BRANDING POLITICS: An introduction as to why everything is political and Donald Trump a brand

Lately it feels like whichever newspaper I read, social media platform I look at or comment section I open, there’s something on about politics. And don’t get me wrong, I’m not saying it’s a bad thing. More so, I would say that this shows how deeply political engagement is implemented in our generation and our interests. One could argue that this is due to the current state of the world (which, yikes, let’s be honest) and how us young people experience it in times of social media. And I would know, as I consider myself part of the young people experiencing the current state of the world through social media.

Of course, this lively discourse is something that I might witness due to the online bubble I’m in, or my personal interest in our planets somewhat-ish wellbeing. But one thing that is definitely noticeable, no matter the bubble you’re in, is the uprising of both subtle and in-your-face political opinions. How couldn’t you, in times of a Cheeto with a bad hair transplant ruling Americas oyster, the world’s most perfect woman making literally anything from scratch in a couture dress or Austrian politicians selling their country out on their trip to Ibiza. And while all of these seem really funny (in a way), when you look a little closer, they vividly represent how modern politics work. They feel more like a lifestyle, a social media statement, a content source, a meme, maybe even a clothing style. The way you display yourself is a choice. A choice, rooted in politics. Because let’s be real, you can almost always tell the political orientation of someone – just by looking at them.
And that sparks an important question: What do politics look like?

Because last time I checked, it’s about where you make your cross at vote-o-clock, not whether you buy the black or the white shirt at H&M. Right?
And it’s not like we don’t hear it all the time. “Don’t make this political”, “This is too political”, “Their death shouldn’t be politicised,” especially when someone from a marginalised group is violently killed. Yet such statements are impossible, because everything is political. It starts with the way you consume your news, and it ends, you guessed it, with whether you buy the black or the white shirt at H&M. Politics is all around us. Activist and journalist Brianna O’Reilly even defines it as a tool to understand and address problems, measure right and wrong, what we deem to be moral or immoral and how we think of everyday challenges and happenings both individually and collectively.

Going back to my question – What do politics look like? – I’m certain you can think of a few stereotypes, or giveaways rather, of different political directions. And I’m not just talking about how people dress or the age that they are. It’s also about different communication tactics, colours, trends or social medias certain groups choose to use. Or that the clothing stores you go to fund different political parties one way or another, or that the kind of clothes you buy makes you part of a visually identifiable group or that the lifestyle choices you make influence the political situations in other countries. That Avocado you bought had to come from somewhere, right? And the shirt you got had to be made somewhere – probably not Austria… right?  The price of the shirt you’re willing to pay, depends on the social-political situation somewhere else. Did it feel political when the choice was made to follow these stereotypes? Probably not. It doesn’t make them any less political though!

In short: There’s a certain design to politics, not just on the outside. Let’s take Donald Trump for example. He is using a certain colour (red), with a certain font, using certain words in his talks and only posting on certain social medias using certain hashtags. Him and his political party are branded in a very specific way, so that the people sharing his ideals can follow this branding and form a visual collective. This visual collective keeps the loop going, by consuming not just the brand on the outside, but also everything that comes with it. If you think about it, where’s the difference between a Trump Supporter and an Adidas fan? Other than their choice of brand to follow and the personal ideals they have, of course. Designing politics “the right way” is every inch as important as actually following up on these political beliefs.

This means, that graphic design as a tool of the visual language of protest is so powerful that it creates the ability to promote and pass on change-messages and allows it to work its way into our everyday lives creating a mass movement that can shake up political regimes (Yinks0067, n.d.). Not just from the outside, but the inside as well. At the end of the day, everything is political.
And that’s a good thing.

Sources:
• O’Reilly, B. (n.d.). Like it or not, everything is political. The Black Project.
• Yinks0067. (n.d.). The visual language of protest: How graphic design can fuel protest and change government. Medium.

Interaction Design in Aerial Silks: Teaching Proprioception in High-risk Scenarios

Aerial silks are pieces of fabric hung from the ceiling and used as an apparatus for dance. In this practice, people are suspended in the air, and students must be able to figure out how their own body must move in order to successfully complete a figure or sequence, while not falling to the ground in the process.  

As such, I ask, is there a way to blend the digital and physical world to help in the learning of new aerial silks figures? What can we as interaction designers do to help design the transfer of information of each movement in a figure or sequence? Can we use digital and/or analog methods to enhance people’s proprioception to make it easier to learn new figures? 

For example, one of the first skills you need to learn is how to do a basic foot lock. [1] explains it with the following image: 

Image from [1]

My personal motivation for this topic is the fact that I’ve been learning aerial silks for about a year and a half, in 4 different studios with 12 different teachers. Throughout this process, both the teacher and I have had to adapt to each other’s learning and teaching styles, respectively, and I have observed how different strategies help different students. Even with advanced students and teachers, the vocabulary used is not always the same, and the memory processes involved oftentimes affect the time it takes to learn a new sequence. 

This is relevant for design fields especially when thinking about full-body experiences. As we move to a more technologically integrated future, fully immersive interaction will become even more common. In this, one of the most important senses to study is proprioception – how do we teach people to be aware of their body? Besides that, this research is also relevant for the sports science field, as its findings can be used to help in the teaching of not just aerial silks, but also other non-standardized acrobatic sports. Design could help these fields through using user research and prototyping methods to reduce uncertainty in the unstandardized teaching methods and providing a good approach to help people with a less developed proprioceptive sense. 

Some of the challenges I expect are encountering little or no previous research exactly regarding this topic. I expect to find research about proprioception, maybe some research about silks, but not too many scientific papers combining the two. I also expect to find a challenge in the fact that everyone learns differently, and not only each individual country but also each individual aerial studio and teacher has its own internal language to define specific movements. In other, more studied fields, the best practice is to have a international committee where the rules are standardized for the profession worldwide. For example, gymnastics has the International Federation of Gymnastics, which is responsible for the language dictating every move. [2] 

Moving forward, I plan to: 

  • start talking with different aerial teachers and students in informal interviews to gather some background about how they deal with this problem 
  • delve deeper into shared resources to gain more knowledge 
  • ideate and list possible solutions depending on the findings 

[1] B. Borzillo. “How to Do Aerial Silks.” WikiHow. Accessed: Nov. 4, 2025. [Online]. Available: https://www.wikihow.com/Do-Aerial-Silks  

[2] “Mission and values”. Federation Internationale de Gymnastique. Accessed: Nov. 11, 2025. [Online]. Available: https://www.gymnastics.sport/site/pages/about-missionValue.php