workshop for mesh festival:
During the Mesh Festival in Basel, we transformed the CIVIC of HGK Basel into a welcoming meeting place. Led by Anna Laederach, Fiona Nhieu, and myself, Selva Meyer, we collaborated with first-semester students from the BA Process Design program at HyperWerk on sustainable and creative projects.
At the beginning of the workshop, we conducted a joint review and sorting of the discarded materials. This process was crucial as participants interacted directly with the textiles, engaging with their history. Initially, we sorted by function—such as pants, tops, or jackets—but quickly realized that organizing by color and material was more effective for assessing visual impact and combination possibilities.
In the following days, we reimagined the pieces using various techniques. The airbrush machine, sewing machines, and eyelet tools were particularly popular, offering versatile and straightforward customization options. Shared curiosity and diverse skills naturally fostered social connections through collaborative exploration and knowledge sharing.
To ensure the quality of the creations, I personally tried on each piece before its completion. This editing moment was significant as it allowed us to evaluate the functionality and impact of the accessories together. The trust I built with the students enabled open discussions about potential improvements, respecting their ideas and making changes only with their consent.
A key part of the workshop was the contribution of my friend Luisa Later, who was in her final year of the BA Doing Fashion program at HGK. Her theoretical input provided the students with deeper insights into the significance of fashion and our relationship with clothing. Luisa introduced references from the fashion world and brought inspiring books, enhancing the students' understanding and supporting complex sewing and design processes.
An often overlooked aspect of processes is the collective cleanup of workspaces. For us, it was more than a practical necessity. Organizing the space and sorting the remnants fostered a conscious sense of closure and transition to a new phase. It was crucial that all participants viewed this moment as an integral part of the overall process, leading to mental clarity and project focus.
We documented the finished merchandise accessories with a group photoshoot. The creations were presented and staged in front of the camera by the students. This process of photographing and sharing their work fostered appreciation for the effort invested and highlighted the creative potential of each piece. For the participants, this celebratory moment was a profound experience that showcased the energy and creativity of their work.
At CIVIC, we faced the challenge of presenting the merchandise accessories in a way that fully conveyed their meaning and impact, inviting visitors to engage thoughtfully with them. Initially, we considered distributing and hanging the pieces around the space, but this approach would have caused visual clutter and required more time than we had available. Therefore, we decided against it.
Instead, we chose an effective presentation method: attaching the pieces to the exterior of the mobile Free-Shop box, which typically houses clothing and accessories no longer wanted by students. This deliberate decision made the "inside" of the box—normally hidden and discarded material—visible and central. What was originally given away and devalued was thus appreciated and became a focal element of the space.Â
Drawing from my experience as a photographer (the documentation pictures here are not representative of my work), I understand the importance of object presentation for perception. This knowledge was essential in teaching the students as well. The box, supplemented with a mirror, allowed visitors to try on the pieces and experience their impact immediately. This setup encouraged visitors to form a personal connection with the accessories rather than merely viewing them superficially.Â
During the festival, we regularly adjusted the arrangement of the pieces to maintain their impact within the space and attract visitors’ attention.
In conclusion, I look back with satisfaction on the workshop and the shared experiences with the students. The atmosphere of creative freedom, trust, and collective joy fostered a sense of community and collaboration. A special highlight was the spontaneous moments of listening to and singing along with music during work, which strengthened team spirit and enriched the creative process.
The freedom for individual ideas led to diverse and creative outcomes. Trying on and collaboratively editing the pieces was crucial; it improved the quality of the creations and promoted open communication and mutual understanding.
Transforming discarded textiles into valuable merchandise accessories demonstrated the potential of sustainable design. In hindsight, I would have liked to allocate more time for all phases. It's important to take the necessary time to implement projects thoughtfully. In the future, I aim to improve time management and organization to make decisions without time pressure.
The workshop raised further questions for both the students and me: How can we integrate sustainable practices more deeply into our daily lives? What new methods and techniques can we explore? How can we incorporate the insights from this project into future work?
Overall, I am proud of our collective achievements. The combination of styling, editing, conscious resource use, and the fusion of interior and exterior elements led to convincing results and heightened awareness of sustainable design.
I look forward to applying these experiences to future projects and exploring new paths in process design together. This project is another step on our journey—now onward to the next!
Participating Students: Maimuna Barry, Lotte-Mo Salome Berkhan, Ronja Buser, Tale Lyam Burger, Luana Capaul, Diego Cremonini, Xhenisa Demiri, Basil Maui Gygax, Lynn Hilty, Larissa Klarer, Luisa Later, Jonathan Schenker, Vanessa Scheidegger, Flurina Kühne, Adrian Cook
Creative Collaboration & Sustainable Design
30 September to 20 October 2024During the Mesh Festival in Basel, we transformed the CIVIC of HGK Basel into a welcoming meeting place. Led by Anna Laederach, Fiona Nhieu, and myself, Selva Meyer, we collaborated with first-semester students from the BA Process Design program at HyperWerk on sustainable and creative projects.
