Revista de Ensino em Artes, Moda e Design
Journal of Arts, Fashion and Design, linked to post-graduation programs of Udesc, UFC, UFRPE and UFPE and ABEPEM. ISSN: 2594-4630 Frequency: Continuous Year of criation: 2017
Universidade do Estado de Santa Catarina
Authors retain copyright and grant the journal the right of first publication, with work simultaneously licensed under the Creative Commons Attribution 4.0 International License, which allows for: 1. Share — copy and redistribute the material in any medium or format for any purpose, even commercially. 2. Adapt — remix, transform, and build upon the material for any purpose, even commercially. The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: 1. Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. 2. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits. Plagiarism, in all its forms, constitutes unethical publication behavior and is unacceptable. This magazine uses iThenticate similarity control software.
Copyright (c) 2026 Júlia Gomes Lessa https://creativecommons.org/licenses/by/4.0/deed.pt
A delicate absurdity: Teaching and thinking in times of crisis.
Editorial of the Dossier: A delicate absurdity: Teaching, Humor, Creation and Complex Thought with/in Gianni Rodari and Edgar Morin" with a preamble on the theme, the thinkers discussed and summaries of the published contributions.
Copyright (c) 2026 Mara Rúbia Sant Anna https://creativecommons.org/licenses/by/4.0/deed.pt
Between Moirai and Meanders: A/r/tographic Processes in Technical Education
This article presents developments from an arts-based research project that investigates the application of A/r/tographic methodology in technical fashion education, articulating art, research, and teaching through a pedagogical proposition developed with students from the Technical Course in Fashion Styling and Coordination at Senac Pindamonhangaba. The study aimed to analyze how A/r/tography, in dialogue with cartography and the notion of rhizome, may foster more sensitive, collaborative, and reflective educational practices. The investigation, qualitative in nature, derives from a broader study with a qualitative and quantitative approach and, in the scope presented here, focuses on an action-research experience carried out in three 3.5-hour meetings, held on June 14, 17, and 18, 2024, with the participation of 15 students, the teacher-researcher, and a professional responsible for visual documentation. The instruments used for producing information included participant observation, field diary, photographic and audiovisual records, rhizomatic maps, continuous line drawings, experiments with natural fibers, embroidery, patternmaking, and exhibition installation. The analysis considered the connections produced among the field trip to Greece, visual repertoires, mythology, textile practices, collective creation, and the construction of the garment-artwork Luminosa Selene. The results indicate that the experience fostered shifts in the understanding of the creative process, expanded students’ participation in the symbolic construction of the piece, and repositioned the teacher as artist, researcher, and educator. Thus, the article contributes to debates on Arts-based Educational Research, A/r/tography, and technical fashion education, highlighting embroidery and thread as material, narrative, and methodological operators of learning.
Copyright (c) 2026 Felipe Costa Souza; Juliana Marcondes Bussolotti https://creativecommons.org/licenses/by/4.0/deed.pt
From the Great Masculine Renunciation to the Youth Revolution: the aesthetic construction of menswear between the nineteenth and twentieth centuries
Male dress in the post–French Revolution period was marked by the austerity of English tailoring, which came to shape bourgeois aesthetics from the nineteenth century to the present day. Men in major urban centers in Europe, Brazil, and the United States adopted the suit—comprising jacket, trousers, and waistcoat—as the visual synthesis of the Great Masculine Renunciation. Even the elaborate image of the nineteenth-century dandy reflected the black sobriety characteristic of the post–Industrial Revolution era. However, after the Second World War, a series of social and cultural movements led to the emergence of a new masculine aesthetic profile. The expansion of universities, the growth of prêt-à-porter consumption resulting from the consolidation of the urban middle class, and the strengthening of audiovisual media as social influencers gave rise to the figure of the young man, dressed in jeans and jackets and disseminated through images of cinema and music stars widely circulated in magazines, radio, and television programs. Confronting two distinct profiles—the functional sobriety of nineteenth-century menswear and the youth revolution of the postwar period—this article proposes a visual and theoretical panorama that systematizes the understanding of socioeconomic and cultural transformations, facilitating the teaching and learning of the history of menswear as a form of visual culture and as a creative tool in fashion practice.
