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\title{*reclaimed! (from the perspective based in Malaysia)}
\date{2026}
\author{Anonymous}
\subtitle{a direct action initiative to fast fashion, ecology, labor and system}






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\begin{document}









\thispagestyle{empty}


  \strut\vskip 2em
  \begin{center}

  {\usekomafont{title}{\huge *reclaimed! (from the perspective based in Malaysia)\par}}%
  \vskip 1em
  
  {\usekomafont{subtitle}{a direct action initiative to fast fashion, ecology, labor and system\par}}%
  
  \vskip 2em
  
  {\usekomafont{author}{Anonymous\par}}%
  
  \vskip 1.5em





  
  {\usekomafont{date}{2026\par}}%
  


  \end{center}


  \vskip 3em
  \par







 \textbf{0. Problem statement:}
 **
Fashion \Slash{} Material Philosophy**


\begin{itemize}
\item\relax 
Why should new clothing exist if usable textiles already exist?



\item\relax 
Is repair a temporary solution, or a permanent design language?



\item\relax 
Should clothing remain static, or evolve with use and time?



\item\relax 
Are garments products, or living objects?



\item\relax 
Should damage be hidden or acknowledged?



\item\relax 
Does fashion need perfection to be valuable?



\item\relax 
Can clothing carry history without losing value?



\item\relax 
What would fashion look like after industrial abundance?



\item\relax 
Should garments be authored only by designers?



\item\relax 
Is individuality created by consumer choice or material uniqueness?




\end{itemize}

Labor \Slash{} Production \Slash{} Economics


\begin{itemize}
\item\relax 
Is value created by materials, machines, or labor?



\item\relax 
Can sustainability exist inside industrial fashion logic?



\item\relax 
Is scaling always good?



\item\relax 
Should labor be invisible?



\item\relax 
Can affordability exist without exploitation?



\item\relax 
Should sustainability prioritize purity or survival?




\end{itemize}

Consumer \Slash{} Relationship \Slash{} Ownership


\begin{itemize}
\item\relax 
Should garments be replaced when damaged?



\item\relax 
What happens to clothing after the sale?




\end{itemize}

Cooperative \Slash{} Governance \Slash{} Community


\begin{itemize}
\item\relax 
Is clothing consumption an individual act or communal ecosystem?



\item\relax 
Can clothing production strengthen local urban systems?



\item\relax 
Should brands operate as ownership systems or stewardship systems?




\end{itemize}

Open Source \Slash{} Knowledge \Slash{} Culture


\begin{itemize}
\item\relax 
Should sustainability knowledge be owned privately?



\item\relax 
If the fashion industry disappeared tomorrow, what knowledge should survive?




\end{itemize}

Function \Slash{} Infrastructure \Slash{} Future Thinking


\begin{itemize}
\item\relax 
Is fashion only aesthetic, or also infrastructure?



\item\relax 
What kind of future are we materially preparing for?




\end{itemize}


\bigskip


1. INTRODUCTION \Slash{} WHAT IS *reclaimed!


This is a cooperative-based and ideologically and heavily-driven from solarpunk’s


visions of a textile reconstruction system built entirely from reclaimed garments and


existing textile waste. The system exists to transform discarded clothing into wearable


pieces through repair, reconstruction, screenprinting, redesign, and long-term garment


circulation.


The project rejects the logic of fast fashion, disposable consumption, and virgin-material


dependency. Instead, it treats existing textile waste as a permanent resource base and


clothing as a living object that evolves through labor, use, repair, and time.


The cooperative operates not only as a clothing entity, but as a localized circular textile


ecosystem rooted in human-scale production, community participation, open-source


methodology, and low-carbon urban logistics.


