THESIS ABSTRACT
Camp is an exaggerated form of expression that highlights artifice and frivolity. Historically, it has connections to queer and trans groups as a means of self-expression. Kitsch, on the other hand, involves a perception of what is considered "poor taste" from a highbrow perspective, and is appreciated for its friendly, familiar nature. The prevalence of kitsch in our everyday design has distracted us from the harmful effects of cyclical trends with class-based motivations that impact not only fashion but also women's bodies. Beauty is often tied to youth and whatever society deems trendy at any given time. We are witnessing trends cycling faster and faster, driven by the influence of the internet and now artificial intelligence. Women are objectified and compared in a world of ephemera, facing scrutiny akin to kitsch. As a designer, I aim to use visual cues from kitsch to challenge perceptions of women and their beauty. My work will result in a series of projects that create a multimedia campaign. This campaign will show my exploration of the female form, design, and societal values. I am doing this in a time marked by mass consumption, anti-aging propaganda and repeating trends.
Spring 2025 Thesis Proposal
Fall 2024 Dossier
Full Manifesto
Designed by Isabela Tellez.
Imagery sourced from Pexels.
A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Fine Arts in Communications Design at Pratt Institute, May 2025.
isabelatellez.com
isabelartellez@gmail.com
@isatellez.nyc
Fall 2024 Dossier
Full Manifesto
Designed by Isabela Tellez.
Imagery sourced from Pexels.
A thesis submitted in partial fulfillment of the requirements for the degree of Bachelor of Fine Arts in Communications Design at Pratt Institute, May 2025.
isabelatellez.com
isabelartellez@gmail.com
@isatellez.nyc
ARTIFICIAL RUBBISH
AI Prompt Exploration: ArtBreeder
INSPIRATIONS
Benetton, Dove, Prim ‘N Poppin, Billie, Sara Cwynar, Joan E. Biren
KFB LOGO
Process:
DIGITAL COLLAGE
2025 PRATT SHOW
Stills from CLUB KITSCH
M MANIFESTO IN PRACTICE
Kayla Wasserman at Go Figure.
ANNOTATED BIBLIOGRAPHY
Sontag, Susan. Notes on Camp. 1964.
In her famous essay, Sontag defines camp as a style and sensibility that embraces exaggeration, playfulness, and a rejection of seriousness. Camp, for Sontag, is a way of looking at the world as everything is viewed through a lens of performance and irony. She suggests that camp’s power comes from its ability to mock the “serious” and its celebration of the artificial. Sontag also notes camp’s deep ties to queer culture and its role in subverting societal norms. Sontag’s definition of camp is essential to understanding how ones intention and perception of design can be used as a vehicle for camp sensibilities, particularly in how it challenges gender and beauty norms. Her work directly connects with your exploration of how the female body and identity are represented in design, especially in queer contexts. Sontag’s work remains the foundational text on camp, and her insights will help frame the role of typography and language in creating camp aesthetics. Her ideas have guided in seeking the playful, performative nature of design and its ability to subvert societal expectations.
Dorfles, Gillo. Kitsch: An Anthology of Bad Taste. 1969.
Dorfles’ seminal text defines kitsch as "bad taste" that gains value from its sentimental nature. He examines the role of kitsch in modern society, noting how mass production and consumerism have led to its prevalence in everyday life. Once considered cheap or vulgar, kitsch artifacts can now be appreciated in new cultural contexts. Dorfles critiques the aesthetic decline in art and design due to mass-produced kitsch and its influence on advertising and popular culture. Dorfles traces the origins and impact of kitsch, defining it as mass-produced, sentimental art that lacks depth and contrasts with genuine art. He discusses its significance as a cultural phenomenon tied to commercialization and societal norms. This foundational text combines aesthetics, sociology, and philosophy, offering a framework for understanding the commercialization of taste. Dorfles argues that kitsch serves as a tool for ideological control, reflecting and reinforcing societal norms. His work has influenced studies on consumerism and the aesthetics of the everyday, revealing kitsch as a symbol of moral and aesthetic decline. This exploration is particularly relevant to analyzing the objectification of the female body in media as a cycle of aging and value loss. The book provides critical insights into the relationship between kitsch, consumerism, and mass production.
