a falhar no que toca à comunicação e à própria forma como se relacionam com as experiências diárias de pessoas que vivem além do binário. Através de questionários contextuais e entrevistas pessoais, tencionamos mergulhar na experiência de um mundo que, positiva ou negativamente, tenta perceber se o genderless é apenas uma tendência ou uma questão mais profunda.]]></p></abstract>
<kwd-group>
<kwd lng="en"><![CDATA[Digital Fashion]]></kwd>
<kwd lng="en"><![CDATA[Computational Design]]></kwd>
<kwd lng="en"><![CDATA[Wearable Technologies]]></kwd>
<kwd lng="en"><![CDATA[Hybrid Bodies]]></kwd>
<kwd lng="en"><![CDATA[Postdigital]]></kwd>
<kwd lng="pt"><![CDATA[Moda]]></kwd>
<kwd lng="pt"><![CDATA[Género]]></kwd>
<kwd lng="pt"><![CDATA[Genderless]]></kwd>
<kwd lng="pt"><![CDATA[Design de Moda]]></kwd>
<kwd lng="pt"><![CDATA[Comunidades]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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