2. CORE PHILOSOPHY


The system is built on several foundational principles:


\begin{itemize}
\item\relax 
Existing waste is already abundant enough



\item\relax 
Repair is a creative act, not a secondary compromise



\item\relax 
Clothing should accumulate history instead of being replaced



\item\relax 
Labor creates value more honestly than industrial scale



\item\relax 
Production should operate within ecological and human limits



\item\relax 
Knowledge should circulate instead of being monopolized



\item\relax 
Sustainability must exist structurally, not aesthetically




\end{itemize}

The cooperative does not attempt to become “better fast fashion.” It attempts to operate


outside the disposable fashion cycle entirely.


3. ORGANIZATIONAL STRUCTURE


The long-term objective of the project is to operate as a cooperative-owned textile


ecosystem rooted in collective stewardship, shared participation, and


community-centered production.


During its initial stage, the enterprise will be incorporated as a Sdn. Bhd. due to practical


considerations, including lower startup barriers, simpler administration, faster


registration, and the ability to operate with a small founding team before meeting the


membership requirements necessary for cooperative registration.


While operating as a Sdn. Bhd., the organization will voluntarily adopt


cooperative-inspired principles wherever practical, including:


\begin{itemize}
\item\relax 
transparent organizational practices



\item\relax 
participatory decision-making



\item\relax 
community-centered development



\item\relax 
contributor recognition and shared benefits



\item\relax 
member education and skills development



\item\relax 
collective stewardship of knowledge and resources




\end{itemize}

As the organization grows, systems will be developed to support broader participation,


including membership structures, contribution tracking, governance frameworks, voting


mechanisms, and shared-benefit programs.


Upon reaching sufficient organizational maturity, sustainable operations, and the


membership requirements required under Malaysian law, the organization intends to


transition toward a formal cooperative structure or another legally appropriate collective


ownership model.


The Sdn. Bhd. structure is therefore viewed as a practical launch vehicle rather than the


final organizational form. The long-term goal is not merely to build a company, but to


develop an institution capable of collective ownership, cultural stewardship, knowledge


preservation, and intergenerational continuity.


The goal is not chaotic collectivism, but resilient collaborative infrastructure.


4. MATERIAL POLICY


All garments are constructed from reclaimed textiles only.


Sources may include:


\begin{itemize}
\item\relax 
thrift stores



\item\relax 
bundle shops



\item\relax 
deadstock



\item\relax 
discarded garments



\item\relax 
secondhand markets



\item\relax 
textile recovery streams



\item\relax 
donated clothing




\end{itemize}

Natural fibers are prioritized where possible due to breathability, repairability, longevity,


and tropical climate suitability.


The system does not produce virgin fabrics. Existing textile waste remains the


permanent material source.


5. PRODUCT STRUCTURE


The system operates through three integrated clothing lines.


LINE 1 — GRAPHICS \Slash{} DAILY WEAR


Line 1 focuses on accessible wearable pieces built through reclaimed garments and


heavy graphic intervention using screenprinting.


Characteristics:


\begin{itemize}
\item\relax 
reclaimed base garments



\item\relax 
artist-designed graphics



\item\relax 
hand screenprinted production



\item\relax 
one-off or limited graphic runs



\item\relax 
visible wear compatibility



\item\relax 
affordable entry point into the system




\end{itemize}

Graphics are produced through:


\begin{itemize}
\item\relax 
cooperative member artists



\item\relax 
collaborations with outside artists



\item\relax 
designers



\item\relax 
illustrators



\item\relax 
collectives




\end{itemize}

Line 1 also functions as the cooperative’s primary bulk-order structure.


Possible clients:


\begin{itemize}
\item\relax 
independent businesses



\item\relax 
cafés



\item\relax 
workforce uniforms



\item\relax 
collectives



\item\relax 
community organizations



\item\relax 
bands



\item\relax 
exhibitions



\item\relax 
events



\item\relax 
local shows



\item\relax 
art spaces




\end{itemize}

Bulk orders maintain the cooperative philosophy through reclaimed garments and


localized production systems.