Copyright (c) 2026 Álamo Bandeira, Walter Franklin Marques Correia, Oriana Maria Duarte de Araújo https://creativecommons.org/licenses/by/4.0/deed.pt
This article, which presents a theoretical study, proposes a reflection on the urgency of reconfiguring human relations based on the principles of fraternity and solidarity, using Edgar Morin's complex thought as a reference. In a context of civilizational crisis, marked by fragmentation, inequalities, and threats to the common future of humanity, the author invites us to build an open fraternity that recognizes the other in their alterity and promotes ethical coexistence in diversity. Fraternity has biological and cultural roots and should be understood as a profound expression of the human condition, present in dynamics of cooperation, mutualism, and interdependence. The construction of a planetary fraternity requires overcoming the limits of closed identities and cultivating "oases of hope," that is, spaces of ethical and social resistance that promote solidarity and sustainable practices, such as mutual aid networks, solidarity economy, and community actions. Solidarity is not limited to punctual altruism but constitutes a structuring principle of collective and planetary life. Rooted in the awareness of a shared belonging to the human species and to the Earth, an ethic is needed that is capable of overcoming individualism and promoting responsible, democratic, and regenerative coexistence. Thus, the article concludes that the fraternal and solidarity-based paths proposed by Morin are central to the construction of a new civilizational paradigm, capable of facing global challenges with hope, awareness, and shared responsibility.
Copyright (c) 2026 Izabel Petraglia, Mariangelica Arone, Wilson Horvath https://creativecommons.org/licenses/by/4.0/deed.pt
The eye and the hand: the phenomenology of perception in the graphies of portrait ands Self-portrait
This article reports a pedagogical experience developed in the Arts curricular unit at the Federal Institute of Santa Catarina – Tubarão Campus, with first-year students from integrated technical programs in Administration and Industrial Automation. Its objective is to analyze, from the perspective of complex thought, the phenomenology of the gaze applied to portrait and self-portrait drawing practices, understood as a field of meaning production within processes of graphic authorship. The methodology is characterized by a descriptive-interpretative approach, articulating cartography (Sant'Anna, 2024) as a guiding principle of the experience, from which four interdependent acts are structured: the first, facing oneself; the second, facing heritage; the third, facing montage; and the fourth, facing the complex image. On the theoretical level, the study mobilizes the phenomenology of perception (Merleau-Ponty, 2018), the understanding of the image as event and survival (Didi-Huberman, 2013), representation as the production of meaning (Hall, 2016), and complex thought (Morin, 2015), in order to support drawing as a relational field in which perception, image, and experience mutually implicate one another. It is argued that the phenomenology of the gaze enables the aesthetic and political formation of students by shifting drawing from a representational logic toward a field of sensitive and critical experience.
Copyright (c) 2026 Kellyn Batistela https://creativecommons.org/licenses/by/4.0/deed.pt
Lapidarium: The Artistic Practice of Hortência Moreira
In this interview, we explore the creative process of Hortência Moreira, a visual artist who transforms everyday urban life into works imbued with memory and identity. The conversation reveals how her practice develops through the observation of the city, the collection of images and objects, and careful attention to materials, time, and the memories they carry. Hortência shares how her series emerge and evolve, how she revisits previous works without repetition, and how her exploratory and recursive gaze establishes a continuous dialogue between city, material, and creation. The interview highlights the artist’s commitment to process, where planning, invention, and memory intertwine to generate discoveries and expand her artistic production.