Rock, Michael. "Cheekbones." 2011.
https://2x4.org/ideas/2011/cheekbones/
This article explores the cultural and aesthetic significance of cheekbones in Western perceptions of beauty and social status. Rock argues that cheekbones symbolize refinement and class, serving as a valued trait in their own right rather than merely functional. He highlights how parts of the female body are consistently subject to trends, reflecting broader societal values and ideals. This work is relevant to understanding how physical traits and their aestheticization tie into the womens body as it tied into cyclical trends.
Scruton, Roger. "A Fine Line Between Art and Kitsch." The Spectator, February 21, 2014.
https://www.forbes.com/sites/rogerscruton/2014/02/21/a-fine-line-between-art-and-kitsch/
Scruton delves into the elusive concept of kitsch, questioning its nature and why it is often deemed inferior in artistic and cultural contexts. He posits that kitsch is a distinctly modern phenomenon, emerging after the 18th century, and suggests that if one suspects something might be kitsch, it likely is. Scruton’s exploration of kitsch’s relationship to authenticity and artistic value offers insights into the tension between high and low culture, which is central to the thesis’ exploration.
Cwynar, Sara. “Kitsch Encyclopedia” Blonde Art Books . 2014
https://saracwynar.com/works/kitsch-encyclopedia.html
Kitsch Encyclopedia gathers recontextualized texts and images to examine the underlying ideologies present in the seemingly harmless visuals of popular culture. It frequently references Milan Kundera’s idea of kitsch, described in ‘The Unbearable Lightness of Being,’ as the comforting images we turn to in order to overlook the less pleasing aspects of life. xplores how an idealized depiction of the world has been layered over the reality, often overshadowing it. Cwynar’s perspective on kitsch was crucial for grasping how the beauty industry diverts our attention from the detrimental effects of recurring trends.
Champagne, Michèle. “Handwriting in an Era of Glitter Text Generators.” 2017.
https://walkerart.org/magazine/michele-champagne-handwriting-post-digital-printing
This article by Michèle Champagne examines the connection between digital and analog typography, especially handwritten typefaces in our digital age. She questions the value of handwritten fonts in a world that often sees digital and print as opposites, arguing that people are drawn to them for their human touch. Champagne explores how technology imitates handwriting, linking it to kitsch, where appealing styles like handwritten fonts evoke authenticity in otherwise cold designs. She critiques the false divide between digital and print cultures, noting that digital tools can hide the unique qualities of traditional print. The article also discusses how these fonts relate to identity and culture, similar to how kitsch impacts gender identities. Champagne highlights the use of "handwritten" fonts in advertising and design to convey warmth and personality, which ties to the comfort people feel in the same lens of perceiving kitsch.
Soulellis, Paul. "Urgentcraft." 2019.
https://youtu.be/qPImABJ0pOQ?si=jdMPXvO2bzkaW6xK
In this conference presentation, Soulellis discusses the urgency and radical potential of queer design, arguing that design can be a tool for collective care. He emphasizes the importance of being aware of the position from which one speaks and how design can provoke interrogation of societal norms. The work calls for a move away from idealized representations of queerness (such as rainbow icons) towards more authentic, performative queer acts of disruption that is perhaps manifested in forms of bad taste. This piece expands on themes from the "Queer Typography" project, pushing the idea of queer design as a tool for care and survival. The notion of urgent, performative design aligns with your interest in how typography on clothing can carry subversive messages. The focus on care, disruption in Soulellis’ works has broadened my understanding of how typography can function as a radical act.
Soulellis, Paul. "Queer Design Chats: 'What is Queer Typography.” 2021.
https://youtu.be/jeArgVz_5AM?si=DymNbopBRGOCxviI
This presentation by Paul Soulellis examines how queerness shapes typography and design. Soulellis explains that design choices in queer publications often come from a need for survival and frequently have a DIY, scrappy style. He runs through examples of the usage of queer type throughout history and compares traditional typography with queer design, which can be purposely difficult to read or bold in its appearance. He also discusses how queer typography uses legibility as a form of political resistance and cultural reclaiming, turning non-traditional publication methods into acts of protest. Soulellis’ work helps us understand how typography can serve as a powerful tool in queer culture. This is important when looking at how typography and language can be used to address identity and societal standards of beauty. This presentation also highlights how unique typography can represent queer identity and challenge standard aesthetics. Soulellis argues that queerness in typography is about both its shape and its message, which is crucial for exploring the links between typography, camp, and kitsch.