6. LINE 2 — RECONSTRUCTION \Slash{} EXPERIMENTAL


Line 2 functions as the cooperative’s primary experimental and artistic reconstruction


line. Each garment is treated as a one-of-one material work shaped through


collaboration between textile history, reconstruction labor, artist direction, and wearer


interaction over time.


The line provides space for:


\begin{itemize}
\item\relax 
individual artist expression



\item\relax 
collaborative reconstruction projects



\item\relax 
conceptual garment experimentation



\item\relax 
visual storytelling through textiles



\item\relax 
non-standard silhouettes



\item\relax 
material reinterpretation



\item\relax 
archive-based fashion pieces




\end{itemize}

Artists involved in Line 2 may include:


\begin{itemize}
\item\relax 
cooperative members



\item\relax 
outside collaborators



\item\relax 
musicians



\item\relax 
illustrators



\item\relax 
painters



\item\relax 
graphic artists



\item\relax 
photographers



\item\relax 
performance artists



\item\relax 
independent designers



\item\relax 
multidisciplinary creatives




\end{itemize}

Artists are encouraged to respond directly to the reclaimed materials themselves rather


than forcing materials into industrial consistency. Existing stains, fading, distress,


repairs, and textile histories may remain visible and become part of the final artistic


direction.


The line rejects trend replication and seasonal fashion cycles. Instead, garments are


created through material dialogue, reconstruction logic, and personal artistic


interpretation.


Possible methods include:


\begin{itemize}
\item\relax 
deconstruction and reassembly



\item\relax 
layered fabric systems



\item\relax 
asymmetrical cuts



\item\relax 
exposed repair



\item\relax 
patchwork composition



\item\relax 
hand alterations



\item\relax 
dyeing



\item\relax 
textile manipulation



\item\relax 
mixed-material reconstruction



\item\relax 
integrated graphics and surface intervention




\end{itemize}

Each garment is expected to evolve physically over time through wear, washing, fading,


repairs, and environmental exposure. The wearer becomes part of the garment’s final


form and continuing history.


Line 2 exists not only as clothing production, but as a platform for wearable artistic


experimentation inside a circular textile system.


7. LINE 3 — WORKWEAR \Slash{} MOVEMENT WEAR


Line 3 focuses on durability, utility, movement and repeated usage.


Garments are reinforced for:


\begin{itemize}
\item\relax 
physical work



\item\relax 
cycling



\item\relax 
skating



\item\relax 
commuting



\item\relax 
creative labor



\item\relax 
urban movement



\item\relax 
long-term wear in tropical climates




\end{itemize}

Characteristics:


\begin{itemize}
\item\relax 
reinforced seams



\item\relax 
durable repair structures



\item\relax 
stress-point strengthening



\item\relax 
breathable construction



\item\relax 
repair-ready systems



\item\relax 
visible maintenance compatibility



\item\relax 
movement-friendly silhouettes




\end{itemize}

The line also includes reclaimed movement and athletic-inspired wear, not as


high-performance industrial sportswear, but as practical urban movement clothing


designed for mobility, comfort, breathability, and repeated real-world usage.


Rather than competing with synthetic performance brands, the system focuses on


human-scale movement wear built from reclaimed materials and adapted for everyday


physical life within the city.


Line 3 is intended to survive active use rather than decorative preservation.


8. DESIGN LANGUAGE


The design language prioritizes visibility of labor and material history.


Core principles:


\begin{itemize}
\item\relax 
visible repair



\item\relax 
visible reconstruction



\item\relax 
asymmetry accepted naturally



\item\relax 
layered material memory



\item\relax 
tropical practicality



\item\relax 
aging as aesthetic evolution



\item\relax 
human intervention left visible




\end{itemize}

The cooperative does not attempt to imitate industrial perfection.


Imperfection is treated as evidence of human process and material continuity.


9. PRODUCTION PRINCIPLE


Production is guided by material availability instead of industrial standardization.


