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The given text titled Intersectional, Feminist and Decolonial Voices in the Field of Graphic Design was written by Loraine Furter and focuses on how design can be more intersectional and inclusive. “Few people” come from the same dominant social status as Euro-Western-Northern-centric white principles created some norms and the same canon of Eurocentric references such as universality/international Swiss style etc. and they consider the constructions of forms of “good taste, coming from modernism and “bad” taste, notably coming from popular African/American cultures and an indication of bad taste and low level of cultural development. For many years, those singular perspectives dominate the industry. Now, the field of graphic design is beginning to change. This change is fuelled by feminist, decolonial and queer contributions, which lead us to rethink and deconstruct its norms and propose new ways of doing. This lack of representation and diversity in terms of race, ethnicity, and gender tends to reduce the mental repertories of images and possibilities. It also silences voices that then become marginal. All these voices make it clear how critical it is to be aware that our lived experiences and our position in society shape our work and the representations we create. As a result of this awareness, we may be able to avoid the excesses of practices of formal diversity, which sometimes become exoticization and cultural appropriation, and make better choices in terms of how we work to avoid this essentializing relationship of domination. As with all selected graphic forms, the intersections of who, where, for whom and how require attention, care, and solidarity. At this point, we took the intersectional feminist approach proposed by Sara Ahmed in her book "Living a Feminist Life" and asked ourselves how we would adopt this approach in design. DESIGN IS ALWAYS POLITICAL! In graphic design, it is necessary to diversify visual codes. Respecting the communities to which these codes belong is just as necessary, especially when these communities are marginalized. In contrast to reappropriation, which involves taking back and repurposing something that is of concern to us, appropriation in the graphic design field involves grabbing visual and typographic elements connected to a different culture simply because they are cool, unique, exotic, or funny, with a dominant power relationship coming from those who appropriate these elements. Sara Ahmed shows us how diversity can be used by organizations as a form of public relations. In addition, today, many institutions, companies, and commercial brands use the design or symbols of diversity in their designs and advertisements as a marketing strategy just to generate more profit and create their own brand image and identity. But in fact, we need to question what these companies are doing to transform themselves and defend or support these values, we position ourselves as killjoy feminists and focus on how the symbols of the LGBTIQA+ community are used as pinkwashing in brand identity and graphic design. Pinkwashing is a critical term used to refer to the practice of attempting to benefit from purported support for LGBTQ+ rights, often to profit or to distract from a separate agenda. As Sara Ahmed points out, organizations often describe their missions by drawing on the languages of diversity as well as equality. But using the language does not translate into creating diverse or equal environments. This “not translation” is something we experience: it is a gap between a symbolic commitment and a lived reality. Commitments might even be made because they do not bring something about. Indeed, equality and diversity can be used as masks to create the appearance of being transformed. We need to challenge this appearance. There is a large gap between words and actions, and behind these companies’ “inclusive” rhetoric lie unquestionable inequalities. Many commentators feel that corporations approach Pride as a box-ticking PR exercise without supporting LGBTQ+ communities. We found that media coverage of Pride initiatives of advertisers like Disney, Walmart, Amazon, and McDonald's has been negative, as these companies were accused of discriminating against homosexuals or supporting anti-LGBTQ+ politicians. We also found that on Twitter, almost every big brand was accused of pink-washing, as users repeatedly pointed out inconsistencies between the companies’ messaging and their actions. Many brands launch rainbow-themed merchandise every June to celebrate Pride Month, and pink collections emerge like a horde of brightly-coloured locusts. For over 50 years, Pride Month has become a powerful economic engine, with big brands investing heavily in sponsorships, ads, and merchandise. This is to express their support for the LGBTQ+ community and to win over new consumers. But while many comms experts argue that such corporate initiatives have played a positive role in “normalising” LGBTQ+ culture, more and more companies have started facing accusations of “pinkwashing”. In fact, criticism of “rainbow capitalism”, in which corporations are accused of boosting their image by selling LGBTQ+-themed products, has never been louder. We are cautious as the neo-capitalist visual culture we live in sees no harm in appropriating all these images without taking any responsibility. As visual designers, we think it is important to look for ways to use the tools at our disposal in an inclusive and transformative way so that the visual language we use is transformed into action and transformative activism.