Galer, Sophia Smith. “56 Percent of Young People Think Humanity is Doomed” Vice Magazine. September, 14, 2021.
https://www.vice.com/en/article/fifty-six-percent-of-young-people-think-humanity-is-doomed/
This study highlights the pervasive climate anxiety among young people, noting that 45% of 16-25-year-olds feel daily distress due to the climate crisis. On TikTok, trends of climate nihilism, paired with dystopian humor, have gained traction, reflecting a generational shift toward disengagement from sociopolitical issues. This source contextualizes how Gen Z’s disillusionment informs their embrace of camp and kitsch as coping mechanisms and tools for rebellion in the face of overwhelming crises.
Rotherfeld, Beca. "Feminism and Kitsch." January 31, 2022.
https://www.thedriftmag.com/feminism-and-kitsch/
Rotherfeld critiques contemporary feminism’s "optics problem," arguing that middlebrow cultural artifacts often dilute revolutionary art. Drawing from Dwight Macdonald’s essay “Masscult and Midcult,” she critiques the co-optation of avant-garde aesthetics by the mainstream, which saps their revolutionary power. Rotherfeld also addresses the shortcomings of corporate feminism and the #MeToo movement, emphasizing the persistent and enraging ubiquity of misogyny. This article informs the thesis by examining how middlebrow aesthetics intersect with feminist discourse and societal critique.
Kirkpatrick, Emily. “The 'Internet Nostalgia' Trend Is Bringing Fashion Back to the AOL Age”. Fashionista. September 19, 2022
https://fashionista.com/2022/09/internet-nostalgia-fashion-trend
This article explores how Generation Z reinterprets Y2K aesthetics through irony and retrofuturism. It notes that simplistic fonts, such as Times New Roman, evoke the experimental digital culture of the early 2000s, highlighting the ability of typography to reflect societal values and trends. This connection suggests that text and typography on clothing serve as a visual language rooted in both nostalgia and subversion.
Graphic t-shirts are cultural artifacts, and their role in revisiting past digital cultures reveals the tension between individuality and commodification in fast fashion. This raises questions about whether these items maintain their intended subversive or empowering messages. The article analyzes brands like Praying and Hmmmm, showcasing how nostalgia reshapes kitsch for contemporary audiences. Kitsch, which is based on reinterpreting past cultural artifacts, gains new significance through recontextualization.
The resurgence of Y2K fashion provides a lens for examining how designs, particularly graphic tees, function as social commentary while also becoming mass-market commodities. This duality underscores the inquiry into whether typography on clothing retains its cultural impact in an era of oversaturation.
Song, Sandra. "Sacrilegious Chic is the Trendiest Way to Protest." Paper Magazine. April 19, 2024.
https://www.thefader.com/2024/04/19/sacrilegious-chic-is-the-trendiest-way-to-protest
Song discusses the emerging fashion trend of “sacrilegious chic,” where traditional Christian imagery is reappropriated in satirical and subversive ways. The trend reflects Gen Z’s disillusionment with societal structures, particularly the government and the Christian Church, and uses humor and irony as coping mechanisms. Song suggests that this form of sartorial rebellion critiques conservative politics and societal hypocrisy while offering a creative outlet for expression. The article underscores how irony in design fashion is utilized to convey political and social commentary.
In her famous essay, Sontag defines camp as a style and sensibility that embraces exaggeration, playfulness, and a rejection of seriousness. Camp, for Sontag, is a way of looking at the world as everything is viewed through a lens of performance and irony. She suggests that camp’s power comes from its ability to mock the “serious” and its celebration of the artificial. Sontag also notes camp’s deep ties to queer culture and its role in subverting societal norms. Sontag’s definition of camp is essential to understanding how ones intention and perception of design can be used as a vehicle for camp sensibilities, particularly in how it challenges gender and beauty norms. Her work directly connects with your exploration of how the female body and identity are represented in design, especially in queer contexts. Sontag’s work remains the foundational text on camp, and her insights will help frame the role of typography and language in creating camp aesthetics. Her ideas have guided in seeking the playful, performative nature of design and its ability to subvert societal expectations.
Dorfles, Gillo. Kitsch: An Anthology of Bad Taste. 1969.