Garments are created based on:


\begin{itemize}
\item\relax 
what can be recovered



\item\relax 
what can structurally survive



\item\relax 
what can be repaired



\item\relax 
what can evolve through use




\end{itemize}

There is no mass identical production outside of limited bulk-order structures.


Even in bulk orders, variation between garments is accepted and encouraged due to the


nature of reclaimed materials.


10. AFTERCARE PHILOSOPHY


Garments are designed to be lived in.


Users are encouraged to:


\begin{itemize}
\item\relax 
wear garments regularly



\item\relax 
wash them normally



\item\relax 
allow fading and softening



\item\relax 
let repairs evolve naturally



\item\relax 
repair instead of discard




\end{itemize}

The cooperative values visible wear and personal history accumulation.


A successful garment is one that survives real life instead of remaining untouched.


Different lines age differently:


\begin{itemize}
\item\relax 
Line 1 develops wear through repeated use and print aging



\item\relax 
Line 2 evolves structurally and aesthetically over time



\item\relax 
Line 3 develops durability marks and repair history




\end{itemize}


\bigskip


11. ARCHIVE SYSTEM


Every garment is documented as part of a living archive.


Archive data may include:


\begin{itemize}
\item\relax 
archive number



\item\relax 
source category



\item\relax 
reconstruction type



\item\relax 
artist collaboration



\item\relax 
repair history



\item\relax 
production date



\item\relax 
creation location




\end{itemize}

The archive system functions as:


\begin{itemize}
\item\relax 
documentation



\item\relax 
historical record



\item\relax 
quality tracking



\item\relax 
material storytelling




\end{itemize}


\bigskip


12. OPEN SOURCE STRUCTURE


The cooperative operates through open-source methodology.


Publicly shareable systems include:


\begin{itemize}
\item\relax 
repair techniques



\item\relax 
reconstruction workflows



\item\relax 
screenprinting methods



\item\relax 
sourcing frameworks



\item\relax 
packaging systems



\item\relax 
logistics systems



\item\relax 
cooperative production structures




\end{itemize}

Protected systems include:


\begin{itemize}
\item\relax 
cooperative identity



\item\relax 
archive structure



\item\relax 
branding



\item\relax 
narrative stewardship




\end{itemize}

The goal is expansion of circular textile culture, not monopolization of knowledge.


13. OPERATIONS MODEL


Operational workflow:


1. Garment sourcing


2. Sorting and textile classification


3. Cleaning and preparation


4. Design planning


5. Screenprinting \Slash{} reconstruction


6. Repair and reinforcement


7. Quality review


8. Documentation and archiving


9. Packaging


10. Distribution


Production remains intentionally human-scale and labor-centered.


14. LOGISTICS SYSTEM


Distribution prioritizes localized low-carbon delivery.


Methods may include:


\begin{itemize}
\item\relax 
bicycles



\item\relax 
motorbikes



\item\relax 
grouped deliveries



\item\relax 
local handoffs



\item\relax 
recycled packaging



\item\relax 
biodegradable labels



\item\relax 
minimal packaging systems




\end{itemize}

Long-distance shipping uses reclaimed packaging materials wherever possible.


15. ECONOMIC STRUCTURE


The cooperative rejects pricing based solely on material cost.


Value is determined through:


\begin{itemize}
\item\relax 
labor time



\item\relax 
repair complexity



\item\relax 
reconstruction difficulty



\item\relax 
artistic contribution



\item\relax 
durability



\item\relax 
sourcing effort




\end{itemize}

The cooperative acknowledges that ethical labor-intensive production cannot compete


with industrial fast-fashion pricing.


Affordability is approached through:


\begin{itemize}
\item\relax 
longevity



\item\relax 
reduced replacement cycles



\item\relax 
repairability



\item\relax 
shared ownership culture



\item\relax 
accessible Line 1 entry systems




\end{itemize}


\bigskip


16. LABOR PHILOSOPHY


Labor is treated as visible and valuable.


