Marie Hoejlund

How can remnants of digital pasts inform our paths towards diverse futures? How do our digital tools reflect our ethical orientation towards our technologies? In this wide-ranging interview, Mindy Seu discusses the Cyberfeminism Index and its strategies of radical gathering and sharing; what it means to create an “anti-canon”; and design and social justice.

“As feminist designers we’re quite weary of how patriarchal the writing of history is. So in bringing our work and our take on a historical text to the forefront, we’re trying to contribute to an alternative history where a looking back becomes a way to look ahead.” Two members of the Rietlanden Women’s Office, a feminist graphic design collaboration, discuss Useless Work versus Useless Toil, the forthcoming publication in its MsHeresies series.

“What’s left if you take away the fashion from a fashion magazine?” Continuing UNLICENSED, our series on design and bootlegging, graphic designer Line Arngaard and fashion researcher Sonia Oet discuss A March Issue, their 372-page, spread-for-spread remake of an issue of British Vogue—with all models wearing a “default” wardrobe of blue jeans and a white T-shirt.

Born out of frustration with a lack of criticality in design, Evening Class is a London-based “experiment in continuous learning” within the design field. In a recent interview, its members reflected on how the program became a space to explore politics as a defining element of their practices, how it functions as a support structure in a highly competitive environment, and what it means to “occupy space in, between, with, around, and against” the academy and industry.

“Comic Sans is a good example of why I think typefaces, like people, have their own course of life, their own history, ideas, and feelings.” Walker designer Marie Hoejlund interviews Jungmyung Lee of Jung-Lee Type Foundry about making—and exploring the “tone of voice” embedded within—typefaces.

Counter-Signals critiques the current state of digital communication, in which “likes, messages, and posts have become abstract economic commodities in the current state of Late Capitalism, becoming ever more instantaneous, accessible, individualized and disposable—discouraging collective settings and making references to the past difficult.” To mark the publication of Counter-Signals’s third issue, Marie Hoejlund interviews its makers about its approach to exploring the intersection of design and politics.