This Enactment was adapted from
This Enactment explored World 205, in which all clothing belongs to the community rather than individuals. In this world it is said that “Clothes are like water; they belong to no one, yet it is everyone’s responsibility to take care of them.”
The Enactment was created by Carolina Upegui , Cristina Jaramillo, Luis Miguel Rodas, Clara Forero, Stella Agaton Rodríguez, Luz María Rodríguez y Josefina Bello Infante, in Sutatausa, Colombia.
It was one of a number of enactments developed by MA Design students from the Universidad de los Andes in Bogotá, as part of a three-day workshop, during which they worked in mixed groups with local women who were traditional textile makers.
The text guiding this Enactment:
In World 205, no one is allowed to own clothing. All clothing must either be borrowed or rented. Even those who make their own clothing do not get to own them. All clothing belongs to the community.
Any profit made from the rental or production of clothing goes back into the economy, directly funding public services (prioritising healthcare, education and public transport).
The group creating this Enactment developed their understanding of World 205 by brainstorming ideas and discussing processes of production, circularity and exchange, garment usage and cleaning in the fictional world. The conversation yielded insights connecting real life experience with imagination. These insights and other contextual questions raised by the group were combined to create imaginaries, using generative AI as a constructive tool.
The Prendateca document contains a diagram and a description of the comprehensive, community-based, circular clothing library system at the heart of the World 205 community, which was enacted by the group.
The group enacting World 205 offered a wide range of reflections:
On Community and Craft: The system is not just about garments—it’s about people, shared efforts, and mutual trust. Every step—from tending the land to designing the final piece—is an invitation to participate in a collective creative act. In this tapestry, no thread is insignificant, and every member’s contribution enriches the fabric of the community.
On Circularity and Impermanence: Embracing a circular model means acknowledging that nothing is permanent, including our possessions. By ensuring that garments continuously rotate and evolve, we celebrate imperfection and the beauty of change. It’s a gentle reminder that life itself is a series of renewals—an ever-adapting design that never repeats itself exactly.
On Ownership and Attachment: When garments become communal treasures, the idea of individual ownership transforms. Instead of clinging to physical objects, we become part of an ongoing story—each piece carrying the whispers of previous wearers. This shift not only challenges our materialistic instincts but also fosters a deeper sense of belonging and shared memory.
On Innovation Through Tradition: The integration of traditional techniques like weaving, felting, and even methods such as crochet or cross-stitch with modern strategies (like using AI for creative exploration) hints at a future where heritage meets high-tech. There’s an inherent humour in imagining age-old crafts dancing with futuristic tools—a playful nod to both the past and the emerging new era.
On the Dynamics of Exchange: Moving away from monetary transactions to a system based on reciprocity and trust creates a space where every exchange is more than a mere trade. It’s an exchange of experiences, ideas, and cultural values, where the act of giving back is as vital as the act of receiving.
On the Living Agents in the System: Recognizing that each element is not merely a static resource but a living, active participant transforms our approach to design. The sheep transcend their role as simple wool providers, emerging as vibrant symbols of community and shared heritage. Likewise, garments are not just objects; they carry the stories, memories, and cultural imprints of those who have worn them, evolving with every interaction. This perspective invites us to view design as a dynamic dialogue with life, where every actor—whether animal or textile—plays a vital role in the ongoing creative process.
In essence, these reflections invite us to reconsider the way we view production, consumption, and connection. They gently challenge us to see value not in the permanence of possessions but in the transient, yet ever-repeating, cycle of creative collaboration.
Adapt this Enactment
Would you like to adapt this Enactment for your setting? Please feel free to use the ideas shared here – and tell us how it went! Send an email to Amy with your news.
This Enactment was devised by Carolina Upegui, Cristina Jaramillo, Luis Miguel Rodas and Clara Forero (located in Colombia), based on a World contributed by Minnie, using a Creative Commons Attribution-ShareAlike 4.0 International licence which allows others to share and adapt the work in any medium and for any purpose, providing that they credit the authors and share their material using the same Creative Commons licence.
Photographs: Carolina Upegui, Cristina Jaramillo, Luis Miguel Rodas and Clara Forero.
Does this World remind you of something?
I am keen to hear about any historical or contemporary real-world examples – whether individual practices, subcultures or mainstream activities – that this fiction brings to mind.
Please share any such examples using this form. Thank you!