The cooperative rejects:


\begin{itemize}
\item\relax 
invisible exploitation



\item\relax 
unpaid creative labor normalization



\item\relax 
burnout culture disguised as passion



\item\relax 
industrial production expectations




\end{itemize}

Members are encouraged to maintain sustainable working rhythms and collective


support systems.


17. LEGAL POSITIONING


The cooperative operates through transformed secondhand garments under resale and


reconstruction principles.


Guidelines:


\begin{itemize}
\item\relax 
no counterfeit production



\item\relax 
no false affiliation with original brands



\item\relax 
no misleading collaborations



\item\relax 
transformed garments clearly identified



\item\relax 
cooperative identity visibly present




\end{itemize}

Original garment history may remain partially visible as part of reconstruction


storytelling.


18. CUSTOMER RELATIONSHIP MODEL


Customers are participants in garment evolution rather than passive consumers.


The cooperative encourages:


\begin{itemize}
\item\relax 
long-term garment ownership



\item\relax 
repair culture



\item\relax 
emotional attachment to objects



\item\relax 
visible aging acceptance



\item\relax 
reduced disposable consumption




\end{itemize}

The relationship does not end at purchase.


19. COMMUNITY FUNCTION


The cooperative exists not only as a clothing system but as a cultural and educational


infrastructure.


Possible extensions:


\begin{itemize}
\item\relax 
repair workshops



\item\relax 
screenprinting sessions



\item\relax 
artist collaborations



\item\relax 
educational programs



\item\relax 
garment restoration events



\item\relax 
textile discussions



\item\relax 
community production hubs




\end{itemize}

The long-term objective is expansion of localized circular textile culture.


20. MARKET POSITIONING


The cooperative does not compete directly with fast fashion or industrial streetwear.


It occupies a separate category defined by:


\begin{itemize}
\item\relax 
reclaimed-only materials



\item\relax 
visible labor



\item\relax 
reconstruction methodology



\item\relax 
artistic direction



\item\relax 
one-of-one production



\item\relax 
cooperative economics



\item\relax 
open-source philosophy



\item\relax 
tropical solarpunk identity




\end{itemize}

The system is intentionally slower, smaller, and more human than industrial fashion


structures.


21. LAUNCH STRUCTURE


Initial launch combines all three lines in small curated quantities.


Recommended structure:


\begin{itemize}
\item\relax 
accessible Line 1 graphic garments



\item\relax 
selected Line 2 reconstruction pieces



\item\relax 
limited Line 3 workwear pieces




\end{itemize}

The launch introduces the philosophy and operational identity of the cooperative rather


than chasing large-scale sales immediately.


22. LONG TERM EVOLUTION


Long-term goals include:


\begin{itemize}
\item\relax 
decentralized repair infrastructure



\item\relax 
cooperative workshop spaces



\item\relax 
artist network expansion



\item\relax 
educational systems



\item\relax 
local textile recovery ecosystems



\item\relax 
distributed production nodes



\item\relax 
community-owned circular systems




\end{itemize}

Over time, the project evolves beyond a clothing brand into a living urban textile


ecosystem.


23. FINAL SYSTEM STATEMENT


This cooperative is a reclaimed-textile reconstruction ecosystem operating through


circular material logic, visible labor, open-source methodology, and solarpunk


philosophy.


It transforms discarded garments into evolving wearable objects through repair,


reconstruction, printing, and long-term usage while building localized systems of


sustainable urban production, shared knowledge, and community-centered textile


culture.



