The emancicore aesthetic is intentionally anti-consumerist and post-colonial. Most items in an emanicicore wardrobe should eschew "fast fashion." They should be fairly sourced, made to last, and ideally possible to repair. Here are some notable shops for emancicore wear:
- Sir Plus ‒ UK shop makes emancicore from surplus
- Shibori London ‒ UK shop works with Indian artisans to make emanicore in support fair trade and right livelihood
- Marmaduke London ‒ UK shop revitalizes local wool production through cottage production of emancicore
- Liga Treija ‒ Latvian shop fusing Asian style with sustainable, Eastern European supply chains and local production
- Yadeeyajai and GiftByWish ‒ Sisters in Thailand who employ local tailors at living wages by catering to an international market for Asian-inspired, everyday fashion
- Xiaolizi ‒ Chinese shop with durable, feminine fashion incorporating timeless cross-cultural styles, employing local tailors while catering to an international market
- KhadiWear In Style ‒ Pinterest collection of emancicore images, drawing upon traditional Indian khadi
- Sahasrabudhe and Khadi ‒ Inspiration from India on quality khadi, cottage industry, and personal liberation
An emancicore home should have an architecture largely consistent with its regional style (honoring regional insights of what works well in a given place), should be will-insulated (to reduce ongoing heating and cooling costs), should be well-built (to reduce ongoing maintenance costs), and should incorporate clear elements that require expert labor to craft (e.g., timber-frame construction, plaster work for in-wall alcoves) and/or are rarely seen in non-custom homes (e.g., a courtyard, integrated greenhouse, long back porch, clerestory windows, a butterfly roof for a deck). These are standards even if the emancicore home incorporates tremendous embodied energy (e.g., using insulated concrete forms).
Embracing emancicore entails:
- A pre-theoretic aesthetic practice by which (1) people living in "core" nations of the world system incorporate into their own aesthetic (vis., their own sense of artistic harmony) handicrafts that originate from, or handmade locally using techniques that originate from, "peripheral" nations of the world system; (2) people living in "peripheral" nations of the world system fuse cultural elements from other peripheral nations into their own artistic productions.
- A pre-theoretic orientation that unites artisans across cultures in unapologetic cross-pollination, rejecting condemnations of "cultural appropriation" as evidence of bourgeois alienation from co-production. Here, "artisans" are understood as people who produce goods or services that bear a personal "stamp" because the producers have sufficient voice in decisions about what they will produce and how and when they will produce it that they are not alienated from their labor.
- A pre-theoretic embrace of the elements of geographically foreign artistry—often via local friends of different cultures—while both explicitly not attempting to mirror, adopt wholesale, or attempt to "fit in" as a member of that culture and, also, while explicitly rejecting any attempts to mass produce whatever fusion may results.
Inviting the Periphery Into the Middle
(As a Member of a Subsidiary Power, Not As An Elite with Access to the Center):