Copyright (c) 2026 Mara Rúbia Sant'Anna, Júlia Gomes Lessa, Vinicius Vicente https://creativecommons.org/licenses/by/4.0/deed.pt
The Center for Education and Art (CEA) and Fanny Abramovich's contribution to Art Education – an interview with Rosa Iavelberg
This interview was conducted in the context of my doctoral research on Gianni Rodari's work, *Gramática da Fantasia*. During my investigation of the book's publishing history in Brazil, I identified the work of Fanny Abramovich, the organizer of the collection in which the book was published, which went beyond the publishing field. Abramovich also stood out in the field of art education in São Paulo, a dimension of her career that I was previously unaware of. Her work demonstrated the promotion of innovative pedagogical practices, showing how art and education could complement each other. In the course of the research, especially during the qualifying exam, I learned that the art educator Rosa Iavelberg had been a student in the teacher training course at the São Paulo Center for Education and Art, an institution affectionately called "Fanny's Little School." This discovery sparked my interest in understanding more deeply how this space functioned, which offered art courses for children, as well as art training programs for teachers. The center was an important laboratory for artistic experimentation in the 1960s and 1970s, promoting innovative methodologies and reflections on teaching practice. Motivated by this context, I requested an interview with Rosa Iavelberg with the aim of recording her memories and perceptions of her experience as a student at Fanny's Little School. The conversation sought to document aspects of the center's operation, the activities and courses developed, as well as Fanny Abramovich's contribution to the field of arts and education in São Paulo during that period.
Copyright (c) 2026 Elisângela Freitas Mathias https://creativecommons.org/licenses/by/4.0/deed.pt
Complex thinking and divergent thinking: dialogue between Morin and Rodari for teaching literature
This article seeks to establish a theoretical and practical connection between the ideas of Edgar Morin and Gianni Rodari in the context of teaching literary writing during the early years of elementary school. Both thinkers emphasize the profound value of literature. Morin (2005, 2011, 2015a) advocates for its role in fostering self-knowledge, revealing human multidimensionality, promoting empathy toward others, and illuminating the complexities of interpersonal relationships and the world at large. Rodari (1982, 2000, 2009), in turn, focused on devising techniques, reflections, and activities to make literature accessible to children, emphasizing the playfulness of language, logical reasoning, aesthetic appreciation, and the cultivation of creativity, imagination, and fantasy. Drawing on examples of pedagogical practices, this article illustrates the viability of nurturing children's creative expression within a stimulating environment, one that challenges them to envision themselves as authors and critical thinkers while equipping them for active societal engagement. By integrating these practices through the lens of complexity and inventive interaction with literary texts, we advocate for teaching literature as interconnected experiences that seamlessly link reading and writing.
Copyright (c) 2026 Elisa Maria Dalla-Bona, Danielle Mari Stapassoli, Maria Luciana Scucato Benato https://creativecommons.org/licenses/by/4.0/deed.pt
Adaptive systems for color blindness: A proposed model for color and contrast adjustment
With estimates that color blindness affects approximately 8% of men and 0.5% of women globally, ensuring visual accessibility in digital interfaces emerges as a crucial challenge, significantly impacting the interaction of millions of people. This condition compromises usability and digital inclusion, highlighting the need for more adaptive and intuitive solutions. This article addresses this gap, evaluating the potential of adaptive color and contrast systems to enhance digital accessibility for colorblind individuals, optimizing human-digital system interaction from an ergonomic perspective. To this end, a qualitative methodology was employed, based on a literature review and comparative analysis of technological solutions, including color blindness simulation tools and the theoretical formulation of an adaptive model driven by Artificial Intelligence (AI). The results indicated limitations in existing tools regarding personalization, real-time adaptation, and precise identification of color blindness type. In response, a theoretical model is proposed, comprising a system for identifying the type and degree of color blindness, dynamic color and contrast adjustment algorithms, and a customizable user interface, aiming to overcome these restrictions and offer a more complete and tailored solution to individual needs. The main contribution of the article lies in the proposition of this adaptive model, which, by integrating precise identification and AI-based personalization, optimizes visual experience and promotes digital inclusion. This work opens new perspectives for the development of more equitable interfaces, serving as a benchmark for accessible design.
Copyright (c) 2026 Bruna Cordeiro Machado, Claudelino Martins Dias Junior https://creativecommons.org/licenses/by/4.0/deed.pt
The complex logic of Fantasy Grammar in Visual Arts education
This article will unfold the concepts of complexity and open reason defended by Morin (2015) in order to support his dialogues with the fantastic thought of Gianni Rodari (1982), aiming to promote the exercise of complex thinking in the analysis of the book *Grammar of Fantasy*. Situated within the movement of cognitive migrations between various fields of knowledge, the book presents the methodological procedures of the Italian writer in promoting a multidimensional education focused on the subject and characterized by thinking with and within complexity. This dynamic will be examined in relation to the theoretical intersections that preceded teaching and learning processes in Visual Arts that are intended to be open and processual, focusing on treating the learner as the one who gives meaning to their own learning.
