Take Back The Night – in black und mit Kartoffeln

Take back the night - in black and with potatoes

"There were only women, with or without a dick, women!"
Alice Fassina



Take Back The Night… in black and with potatoes!

Alice Fassina and Franceska Welp join the Feminist Demo gainst Sexism and Patriarchal Violence.


'For Walpurgis Night on April 30, we who call ourselves women, rolled up to the "Take Back The Night" demo in Kreuzberg with our mobile clothes horses. We fought for a society no longer based on the oppression of women, lesbians, non-binary inter, and trans individuals.

Our weapons were 'saved' black clothes and potatoes. With us the delicious tuber did not end up on the plate tonight, but on the textiles. Potato printing as a combat equipment of warfare for feminist ideals! Letter by letter we have formulated feminist slogans... women empowering à la STREETWARE!

A woman with a female sex organ who likes to hike? A Vag(ina)bonda or a Clit from the Streets! And sometimes it's enough to turn over a hanger as a sign of domestic revolt.

The dresses on our clothes rack have aroused both- the particularly wrathful women in arms and the more reserved women. One thing unites them even more: wearing their new pieces with pride!"



No god! No state! No patriarchy!
Franceska Welp documents Alice Fassina | STREETWARE's protest march through Kreuzberg on 30.4.2021.

Zeichenblog/ck 1

Zeichenblog/ck 1


Dr. Lina Tegtmeyer

"Ali - we are getting closer" - pram and clothes horse are converted into a hybrid vehicle with Rischka function....

fashion revolution im Bermuda Dreieck

fashion revolution in the Bermuda Triangle

fashion revolution: STREETshopping through Neukölln & Prenzlauer Berg-Wedding with Alice Fassina | barbara caveng | Jan Markowsky | KDindie | Stella Cristofolini | assisted by Aïcha Abadi & Lina Tegtmeyer | photographed by Paolo Gallo


fashion revolution in the Bermuda Triangle

STREETshopping mit Jan & barbara


He asks for capri pants or Bermuda shorts.
At Reuterplatz hardly anything reminds of the sandy beaches of the island kingdoms.

The technical term for the leg length of leisure pants is in discrepancy with the reality of life of the folks who gather around the jammed kiosk. Vodka is not sipped with a colorful straw. No parasol adorns life.

STREETshoppingStephan opts for the red and black checkered lumberjack shirt, Martin for the gray hoodie with turquoise zipper. Michael's wish for pants with leg room goes on the list. A woman registers her need for light-weight leggings, i.e. ones with a 30-40 denier knit.

fashion revolutionJan steers our mobile STREETWARE clothing store along the life on the street through the neighborhood - the goods, washed and draped on the clothes rack, find their customers. The laundry lines don't stay free for long, but fill up with new, old clothes - rags that we lift from the gutter or pick up from the asphalt.

By the time we left at 12:30, Stella and Alice's tour had long since taken the two ragpickers from Prenzl.Berg to Wedding.

In the course of the day, KDindie and I would let the wheels of the clotheshorse pirouette over the question of the normative of gender-defined clothing, and Alice would stroll with guests on the trail of sustainable green fashion through the wonderland of Kreuzkölln.


STREETshopping with Stella & Alice

from Prenlauer Berg to Wedding and Stella rolls back on her own

Saturday morning at 9.oo Prenzlauer Berg has a rural atmosphere. The sun is shining, there is silence, the streets are tidy. The STREETWARE we find mainly neatly folded and freshly washed in "to give away" boxes, thus not really what we are looking for. In consumerist Prenzlauer Berg, this kind of circular economy has become established... but even in GDR times, containers were regularly set up here, into which all residents could put things they no longer needed - or take them out.

Heading for Wedding it gets wilder and wilder, we find all kinds of clothes on the street, wigs, socks, unicorn hats, printed and labeled t-shirts ("Now-Here" and "be reasonable- demand the impossible").... 4 hours later, I roll back to Prenzlauer Berg with a fully loaded clothes horse. On the way there were many nice encounters and conversations with people on the street, and some clothes I got rid of directly....