At the beginning of the workshop, we conducted a joint review and sorting of the discarded materials. This process was crucial as participants interacted directly with the textiles, engaging with their history. Initially, we sorted by function—such as pants, tops, or jackets—but quickly realized that organizing by color and material was more effective for assessing visual impact and combination possibilities.
In the following days, we reimagined the pieces using various techniques. The airbrush machine, sewing machines, and eyelet tools were particularly popular, offering versatile and straightforward customization options. Shared curiosity and diverse skills naturally fostered social connections through collaborative exploration and knowledge sharing.
To ensure the quality of the creations, I personally tried on each piece before its completion. This editing moment was significant as it allowed us to evaluate the functionality and impact of the accessories together. The trust I built with the students enabled open discussions about potential improvements, respecting their ideas and making changes only with their consent.
A key part of the workshop was the contribution of my friend Luisa Later, who was in her final year of the BA Doing Fashion program at HGK. Her theoretical input provided the students with deeper insights into the significance of fashion and our relationship with clothing. Luisa introduced references from the fashion world and brought inspiring books, enhancing the students' understanding and supporting complex sewing and design processes.
An often overlooked aspect of processes is the collective cleanup of workspaces. For us, it was more than a practical necessity. Organizing the space and sorting the remnants fostered a conscious sense of closure and transition to a new phase. It was crucial that all participants viewed this moment as an integral part of the overall process, leading to mental clarity and project focus.
We documented the finished merchandise accessories with a group photoshoot. The creations were presented and staged in front of the camera by the students. This process of photographing and sharing their work fostered appreciation for the effort invested and highlighted the creative potential of each piece. For the participants, this celebratory moment was a profound experience that showcased the energy and creativity of their work.
At CIVIC, we faced the challenge of presenting the merchandise accessories in a way that fully conveyed their meaning and impact, inviting visitors to engage thoughtfully with them. Initially, we considered distributing and hanging the pieces around the space, but this approach would have caused visual clutter and required more time than we had available. Therefore, we decided against it.
Instead, we chose an effective presentation method: attaching the pieces to the exterior of the mobile Free-Shop box, which typically houses clothing and accessories no longer wanted by students. This deliberate decision made the "inside" of the box—normally hidden and discarded material—visible and central. What was originally given away and devalued was thus appreciated and became a focal element of the space.Â
Drawing from my experience as a photographer (the documentation pictures here are not representative of my work), I understand the importance of object presentation for perception. This knowledge was essential in teaching the students as well. The box, supplemented with a mirror, allowed visitors to try on the pieces and experience their impact immediately. This setup encouraged visitors to form a personal connection with the accessories rather than merely viewing them superficially.Â
During the festival, we regularly adjusted the arrangement of the pieces to maintain their impact within the space and attract visitors’ attention.
In conclusion, I look back with satisfaction on the workshop and the shared experiences with the students. The atmosphere of creative freedom, trust, and collective joy fostered a sense of community and collaboration. A special highlight was the spontaneous moments of listening to and singing along with music during work, which strengthened team spirit and enriched the creative process.
The freedom for individual ideas led to diverse and creative outcomes. Trying on and collaboratively editing the pieces was crucial; it improved the quality of the creations and promoted open communication and mutual understanding.
Transforming discarded textiles into valuable merchandise accessories demonstrated the potential of sustainable design. In hindsight, I would have liked to allocate more time for all phases. It's important to take the necessary time to implement projects thoughtfully. In the future, I aim to improve time management and organization to make decisions without time pressure.
The workshop raised further questions for both the students and me: How can we integrate sustainable practices more deeply into our daily lives? What new methods and techniques can we explore? How can we incorporate the insights from this project into future work?
Overall, I am proud of our collective achievements. The combination of styling, editing, conscious resource use, and the fusion of interior and exterior elements led to convincing results and heightened awareness of sustainable design.
I look forward to applying these experiences to future projects and exploring new paths in process design together. This project is another step on our journey—now onward to the next!
Participating Students: Maimuna Barry, Lotte-Mo Salome Berkhan, Ronja Buser, Tale Lyam Burger, Luana Capaul, Diego Cremonini, Xhenisa Demiri, Basil Maui Gygax, Lynn Hilty, Larissa Klarer, Luisa Later, Jonathan Schenker, Vanessa Scheidegger, Flurina Kühne, Adrian Cook