Teaching drawing in times of fragmented attention: relationships between drawing, time, the body, and space
The article presents reflections on teaching drawing in schools in times of fragmented attention and psychic and production-driven acceleration, taking as theoretical references studies in the fields of visual arts education, philosophy, and psychoanalysis, characterised by an interdisciplinary approach. Based on this dialogue between areas, reflections are developed on the relationships between drawing and gestures that humanise, the sensitivity of the body, contemplative attention, the particular notion of time and space as part of the learning process, the perception of error in the construction of individual history, enabling forms of connection with the self and the environment through drawing. The study is qualitative, exploratory, and interdisciplinary, based on bibliographic research, leading to a theoretical-reflective essay.
Copyright (c) 2026 Aline Firmiano, Anelise Zimmermann https://creativecommons.org/licenses/by/4.0/deed.pt
Brasilvision as a pedagogy of fantasy and symbolic displacement in Fashion Design education
This paper analyzes the pedagogical project Brasilvision as a device of applied imagination and symbolic displacement in Fashion Design education. The proposal consisted of randomly assigning Brazilian states to student groups, who were then challenged to translate territorial identity and musical repertoire into performative costume and scenography inspired by an international music festival format. Grounded in Gianni Rodari’s concepts of play and the fantastic binomial, the study understands chance as a structuring force in the creative process, capable of displacing students from aesthetic comfort zones and generating productive tensions between heterogeneous elements. Methodologically, this is an applied, qualitative, and exploratory study based on interpretative analysis of design processes, visual panels, sketchbooks, and the developed costumes and stage models. The results demonstrate that randomness functioned as a pedagogical trigger, transforming initial estrangement into structured aesthetic investigation and resulting in integrated narrative systems between costume and stage space. We conclude that Brasilvision constitutes a pedagogy of imagination in fashion education, articulating play, cultural research, and intersemiotic translation as foundations for critical and inventive learning.
Copyright (c) 2026 Ítalo José de Medeiros Dantas, Adson de Lima Claudino, Marcelo Curth https://creativecommons.org/licenses/by/4.0/deed.pt
Knits, types and loops: Development of textile flags in knitting
The absence of technical documentation and laboratory testing on textile materials with potential for application in clothing products remains a challenge for the apparel industry. In this context, this article aimed to develop two textile swatches based on the technical analysis of knit fabrics collected from the industry in Cianorte (PR), contributing to the physical and digital collection of the Tecidoteca Extension Project. The knit samples — one circular (single jersey) and one flat (rib knit) — were subjected to standardized tests (ABNT and ISO), assessing density, fabric weight, shrinkage, pilling, sensory hand feel, elongation, and elasticity. The results indicated significant structural differences between the knits: the rib knit exhibited greater elasticity (95.23%) and resistance to pilling (grade 5), while the single jersey showed lower performance (36.61% and grade 2, respectively). The research reinforces the integration of teaching, research, and extension, valuing textile knowledge and strengthening the critical and applied training of future fashion professionals.