STREETshopping mit KDindie & barbara

degendering fashion - an experiment on your own body


Strolling, rolling, hopping through the streets of Berlin with STREETWARE saved item won’t have been more fun during fashion revolution week. The gender bender walk talk with barbara caveng took us Kdindie out of the comfort zone…really?! Yes, because didn’t want to dress that female dress…but in the end realized was just a male stress. What are we looking for? The i-dentity, the eye contact, the perception of others about us. What to wear, an item or the i-them? The only item Berlin streets has given me that day was a toiletry bag with a teddy bear printed on acid green that matched perfectly with the long sleeve shirt. Street shopping happy kid 😉 

 (englischer Originaltext)


Schlendern, rollen, hüpfen durch die Straßen Berlins mit STREETWARE saved item hätte während der Fashion Revolution Week kein größerer Spaß sein können. Der Gender-Bender-Walk-Talk mit barbara caveng hat uns, KDindie aus der Komfortzone geholt…wirklich?! Ja, weil wir das weibliche Kleid nicht anziehen wollten…aber am Ende wurde klar, dass es nur ein männlicher Stress war. Wonach suchen wir? Die Ich-Identität, den Blickkontakt, die Fremdwahrnehmung . Was anziehen, ein ‚Item‘, einen Gegenstand oder geht es um das  ‚I-Them‘ , das ‚Ich – sie‘ ? Der einzige Gegenstand, den mir Berlins Straßen an diesem Tag geschenkt haben, war ein Kulturbeutel mit einem Teddybär, der auf säuregrünem Grund gedruckt war und perfekt zum Langarmshirt passte.
Street Shopping happy kid 😉



I think the woman on the picture looks cool - standing there in purple gym shorts with a slight flare, the colour a reminiscence of the militant demands of the feminists of the second wave - back in the 80s. Mickey Mouse grins on her chest, more naive than ironic, far from any Bay-Watch-eroticism, a cap with gold embroidery - club aesthetics of the 90s. Be childlike, let's play. The woman's gaze falls through the rose-tinted lenses of her sunglasses onto the back of a body bent over in front. The pose associates butt sex. The woman rests her left forearm on the clothes rack - the rolling STREETWARE wardrobe, hybrid STREETshopping vehicle through the neighbourhood, public branch of private wardrobe.  

Her posture seems bossy, dominant. The pants, a classic pair of boxer shorts, bulge over hermound of Venus, on the genital-emphasising centre seam, a lettering is applied: HIGH PERFORMANCE. The underwear model comes from the STREETWARE collection of patriarchal-toxic pants.

The woman is me, wearing the clothes previously worn by KDindie, my colleague and dance-creating performer, on our STREETshopping tour, degendering fashion'. The pants I had carried in my handbag. Just in case.

We had turned a discarded sofa in the streets of Neukölln into a stage and swapped clothes in a playful strip. I had felt uncomfortable. I could no longer feel my body, I had lost the image and imagination of myself.

I think the person in the photo is cool. Is it a woman? Is it me?


Today, May 2, while running in the morning I undressed a lamppost in Allerstraße/ corner Lichtenradener.
The red turned out to be two suits, rompers for adults, with unbuttonable back, one L , one M.
Urban Degendered Outfit for our next performance....

STREETshopping with Alice 

green fashion with Andrea, Massimiliano, Marina 
sketched by Lina

Made in Berlin nicht in Bangladesh, slow statt fast, zeitloses Design, welches nicht dem Wandel der Jahreszeiten unterliegt.
Alice kennt die die Labels und Ateliers in Neukölln und Kreuzberg, die solchen Grundsätzen in ihrer Modeproduktion folgen und führt ihre Gäst:innen Andrea, Massimiliano und Marina zu C/V Corvera Vargas and Kollateralschaden.

Our step-along researcher Dr. Lina Tegtmeyer sketches the tour.

In ccoperation with greenfashion tours.



Fashion Revolution was founded in the wake of the Rana Plaza disaster in 2013 and it has become the world’s largest fashion activism movement, mobilising citizens, industry and policymakers through our research, education and advocacy work.

Fashion Revolution Week happens every year in the week coinciding with 24th April, the anniversary of the Rana Plaza disaster in Bangladesh. The Rana Plaza building housed a number of garment factories, employing around 5,000 people. The people in this building were manufacturing clothing for many of the biggest global fashion brands. The building collapsed and killed 1,134 people and injured more than 2,500 others, making it the fourth largest industrial disaster in history. The victims were mostly young women. During Fashion Revolution Week, we remember the lives lost and demand that no one should die for fashion. It is the time when we come together as a global community to create a better fashion industry. 