\bigskip


 *reclaimed! PRODUCT CATEGORIES


Line 1


\begin{itemize}
\item\relax 
Graphic \Slash{} Daily



\item\relax 
screenprinted



\item\relax 
collab screenprinted (artists name\Slash{}project sorted)



\item\relax 
custom\Slash{}bulk order




\end{itemize}

Line 2


\begin{itemize}
\item\relax 
Reconstruction \Slash{} Experimental



\item\relax 
made-in release



\item\relax 
artist collab release (artists name sorted)




\end{itemize}

Line 3


\begin{itemize}
\item\relax 
Workwear \Slash{} Movement



\item\relax 
labor (physical \& manual work)



\item\relax 
xtreme (skate, cycling, inline; reinforced Line 1)



\item\relax 
athletic (sports movement focused)




\end{itemize}


\bigskip


all Lines covered:


\begin{itemize}
\item\relax 
tops



\item\relax 
bottoms



\item\relax 
outerwear



\item\relax 
bags



\item\relax 
headgears



\item\relax 
accessories




\end{itemize}

with Line 2 additional:


\begin{itemize}
\item\relax 
experimental garment (dress, etc)




\end{itemize}


\bigskip


FUNDAMENTAL \& FOUNDATIONAL SYSTEM QUESTIONS: WHAT KIND OF


SYSTEM ARE WE ACTUALLY TRYING TO BUILD?


These questions exist before the business plan itself. They are the foundational prompts


used to determine the direction, structure, philosophy, labor ethics, operational logic,


and long-term purpose of the cooperative. The business plan is treated as the current


response to these ongoing questions rather than a permanently fixed answer.


1. Is this a clothing brand, a cooperative system, an art project, or a textile


infrastructure?


This question determines:


\begin{itemize}
\item\relax 
pricing structure



\item\relax 
operational priorities



\item\relax 
governance model



\item\relax 
scale expectations



\item\relax 
customer relationship



\item\relax 
long-term identity




\end{itemize}

The cooperative must understand what takes priority when conflicts between art,


business, labor, and sustainability emerge.


2. What are we unwilling to compromise on?


Possible non-negotiables may include:


\begin{itemize}
\item\relax 
reclaimed-only materials



\item\relax 
no virgin fabric usage



\item\relax 
anti-exploitative labor



\item\relax 
visible repair philosophy



\item\relax 
one-of-one production



\item\relax 
open-source methodology



\item\relax 
local production systems




\end{itemize}

These non-negotiables become the structural backbone of the system.


3. What happens if demand exceeds capacity?


Possible responses include:


\begin{itemize}
\item\relax 
slower growth



\item\relax 
training additional members



\item\relax 
decentralizing production



\item\relax 
limiting releases



\item\relax 
increasing pricing



\item\relax 
reducing complexity



\item\relax 
refusing industrial scale




\end{itemize}

The cooperative must determine whether growth should change the system itself.


4. Are we building for sustainability, survivability, or growth?


These are not always aligned.


The cooperative must determine:


\begin{itemize}
\item\relax 
what success actually means



\item\relax 
whether survival is enough



\item\relax 
whether growth is necessary



\item\relax 
whether sustainability can exist without expansion




\end{itemize}

This question defines long-term operational direction.


5. Can labor remain human without becoming exploitative?


Handcrafted ethical systems can unintentionally normalize:


\begin{itemize}
\item\relax 
unpaid overtime



\item\relax 
emotional labor extraction



\item\relax 
burnout



\item\relax 
underpricing



\item\relax 
self-sacrifice culture




\end{itemize}

The cooperative must determine how labor can remain sustainable emotionally,


physically, and economically.


6. What level of inconsistency are we comfortable with?


Because reclaimed materials vary naturally:


\begin{itemize}
\item\relax 
sizing differs



\item\relax 
colors vary



\item\relax 
textile conditions fluctuate



\item\relax 
reconstruction outcomes differ




\end{itemize}

The cooperative must determine when inconsistency becomes:


\begin{itemize}
\item\relax 
identity




\end{itemize}

or


\begin{itemize}
\item\relax 
operational failure




\end{itemize}

7. Are we documenting garments as products, or as living archives?


This question affects:


\begin{itemize}
\item\relax 
storytelling



\item\relax 
photography



\item\relax 
archive systems



\item\relax 
pricing



\item\relax 
emotional attachment



\item\relax 
documentation methods




\end{itemize}

The cooperative must determine whether garments are treated as inventory or historical


objects.