Copyright (c) 2026 Ronaldo Salvador Vasques, Natani Aparecida do Bem , Elaine Regina Brito Maia Mercial https://creativecommons.org/licenses/by/4.0/deed.pt
Between Tradition and Creation: Reinterpretations of Germanic Costumes in Fashion Design Education
This work aimed to describe the process of creating, developing, and presenting reinterpretations based on the typical costumes used by Germanic folk groups in the Middle Itajaí Valley region, using the Project-Based Learning (PBL) methodology. The project was developed as part of the third phase of the Fashion Design course at UniSENAI - Centro Universitário Santa Catarina , Blumenau campus, and had four important stages: initially, the pieces were analyzed, and a historical study of the habits and customs of the inhabitants of the regions of origin of the studied pieces was carried out, followed by the creation of the reinterpretations; in the second stage, the creative process was carried out, where creativity techniques were applied under the supervision of the professors; after screening and refining the ideas, a sketch was chosen for prototyping; in the third stage, the pieces were modeled and made; and finally. In the fourth stage, the reinterpretations were presented in the form of a fashion show, made possible and managed by the organization of the TANZ event, a German folk dance festival, which took place in Pomerode/SC on July 25, 2024. The expected results of this study were to foster the expansion of students' ethnocultural repertoire, the appreciation and preservation of regional history, and to consolidate the link between academia and the cultural and artistic universe, which is so important in the creative repertoire of future designers. However, we can highlight the effective application of PBL in the teaching-learning process in higher education, since Project-Based Learning aims to establish a connection between practice and theory.
Copyright (c) 2026 Egéria Schaefer, Thaissa Schneider, Cristiani Maximiliano https://creativecommons.org/licenses/by/4.0/deed.pt
Reimagining Fashion through Extension: Between Critical Pedagogies, Museums, and Communities
The article analyzes extension practices developed at Feevale University that interconnect Fashion, Design, museums, and communities, highlighting the role of extension curricularization in academic education and social transformation. Drawing from three experiences — the Zuzu Angel exhibition at the National Footwear Museum, the project Re-imagining Is Possible?, and the Da Rua Para’Nóia project — the study discusses how university extension can serve as a structuring axis for critical and decolonial pedagogies, repositioning the museum as a pedagogical territory and the community as a co-author of knowledge. Grounded in Paulo Freire, Orlando Fals Borda, Enrique Dussel, and Arturo Escobar, the research conceives extension as a poetic and emancipatory practice that weaves together teaching, research, and social commitment.
Copyright (c) 2026 Daniel Keller, Claudia Schemes, Letícia Vieira Braga da Rosa, Suelen Bomfim Nobre https://creativecommons.org/licenses/by/4.0/deed.pt
The Transformation of Costume Design in Enchanted (2007): A Study on the Character Giselle and Fashion
This article analyzes the evolution of the character Giselle's figure in the film Enchanted (2007), understanding the figure as a narrative element and visual language in the construction of the character. The research investigates how the transformations in clothing accompany the protagonist's adaptation process, who comes from the world of fairy tales, to the real world, articulating cinema and fashion. As a methodology, an approach is adopted that combines semiotic analysis, film analysis, and fashion image analysis, applied to selected scenes from the film. The analysis identifies references to different periods in fashion history—such as the Victorian Era, the Belle Époque, the fashion of the 1950s and the 2000s—showing that each costume symbolizes stages of the character's maturation.
Letícia Gabryelle dos Santos de Vasconcelos
Copyright (c) 2026 Letícia Gabryelle dos Santos de Vasconcelos, Amilcar Bezerra https://creativecommons.org/licenses/by/4.0/deed.pt
Circular Planning and Social Extension: Application of the Hybrid Monsters Mitigation Methodology in Fashion Upcycling with the Criar Mulher Institute
This article presents the practical application of the methodology Circular Planning for Fiber and Notion Compatibility, previously developed as a strategy to mitigate the so-called hybrid monsters in sustainable fashion upcycling projects. The research was carried out with the women’s collective Instituto Criar Mulher, through the Eco-Criativas workshop, which used bus driver uniforms as raw material for textile experimentation and reconversion. Grounded in Freirean principles of popular education, the extension activity proposed a dialogue between technical knowledge and life experience, fostering collective learning, autonomy, and women’s protagonism. The methodology was applied in five stages: material diagnosis, compatibility mapping, creative exploration, process documentation, and educational communication. The process resulted in the creation of prototypes that combine circularity, aesthetics, and environmental awareness. The results indicate that the integration of design, extension, and dialogical pedagogy strengthens fashion as a field of social and environmental transformation, consolidating upcycling as an instrument of emancipation and citizenship.