Streets are the places of revolution: steps on asphalt give sound to political manifestos. Decisions are forced by silent marches, fists are clenched to chanted slogans. We understand  fashion revolution  revolution as the challenge of not only reviewing our habitual thought patterns, production methods and consumer behaviour, but also of radically changing them. 
On Saturday, 4/24/2021 we were the guides at the clothes horse for
 STREET shopping - Alice & Stella, KDindie, Jan & barbara set their own tour focuses: Jan rolls along a life on the street, Alice maneuvers the clotheshorse at the intersection of consumption and sustainability in search of green fashion, barbara and KDindie follow the traces of [gender]itdentity in the urban and Stella is interested in objects she finds without having looked for them.


Aïcha Abbadi

CW 16



 'I was always attracted by that box of costumes, carnival costumes.

And most of the time my choice was actually for the princess costumes,
with these beautiful embroideries and shining colours.

[…] we didn’t have the mirror in that school during that playground hour.

[…] It was this sense of beauty of the flowing from my waist down to the ground.

[…] how I could change my shape by moving with that costume.

[…] Maybe I was still keeping the trousers underneath.

[…] I think we were not allowed to undress totally.'


'Some people often only want to wear black. But I was always a friend of lighter-coloured clothing.
[…] Once I got a white, still shrink-wrapped shirt from the donations clothing store - because I always stay clean - not everyone got that.
[...] But then I once accidentally spilled pea soup all over my light-colored clothes.'



„I pick only things in the right size. Things that match my gender, practical items I can wear on a bike.
[…] The first item I found were very comfortable trousers/sweats – my favourite, long, grey, – very German!
I wear them all the time. How it feels is important. But I would never otherwise have chosen them in a shop.
[…] When I wear them I turn into a grey person.“



 'After a performance, I put on these grey knitted things. To get back to myself.'


'I was missing something to black the outfit'

[…] Now I feel comfortable. With the black and white over it.“


'I didn’t understand myself in that Mickey Mouse T-shirt.'


Ein Zeichenblog/ck/ zur Präsentation der wissenschaftlichen Aufzeichnung des partizipativen Kunstprojekts STREETWARE saved item—warum?

A drawing b/log/book that presents ongoing research notations of the analysis of the participative art project street ware saved item—what for?

(Backgrounding this format)

Dr. Lina Tegtmeyer

1) With globalization, scientific research and many areas of science are currently in a completely new form of crisis: Technological developments/”progress” and resulting consequences in the nation states in this world cause paradigm changes in the forms of knowledge creation, production, access and distribution. Concomitantly, a popularization of “knowledge” and science develops and presents itself. Information interchanges with knowledge and vulgarization of sciences. Materialization of “knowledge” and science seem uncontrolled and difficult to regulate; and its somewhat free travelling first class border crossing velocity goes beyond all existing imaginations of preceding organization of structure and knowledge systems within national and international democratic understanding of categorizing, allowing, producing and exchanging knowledge, science and free thinking.

2) A parallel development to this diffuse inflation of textual-language based “knowledge”, is the massive accumulation and equally uncontrolled, inflationary distribution wilderness of visual material, notably that of pixel-photographic type, such as digital photographs and moving images/film. Both, traditional media and the internet largely allow for and enable the mass culture phenomenon of seemingly unlimited mass spreading of amateur and professional photographic images. 

3) The Arts remain still largely positioned as dialectic counterpart to science, vehemently so in diverse discourses in Germany. The analogue hand drawing—especially the ones categorized as expressionist-experimental—is considered a particularly disreputable material for any kind of proof in science, media or academic context.

4) Ethnographic field work, however, has been working with hand-drawn sketching as method for taking notes since before the invention and mass production and easy-access use of photography. These notations were rarely presented as final results, though, rather they served as template, draft or memory. Oftentimes these were made not by researchers but by accompanying drawing experts.

5) In my research I experiment with experimental analogue hand drawing as research method since 2014. My interest lies in the immediacy of the sketch, and to work with its directness to document a moment, one moment of so many moments—unalterable as it passes by and equally leave/present the drawing unaltered. It is what it is, there is nothing more to it; it serves no further purpose, is not a vehicle to a final picture, a more detailed/comprehensive/naturalistic/… one.

The drawings are crafted in a situation. Some drawings are absolutely incomplete, for example, due to a situation that dissolves in front of my eyes when a person leaves the scenery. I usually produce a dense number of fast sketches and drawings that I collect in series according to date, place and time. At the end of a process, these are viewed/presented as complete incomplete series. No post-production. Part of my method is to achieve pure visual imagery notes instead of text-language notations— a demanding challenge, as I discovered, that I have so far not been able to translate into any satisfactory result.