Dorfles’ seminal text defines kitsch as "bad taste" that gains value from its sentimental nature. He examines the role of kitsch in modern society, noting how mass production and consumerism have led to its prevalence in everyday life. Once considered cheap or vulgar, kitsch artifacts can now be appreciated in new cultural contexts. Dorfles critiques the aesthetic decline in art and design due to mass-produced kitsch and its influence on advertising and popular culture. Dorfles traces the origins and impact of kitsch, defining it as mass-produced, sentimental art that lacks depth and contrasts with genuine art. He discusses its significance as a cultural phenomenon tied to commercialization and societal norms. This foundational text combines aesthetics, sociology, and philosophy, offering a framework for understanding the commercialization of taste. Dorfles argues that kitsch serves as a tool for ideological control, reflecting and reinforcing societal norms. His work has influenced studies on consumerism and the aesthetics of the everyday, revealing kitsch as a symbol of moral and aesthetic decline. This exploration is particularly relevant to analyzing the objectification of the female body in media as a cycle of aging and value loss. The book provides critical insights into the relationship between kitsch, consumerism, and mass production.
Rock, Michael. "Cheekbones." 2011.
https://2x4.org/ideas/2011/cheekbones/
This article explores the cultural and aesthetic significance of cheekbones in Western perceptions of beauty and social status. Rock argues that cheekbones symbolize refinement and class, serving as a valued trait in their own right rather than merely functional. He highlights how parts of the female body are consistently subject to trends, reflecting broader societal values and ideals. This work is relevant to understanding how physical traits and their aestheticization tie into the womens body as it tied into cyclical trends.
Scruton, Roger. "A Fine Line Between Art and Kitsch." The Spectator, February 21, 2014.
https://www.forbes.com/sites/rogerscruton/2014/02/21/a-fine-line-between-art-and-kitsch/
Scruton delves into the elusive concept of kitsch, questioning its nature and why it is often deemed inferior in artistic and cultural contexts. He posits that kitsch is a distinctly modern phenomenon, emerging after the 18th century, and suggests that if one suspects something might be kitsch, it likely is. Scruton’s exploration of kitsch’s relationship to authenticity and artistic value offers insights into the tension between high and low culture, which is central to the thesis’ exploration.
Cwynar, Sara. “Kitsch Encyclopedia” Blonde Art Books . 2014
https://saracwynar.com/works/kitsch-encyclopedia.html
Kitsch Encyclopedia gathers recontextualized texts and images to examine the underlying ideologies present in the seemingly harmless visuals of popular culture. It frequently references Milan Kundera’s idea of kitsch, described in ‘The Unbearable Lightness of Being,’ as the comforting images we turn to in order to overlook the less pleasing aspects of life. xplores how an idealized depiction of the world has been layered over the reality, often overshadowing it. Cwynar’s perspective on kitsch was crucial for grasping how the beauty industry diverts our attention from the detrimental effects of recurring trends.
Champagne, Michèle. “Handwriting in an Era of Glitter Text Generators.” 2017.
https://walkerart.org/magazine/michele-champagne-handwriting-post-digital-printing
This article by Michèle Champagne examines the connection between digital and analog typography, especially handwritten typefaces in our digital age. She questions the value of handwritten fonts in a world that often sees digital and print as opposites, arguing that people are drawn to them for their human touch. Champagne explores how technology imitates handwriting, linking it to kitsch, where appealing styles like handwritten fonts evoke authenticity in otherwise cold designs. She critiques the false divide between digital and print cultures, noting that digital tools can hide the unique qualities of traditional print. The article also discusses how these fonts relate to identity and culture, similar to how kitsch impacts gender identities. Champagne highlights the use of "handwritten" fonts in advertising and design to convey warmth and personality, which ties to the comfort people feel in the same lens of perceiving kitsch.
Soulellis, Paul. "Urgentcraft." 2019.
https://youtu.be/qPImABJ0pOQ?si=jdMPXvO2bzkaW6xK
In this conference presentation, Soulellis discusses the urgency and radical potential of queer design, arguing that design can be a tool for collective care. He emphasizes the importance of being aware of the position from which one speaks and how design can provoke interrogation of societal norms. The work calls for a move away from idealized representations of queerness (such as rainbow icons) towards more authentic, performative queer acts of disruption that is perhaps manifested in forms of bad taste. This piece expands on themes from the "Queer Typography" project, pushing the idea of queer design as a tool for care and survival. The notion of urgent, performative design aligns with your interest in how typography on clothing can carry subversive messages. The focus on care, disruption in Soulellis’ works has broadened my understanding of how typography can function as a radical act.