Copyright (c) 2026 Breno Tenório Ramalho de Abreu, Rafaella Lacerda, Sandra Regina Martins de Oliveira https://creativecommons.org/licenses/by/4.0/deed.pt
Fragments of Everyday Life and Art: An Interview with Hortência Moreira
The interview with visual artist and architect Hortência Moreira reveals a trajectory deeply connected to artistic practice since childhood. Hortência shares how she grew up in a creative environment, within her mother’s sewing studio. Throughout the conversation, she reflects on the organic way in which art became intertwined with her personal and professional life, from her earliest drawings and experiments, and her specialization in the field of art, to her consolidation as an artist within the visual arts circuit. She recounts her experiences with competitions, group exhibitions, art salons, and her first solo exhibition, highlighting a continuous path marked by commitment to artistic language. Beyond her professional trajectory, the interview reveals the maturation of an artist who has always been in motion, seeking spaces for creation, research, and engagement within the cultural landscape. This artist was selected to accompany the three 2026 dossiers of the Journal of Teaching in Arts, Fashion and Design, with this being the first published interview, focusing on her formative trajectory. Works by Hortência Moreira were chosen to compose each of the covers of the issues published this year.
Copyright (c) 2026 Mara Rúbia Sant Anna, Júlia Gomes Lessa https://creativecommons.org/licenses/by/4.0/deed.pt
The Editorial Letter presents the Dossier Fashion, Extension, and Educational Management as the result of the maturation of the Working Group created at the Fashion Colloquium. The collected texts highlight university extension as a fundamental axis of education in fashion and design, articulated with critical and socially engaged pedagogical practices. The Dossier reaffirms the role of the university and of scientific events in the production of knowledge aligned with contemporary demands.
Copyright (c) 2026 Cyntia Tavares Marques de Queiroz, Juliana Bortholuzzi https://creativecommons.org/licenses/by/4.0/deed.pt
Architecture, set design and copyright fashion: an active and interdisciplinary learning
This article presents an interdisciplinary pedagogical experience which integrates architecture, scenography and copyright fashion within Interior Architecture for Scenography course at a private university. The research, anchored in the concepts of ethnography and auto ethnography, is qualitative, exploratory, and descriptive, is based on two students’ experience report who reflect on pedagogical practice and the theoretical foundations which guided The Dynamic Modules methodology, grounded on Project-Based Learning, three challenges were structured throughout the semester: camera scenography, stage scenography, and experiential scenography. All of them encompassed case studies, technical visits, lectures, conceptual and project development, and presentations using different techniques, fostering communication and expressive skills. In the camera scenography module, the students report their experience developing scenic spaces for a talk show on Brazilian copyright fashion, conceived by them, valuing local narratives, cultural identity, and the aesthetics of “do-it-yourself”. The process involved defining the target audience, planning the script, creating sets, and presenting them through models, a semantic panel, and a video. The study highlighted the convergence among architecture, fashion, and scenography as a field of aesthetics and conceptual experimentation, showing that the methodology adopted promotes autonomy, critical thinking, and interdisciplinary guided towards transdisciplinary, preparing students for real challenges in professional practice through a sensitive and culturally integrated approach.
Copyright (c) 2026 Juliana Fernandes Junges Cararo, Isabela Souza Altavini, Maria Clara Cavalca Machado https://creativecommons.org/licenses/by/4.0/deed.pt
Extension Activities in the Fashion Design Program: Opportunities for the World of Work
This study aims to analyze the opportunities that arise from extension activities in the Fashion Design program at the Federal Institute of Piauí, Piripiri campus. The methodology adopted follows a qualitative approach, based on bibliographic, documentary, and descriptive research. For this study, we relied on Fontenele (2024), Imperatore (2018), Betta (2018), Ciavatta (2012), among others. Through the experiences gained in the extension projects developed in the Fashion Design program, from its implementation to the present day, the importance of the formative process is promoted through the tripod: Teaching, Research, and Extension, culminating in inclusion in the world of work. Therefore, this study cannot be considered finished, as there are still possibilities for further development and new discussions on the topic. Nevertheless, it aims to encourage extension practices in higher education in Brazil as a tool for social transformation.