8. Who is the cooperative actually for?


Possible communities may include:


\begin{itemize}
\item\relax 
artists



\item\relax 
workers



\item\relax 
musicians



\item\relax 
skaters



\item\relax 
cyclists



\item\relax 
urban youth



\item\relax 
anti-fast-fashion communities



\item\relax 
local neighborhoods



\item\relax 
creative laborers




\end{itemize}

The cooperative must determine who the system is primarily built to serve.


9. What is the role of aesthetics versus function?


The cooperative must determine:


\begin{itemize}
\item\relax 
when functionality overrides artistic direction



\item\relax 
when durability matters more than visuals



\item\relax 
when aesthetics justify reconstruction complexity




\end{itemize}

This defines the hierarchy between visual experimentation and practical use.


10. Are we trying to replace fast fashion, or exist outside of it?


Replacing fast fashion requires:


\begin{itemize}
\item\relax 
industrial scale



\item\relax 
standardized production



\item\relax 
extremely low prices



\item\relax 
mass infrastructure




\end{itemize}

Existing outside of it allows:


\begin{itemize}
\item\relax 
slower systems



\item\relax 
limited production



\item\relax 
niche audiences



\item\relax 
stronger ideological consistency




\end{itemize}

The cooperative must determine which direction it truly believes in.


11. What does “affordable” actually mean in this system?


Affordability may refer to:


\begin{itemize}
\item\relax 
lower initial purchase cost



\item\relax 
longer garment lifespan



\item\relax 
repairability



\item\relax 
lower replacement frequency



\item\relax 
community accessibility




\end{itemize}

The cooperative must define affordability beyond fast-fashion pricing logic.


12. How much openness can the system survive?


Open-source methodology creates questions regarding:


\begin{itemize}
\item\relax 
knowledge sharing



\item\relax 
replication



\item\relax 
copying



\item\relax 
authorship



\item\relax 
stewardship



\item\relax 
sustainability of creators




\end{itemize}

The cooperative must determine what remains public and what requires protection.


13. What happens when garments fail?


Possible responses may include:


\begin{itemize}
\item\relax 
repair



\item\relax 
reconstruction



\item\relax 
reworking



\item\relax 
archival retirement



\item\relax 
material reuse



\item\relax 
recycling into future garments




\end{itemize}

This question determines whether the system is genuinely circular.


14. Are we designing garments to last forever, or to evolve continuously?


Garments may:


\begin{itemize}
\item\relax 
resist aging




\end{itemize}

or


\begin{itemize}
\item\relax 
age visibly and beautifully




\end{itemize}

The cooperative must determine whether permanence or transformation is the intended


lifecycle.


15. What kind of relationship do we want people to have with clothing?


Possible relationships include:


\begin{itemize}
\item\relax 
consumption



\item\relax 
collection



\item\relax 
emotional attachment



\item\relax 
utility ownership



\item\relax 
participation



\item\relax 
long-term stewardship




\end{itemize}

This affects branding, repair culture, aftercare philosophy, and customer behavior.


16. How do we prevent the cooperative from becoming aesthetically exclusive?


Ethical and artistic fashion systems can unintentionally become:


\begin{itemize}
\item\relax 
socially inaccessible



\item\relax 
intimidating



\item\relax 
culturally isolated



\item\relax 
financially unreachable




\end{itemize}

The cooperative must determine how ordinary people remain welcomed within the


system.


17. What happens if members disagree ideologically?


Questions include:


\begin{itemize}
\item\relax 
who decides direction



\item\relax 
how governance functions



\item\relax 
how disputes are resolved



\item\relax 
whether every member votes equally



\item\relax 
how philosophy evolves over time




\end{itemize}

The cooperative must create structure without destroying collaboration.


