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This article explores the concept of ecofascism during the twenty-first century. In the midst of worsening ecological crises, a revival of ecofascist rhetoric and action has been observed. Despite this resurfacing, there is a lack of theorizing around the topic. This discussion will explore how the ecofascist label has been applied in different contexts historically, and the ways it may manifest in the twenty-first century. We hope that this stimulates conversation and awareness around ecofascism and serves as a guide to identify various ecofascist rhetorical tools, policies, and proposals.

As our current climate crises increase in severity, discussions on solutions have found themselves at the forefront of mainstream media, and talked about by political actors and economic elites. While many of these solutions may seem ethical or even the answer to our ecological problem, we must take a critical look at the root causes in order to understand what actions are necessary. Without this, our discussions fall short, and tend to negatively affect marginalized communities. Family-planning programs aimed at the suppression of certain populations is one example used when discussing how to combat overpopulation in order to alleviate climate change. This superficial, Western, capitalist-driven idea and discussion, laced with sexist and racist undertones, is the discourse we will be analyzing. By employing a critical decolonial and ecofeminist lens, we will critique this discourse, and argue that it’s an all-too-common tool of deflection and scapegoating that white environmentalism employs in order to ignore historic power relations. Further, we will illuminate historical roots and trends around the family-planning movement, such as anti-immigrant sentiment, nationalism, and ecofascism.

We employ an intersection of critical approaches to examine the global food system crisis and its alternatives. We examine counterhegemonic movements and organizations advancing programs of constructive resistance and decolonization based on food sovereignty, indigenous revitalization and agroecology. Food system alternatives rooted in intersectional critiques of the world-system open spaces for materially-grounded, commons-based socioecological relations that make just, sustainable, and equitable worlds possible beyond a civilization in crisis.

Intellectual Property Rights (IPR) in the UK has been a topic of controversy, frustration and complexity for design and designers for many years and this continues to be the case. The situation is further complicated by the different laws affecting IPR in different countries and, often, a lack of knowledge about IPR especially among young designers. Indeed, there are significant differences in knowledge and understanding of IPR among designers in both economically developed and developing countries. To understand IPR we must first alter or augment our perception of property.\ud We grow up to consider property as a material entity: a car, a house, a television etc., something tangible that an individual has paid to take possession of or has manufactured themselves and therefore has the right to charge another individual for or even to give away; the last three words are important and may become more important as we begin to discuss IPR in relation to culturally significant patterns, products and practices. For example, many of us will give away our personal property to charity shops or any other non-profit organisation we choose because we believe that, in doing so, we are contributing towards the good of our national and global society.\ud The concept of design knowledge as a property is covered in depth and breadth by Mwendapole (2005) in her PhD thesis. She explains that, although property is probably not semantically the right word to cover design knowledge it is used because, as MacPherson (1978 : 11) stated, ‘property must be grounded in a public belief that it is morally right; if it is not so justified it does not remain an enforceable claim. If it is not justified, it does not remain property’. Design knowledge can be placed into one of two groups (Rodgers and Clarkson 1998): tacit or explicit. To put this simply, tacit knowledge is what is in the designer’s brain; it has been put there by training, education, practice and experience. It is how the designer collects and interprets previous knowledge. The knowledge will remain tacit throughout most of the idea generation stage and even up to the stages of early sketches. Once the designer moves on to technical drawings, models, computer simulations and so on (i.e. they become explicit) the ideas can be tested, viewed, used and enjoyed in the public domain and therefore should be protected and a value placed on them. How this value is arrived at and whether it is purely temporal or spiritual or both is difficult enough in contemporary society; when the designer is an individual or corporate entity, when the designer is part of a cultural group or ecology that has existed for decades, centuries or even longer, the situation is highly complex.

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The aim of this study is to produce accurate reproductions of digital clothing from historical sources and to investigate the implications of developing it for online museum exhibits. In order to achieve this, the study is going through several stages. Firstly, the theoretical background of the main issues will be established through the review of various published papers on 3D apparel CAD, drape and digital curation. Next, using a 3D apparel CAD system, this study attempts the realistic visualization of the costumes based on the establishment of a valid simulation reference. This paper reports the pilot exercise carried out to scope the requirements for going forward.

Colour forecasting is a process where attempts are made to accurately forecast colour for fashion-related products that consumers will purchase in the near future, usually two years ahead. Seasonal colours are recognised as a powerful driver of sales. Currently trend forecasts are marketed and sold globally. The information is broad and generalised and does not take into account colour preferences. In the study the anticipation of consumer acceptance was identified as the weakness of the process and an improved system model was developed replacing the anticipation stage with consumer colour acceptance data. The improved model is considered highly beneficial for fashion-related industries to adopt in order to increase their competitiveness in the global market and to assist waste reduction (unwanted products) that impact on the environment. In this paper the development of the two models is presented and discussed in an attempt to purposely promote the usefulness of soft systems methodology for design research.