Soulellis, Paul. "Queer Design Chats: 'What is Queer Typography.” 2021.
https://youtu.be/jeArgVz_5AM?si=DymNbopBRGOCxviI
This presentation by Paul Soulellis examines how queerness shapes typography and design. Soulellis explains that design choices in queer publications often come from a need for survival and frequently have a DIY, scrappy style. He runs through examples of the usage of queer type throughout history and compares traditional typography with queer design, which can be purposely difficult to read or bold in its appearance. He also discusses how queer typography uses legibility as a form of political resistance and cultural reclaiming, turning non-traditional publication methods into acts of protest. Soulellis’ work helps us understand how typography can serve as a powerful tool in queer culture. This is important when looking at how typography and language can be used to address identity and societal standards of beauty. This presentation also highlights how unique typography can represent queer identity and challenge standard aesthetics. Soulellis argues that queerness in typography is about both its shape and its message, which is crucial for exploring the links between typography, camp, and kitsch.
Galer, Sophia Smith. “56 Percent of Young People Think Humanity is Doomed” Vice Magazine. September, 14, 2021.
https://www.vice.com/en/article/fifty-six-percent-of-young-people-think-humanity-is-doomed/
This study highlights the pervasive climate anxiety among young people, noting that 45% of 16-25-year-olds feel daily distress due to the climate crisis. On TikTok, trends of climate nihilism, paired with dystopian humor, have gained traction, reflecting a generational shift toward disengagement from sociopolitical issues. This source contextualizes how Gen Z’s disillusionment informs their embrace of camp and kitsch as coping mechanisms and tools for rebellion in the face of overwhelming crises.
Rotherfeld, Beca. "Feminism and Kitsch." January 31, 2022.
https://www.thedriftmag.com/feminism-and-kitsch/
Rotherfeld critiques contemporary feminism’s "optics problem," arguing that middlebrow cultural artifacts often dilute revolutionary art. Drawing from Dwight Macdonald’s essay “Masscult and Midcult,” she critiques the co-optation of avant-garde aesthetics by the mainstream, which saps their revolutionary power. Rotherfeld also addresses the shortcomings of corporate feminism and the #MeToo movement, emphasizing the persistent and enraging ubiquity of misogyny. This article informs the thesis by examining how middlebrow aesthetics intersect with feminist discourse and societal critique.
Kirkpatrick, Emily. “The 'Internet Nostalgia' Trend Is Bringing Fashion Back to the AOL Age”. Fashionista. September 19, 2022
https://fashionista.com/2022/09/internet-nostalgia-fashion-trend
This article explores how Generation Z reinterprets Y2K aesthetics through irony and retrofuturism. It notes that simplistic fonts, such as Times New Roman, evoke the experimental digital culture of the early 2000s, highlighting the ability of typography to reflect societal values and trends. This connection suggests that text and typography on clothing serve as a visual language rooted in both nostalgia and subversion.
Graphic t-shirts are cultural artifacts, and their role in revisiting past digital cultures reveals the tension between individuality and commodification in fast fashion. This raises questions about whether these items maintain their intended subversive or empowering messages. The article analyzes brands like Praying and Hmmmm, showcasing how nostalgia reshapes kitsch for contemporary audiences. Kitsch, which is based on reinterpreting past cultural artifacts, gains new significance through recontextualization.
The resurgence of Y2K fashion provides a lens for examining how designs, particularly graphic tees, function as social commentary while also becoming mass-market commodities. This duality underscores the inquiry into whether typography on clothing retains its cultural impact in an era of oversaturation.
Song, Sandra. "Sacrilegious Chic is the Trendiest Way to Protest." Paper Magazine. April 19, 2024.
https://www.thefader.com/2024/04/19/sacrilegious-chic-is-the-trendiest-way-to-protest
Song discusses the emerging fashion trend of “sacrilegious chic,” where traditional Christian imagery is reappropriated in satirical and subversive ways. The trend reflects Gen Z’s disillusionment with societal structures, particularly the government and the Christian Church, and uses humor and irony as coping mechanisms. Song suggests that this form of sartorial rebellion critiques conservative politics and societal hypocrisy while offering a creative outlet for expression. The article underscores how irony in design fashion is utilized to convey political and social commentary.