18. How localized should the system remain?


Possible directions include:


\begin{itemize}
\item\relax 
neighborhood-level operations



\item\relax 
city-wide systems



\item\relax 
national expansion



\item\relax 
decentralized regional nodes



\item\relax 
independent cooperative replication




\end{itemize}

This affects logistics, production, governance, and environmental impact.


19. Are we preserving garments, or preserving textile knowledge?


The most valuable output may or may not be the garments themselves, but:


\begin{itemize}
\item\relax 
repair literacy



\item\relax 
reconstruction techniques



\item\relax 
textile education



\item\relax 
anti-disposable culture



\item\relax 
material awareness




\end{itemize}

The cooperative must determine what knowledge should survive beyond products.


20. If this succeeds, what do we NOT want to become?


Possible risks include:


\begin{itemize}
\item\relax 
greenwashed branding



\item\relax 
exploitative artisan labor



\item\relax 
trend-driven sustainability aesthetics



\item\relax 
luxury exclusivity detached from ordinary people



\item\relax 
hype-based fashion culture



\item\relax 
ideology becoming marketing only




\end{itemize}

The cooperative must define the future it refuses to evolve into.


21. What happens when the founder is absent?


If the system depends entirely on:


\begin{itemize}
\item\relax 
one person’s labor



\item\relax 
one person’s taste



\item\relax 
one person’s ideology



\item\relax 
one person’s management




\end{itemize}

then the system may not survive long-term.


The cooperative must determine whether the system can eventually outlive its founder.


22. Is repair part of the business, or part of the culture?


Repair may function as:


\begin{itemize}
\item\relax 
a paid service



\item\relax 
community participation



\item\relax 
customer responsibility



\item\relax 
educational practice



\item\relax 
cultural expectation




\end{itemize}

The cooperative must determine how repair exists within the ecosystem.


23. What is the emotional tone of the cooperative?


Possible tones include:


\begin{itemize}
\item\relax 
hopeful



\item\relax 
practical



\item\relax 
rebellious



\item\relax 
grounded



\item\relax 
communal



\item\relax 
militant



\item\relax 
quiet



\item\relax 
optimistic




\end{itemize}

This affects branding, communication, collaboration, and community identity.


24. Are we comfortable staying small forever?


The cooperative’s philosophy may naturally resist:


\begin{itemize}
\item\relax 
mass scaling



\item\relax 
industrialization



\item\relax 
standardization



\item\relax 
global expansion




\end{itemize}

The cooperative must determine whether smaller but stable existence is emotionally


and operationally acceptable.


25. How do we transition from founder-led stewardship to collective ownership


without losing organizational coherence?


This explores:


\begin{itemize}
\item\relax 
cooperative readiness



\item\relax 
membership growth



\item\relax 
governance development



\item\relax 
leadership succession



\item\relax 
democratic participation



\item\relax 
operational efficiency



\item\relax 
financial sustainability



\item\relax 
institutional continuity



\item\relax 
transition from Sdn. Bhd. to cooperative structures



\item\relax 
balancing collective ownership with clear organizational direction




\end{itemize}

The cooperative must determine how ownership, responsibility, decision-making, and


stewardship evolve as the organization grows, ensuring that collective participation


strengthens the system rather than creating instability, inefficiency, or mission drift.


26. What is the actual end goal?


Possible long-term goals may include:


\begin{itemize}
\item\relax 
reducing textile waste



\item\relax 
normalizing repair culture



\item\relax 
building cooperative livelihoods



\item\relax 
preserving textile knowledge



\item\relax 
creating sustainable artistic labor



\item\relax 
constructing circular urban infrastructure



\item\relax 
prototyping post-fast-fashion systems




\end{itemize}

The cooperative must define what success ultimately means beyond revenue or
visibility.









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The Anarchist Library



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Anti-Copyright



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Anonymous

*reclaimed! (from the perspective based in Malaysia)

a direct action initiative to fast fashion, ecology, labor and system

2026


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