Wanderson de Vasconcelos Rodrigues da Silva
Copyright (c) 2026 Sabrina Pereira dos Santos Américo, Sandra da Conceição Cunha, Wanderson de Vasconcelos Rodrigues da Silva https://creativecommons.org/licenses/by/4.0/deed.pt
Modativismo: When fashion meets the struggle
This review analyzes the book Modativism: When Fashion Meets the Struggle, by Carol Barreto, published by Editora Paralela in 2024. The work offers a reflection on the relationships between fashion, body, and politics, establishing the concept of “modativism” as an epistemology of resistance and a project of aesthetic reexistence for Black women. Barreto conceives fashion as a territory of symbolic and pedagogical struggle, in which the act of dressing becomes a political and spiritual gesture. Academic whiteness and the Eurocentric paradigms that structure fashion teaching and practice are questioned by the author through the proposal of a decolonial pedagogy grounded in ancestry, collectivity, and creation as a form of thought. By integrating art, activism, and education, Modativism stands as a fundamental work for understanding fashion as a critical practice and a field of emancipation.
Copyright (c) 2026 Cristiany Soares dos Santos, Henrique de Souza Goulart , Aníbal Alexandre Campos Bonilla https://creativecommons.org/licenses/by/4.0/deed.pt
Colonization and Design Education in Brazil: action research and decoloniality experiences in Fashion teaching
This article presents the path and results of the research project Colonization and Design Education in Brazil – an analysis of the Fashion Design program curriculum at the Federal University of Ceará (UFC), developed within the NAÏF – Center for Studies in Art, Innovation, Fashion and Design. The qualitative, action research– based study used the methodology of life history and formative narratives as a critical-reflective tool for analyzing fashion education. It sought to understand how the coloniality of knowledge manifests itself in fashion design curricula and to propose decolonial pedagogical practices. Among the main outcomes are the publication of Decolonial Zine: Fashion and Decoloniality in Brazil, produced in partnership with the Research Collective for Decoloniality and Fashion (Netherlands), and the creation of the course Fashion and Activism, which expands the debate on diversity representation and epistemologies of the South in the field of fashion.
Copyright (c) 2026 Cyntia Tavares Marques de Queiroz, Michelle Medrado, Natalia Epaminondas https://creativecommons.org/licenses/by/4.0/deed.pt
Creation by programs: Report of experiences with the pedagogy of performative scenes in Cariri of Paraíba
This report/article aims to show forms of pedagogy that intertwine performance practices with contemporary dance and theatre, in a university context and in workshops open to the public. It starts from the notion of a performative program, associating it with some conceptions and examples of play, as a teaching and creation strategy. The methodology used is action research and reflective practice, through autobiographical accounts. It is hoped to contribute to the teaching of performing and visual arts, starting from the experience with performance as a point of departure.
Copyright (c) 2026 Manoel Moacir Rocha Farias Junior https://creativecommons.org/licenses/by/4.0/deed.pt
Apparel, Black Culture and Négritude Movement: ethnographic data in the light of the Discursive Semiotics of shame and pride
This article stems from a broader master’s dissertation aimed at understanding the meanings of apparel consumption within the Blackness Movement (or Négritude Movement). To achieve this, we employed theories of material culture, conducting an ethnography involving the Facebook profiles of 64 Black individuals engaged in the anti-racist struggle and the promotion of Black identity. As part of the results, we observed that the data are categorized into two narrative axes structured according to Discursive Semiotics theories regarding shame and pride. On one hand, participants communicate that a racist society instills shame in Black people for wearing apparel associated with Black culture, manipulating them to reject, abandon, and conceal such garments. On the other hand, participants demonstrate resistance to this manipulation by identifying with an ideal (perfect) image of Blackness and of pre-colonial African culture. Pride for this idealized image is manifested today through the adoption, maintenance, and exhibition of what we term “apparel of pride for the idealized Black/African culture,” which includes: a) turbans; b) dresses with African ethnic prints; c) men’s tunics, shirts and T-shirts with African ethnic prints; d) African ethnic prints in apparel in general; e) African fabrics produced in or imported from Africa; f) accessories with direct reference to Africa or Afro-culture; g) apparel with references to Egypt. This research is relevant for constructing a more pluralistic knowledge of apparel, providing a vast collection of images of clothing and accessories worn by Black people that intersect with their struggle against racism and in favor of Black identity.
