What do we do when we make a mistake, get rejected at a job interview or by a romantic prospect? Loneliness, loss, and failure are common everyday experiences that every one of us goes through. However, many brush aside such ’emotional injuries’, or even make them worse, ’picking on their wounds’ by engaging in unhelpful coping strategies (Winch, 2013). Because of our fundamental need to establish meaningful relationships, emotional injuries can be especially painful in our romantic lives. The rapid and often ’impersonal’ nature of modern online dating can enable frequent negative experiences; small rejections and heartbreaks that can negatively impact people’s self-esteem and well-being (Andrighetto et al., 2019; Her & Timmermans, 2021). Practicing emotional first aid can help to cope with the ’invisible’ pain of such small injuries and help to efficiently recover from them, building resilience that allows people to withstand life’s hardships (Winch, 2013). Designers can help people deal with these injuries by facilitating positive emotional experiences in human-product interactions. Positive design interventions focusing on resilience and self-compassion can contribute to emotion regulation, leading to improved personal and societal well-being (Gilbert & Choden, 2014; Petermans & Cain, 2019; Yoon et al., 2021). Using a Research through Design approach, the project explored how designers can translate psychological techniques into tangible solutions and introduce positive psychology interventions for emotional injuries in the context of dating. Using a framework based on 7 everyday injuries outlined by Winch (2013), and the 13 fundamental needs theory of Desmet and Fokkinga (2020) a ’map of injuries’ and corresponding ’injury cards’ were developed based on a diary study with currently dating singles. The map and the cards discuss the triggers and the nature of the possible injuries in addition to the needs to be fulfilled by the design intervention. The map and the cards were used to generate design concepts, which were introduced to experts in social sciences and relationship studies during three separate sessions. Using sketches and short scenarios as prototypes for discussion, design objectives for providing emotional first aid were collected. These objectives are demonstrated in a final concept called ’Huggle’. ’Huggle’ is a physical tool and service directly offered by, and integrated into the online dating platform. The product is a collection of self-compassion prompts in the form of colourful acrylic pills wrapped in mycelium coating. The prompts allow people to practice self-compassion after a negative event, accepting and observing their feelings instead of turning to self-criticism and withdrawal. Using the concept as a research tool during two evaluation studies with users has shown that tangible interventions for emotional first aid need to follow the main principles of flexibility, unobtrusiveness (intimacy), and simplicity. Creating product meaning through personalization and sparking interest and curiosity might help to entice repeated use, aiding reflection and learning. The findings of this project can give foundation to future work in the area of designing psychological interventions in the domains of emotional first aid, coping, and emotion regulation.

Flavobacteria could become a sustainable alternative for the colouring industry by using them to grow colours on artefacts, as they are capable of creating dazzling structural colour. To contribute to this development, the temporal and iridescent appearance is characterized, captured and communicated within this graduation project. The appearance of naturally grown Flavobacteria on marine growth medium is characterized regarding its size, iridescence and dominant colour. This is done by capturing colonies of Flavobacteria every 8 hours of their lives from different angles. It turns out the surface area grows quadratically; the colony appears the brightest when looking at the retroreflection from a height of 45° degrees; the colony reaches its green colour with red edges within 24 hours. A setup is created to capture samples of Flavobacteria consistently and densely. To properly capture the temporal and iridescent appearance, the setup is automated and able to tilt and rotate the sample, as well as change the azimuth angle (i.e., the angle between the light and the camera). To create straightforward visualizations that communicate Flavobacteria’s unique appearance, an interactive webpage is created. This communication tool shows the captured sample and allows users to control the variables of the data (i.e., the tilt and rotation of the sample, the azimuth angle and the time). Besides communicating Flavobacteria’s appearance to designers and artists, the communication tool can be used during experiments regarding influences on the appearance. These experiments need to be conducted in the future for designers to be able to steer the appearance to grow colours on artefacts to our own liking. To easily draw conclusions from these experiments, a second version of the communication tool is created, showing two samples side by side. At the end of the project, design guidelines are formulated based on the characterization and experience of working with Flavobacteria, for designers that will integrate Flavobacteria’s structural colour. Finally, further research is recommended regarding the definition of properties, the communication and perception of Flavobacteria and the search for potential application areas.

Today, the foundation of the textile industry is built upon the possibility to purchase synthetic fibres as these allow people to have an extensive amount of choices. Unfortunately, they are as far away from nature as it can get. Over the last decade, the industry is increasingly trying to move towards a more bio-based future, often this can be seen in the increased demand for materials sourced from renewable resources such as plants (living organisms) fabrics like cotton. Alongsides the increase in traditional fabrics multiple new initiatives are popping up to connect the textile industry with nature. Due to these endless possibilities, future consumers find it hard to see the wood for the trees. Navigation into the world of biodesign is a necessity to set the next step towards this envisioned sustainable future. What if I told you, to think beyond sourcing materials from living organisms? What if we let living organisms become part of our daily life again? Bioassembly makes it possible to source raw materials from living organisms, produced with living organisms to create a material that is still alive in the use phase. This concept changes the relationship between the consumer and the material. To create comfort around this new relationship innovators should be more interactive with future consumers' so preconceptions can be addressed. Currently digital platforms are the most efficient way of communication between the consumer and the innovator, especially since the shift towards digital channels particularly increased the past year due to social distancing measures as a consequence of Covid-19. However traditional tools are still inadequate in capturing and communicating the qualities of these living materials (D’Olivo & Karana, 2021). Clear digital communication should be transparent and interactive. Besides, it should give a clear image of the aesthetics that currently go beyond beauty and include morals. Morals encourage change on a societal level, where the individual is part of something bigger. The appreciation, attention and understanding of new innovations is built upon social situations and group associations, which are also digitally visible since the rise of social media. So we can state that digital social influence matters since it affects what we think and do. What if we could thoughtfully use social dimensions for the communications of new innovations like ‘living’ textiles? Social dimensions can be split into different levels. Firstly the macro-level of society is envisioned as a concept which is called social impact storytelling. It envisions a clear image on what we could create together in order to provoke change worldwide. Secondly social presence can be used to create a space where people feel safe and free to share and cherish information with others. To finally be influenced by each other; you can pioneer, you can follow or you can do the complete opposite. A qualitative study researches how these particular social dimensions can contribute to the level of understanding and appreciation regarding living textiles. Taking into account the data of 160 participants it should be noted that social dimensions should be used carefully. Innovators should be very specific in what they exactly want to communicate. Social presence can lead to a less professional story since the innovator is not the only source of information anymore. Furthermore innovators should clearly decide to whom they communicate since different groups could be addressed differently. For social impact storytelling this mainly applies when distinguishing between different age groups as there is a lot of difference in what kind of relationship they have with the digital world. The digital world can be a notably broad playground for communication. Let’s design a place that stimulates creativity by giving shape to a material and its ‘livingness’. A world where preconceptions around health, smell and hygienics can be addressed. A world where we can try something new, together.