Copyright (c) 2026 Isaac Matheus Santos Batista, Marcelo Machado Martins, Maria Alice Vasconcelos Rocha https://creativecommons.org/licenses/by/4.0/deed.pt
Copyright (c) 2026 Mara Rúbia Sant’Anna, Ivis de Aguiar Souza, Júlia Gomes Lessa https://creativecommons.org/licenses/by/4.0/deed.pt
Sewing the Public Mission: Extension in the Management of Fashion Design
The article analyzes university extension as a structuring axis of education, management, and institutional identity in the Fashion Design program at the Federal Institute of Brasília – Taguatinga Campus. The study adopts a qualitative approach based on a case study and examines how extension activities articulate teaching, research, and community engagement, functioning as a social technology for management and learning. Through the analysis of experiences such as Tessitura: Fashion and Literature; Costurando Talentos; Revista Avesso; Quem Vê Look, Não Vê Corre!; and Fashion and Festivals, the study highlights the role of extension in consolidating a dialogical and emancipatory pedagogy grounded in Freirean communication. The findings demonstrate that extension practices strengthen student protagonism, expand dialogue with the local territory, and consolidate fashion as a field of social, cultural, and educational transformation. It is concluded that extension, by weaving together education and management, becomes the guiding thread of the public mission of education, reaffirming Fashion Design’s ethical, aesthetic, and political commitment to diversity, sustainability, and the common good.
Copyright (c) 2026 Francisco Nunes dos Reis Junior, Priscila Bosque, Suzana Curi Guerra https://creativecommons.org/licenses/by/4.0/deed.pt
Design Science Research of weft-knitting spacer project for users with genodermatoses
This study proposes a methodology based on Design Science Research (DSR) to systematize the development of spacer weave fabrics for biomedical applications, with an emphasis on apparel for patients with Epidermolysis Bullosa (EB) and other genodermatoses. The specific objectives include facilitating designers' technical understanding of the production process and contributing to the teaching of technical textile structures. The research adopts a qualitative, applied approach, utilizing the DSR model proposed by Pimentel, Filippo, and Santos (2020). Textile design software (Raynen) and electronic rectilinear looms were used for prototyping. Spacer weave prototypes were developed based on structural parameters such as density, yarn pitch, tension, and fiber type. Two structures were created: a plain jersey fabric (control) and a derivative with pores and surface reliefs to improve permeability and comfort. The DSR approach proved effective in systematizing the development of these structures, promoting the integration of theory and practice. Furthermore, the need to incorporate visual tools (such as 3D simulations) into textile design teaching was highlighted to improve communication between designers and technicians.
Copyright (c) 2025 Ivis Aguiar Souza, Lais Kohan, Miguel Ângelo Fernandes Carvalho https://creativecommons.org/licenses/by/4.0/deed.pt
The film club as audiovisual literacy in school
The article presents the results of a cartographic field study conducted by the author between 2024 and 2025, based on film clubs and the appropriation of the triangular approach, emphasizing the axes of seeing, enjoying, discussing, analyzing, and creating as a proposal for audiovisual literacy in high school. The guiding principle of the film club project was the use of a Ludovicense film curatorship, a sociocultural context in which the research is inserted as an instrument of recognition, identity, and belonging for students, with the objectivo of promoting meaningful and emancipatory learning, in line with Freirean assumptions of a problematizing education focused on the development of critical awareness of social and political reality. The empirical field of the research covered three Educa Mais Centers (CEM) in the city of São Luís do Maranhão, full-time secondary education institutions. The investigation sought to answer the following question: how can film clubs be a viable proposal for audiovisual literacy in high school? To this end, the research analyzed both the theoretical and legal references that support teaching practice in the field of audiovisual education and the empirical data produced during the implementation of the Cineclube na Escola (Film Club at School) project.
Copyright (c) 2026 Monica Rodrigues de Farias https://creativecommons.org/licenses/by/4.0/deed.pt