It’s exciting to finally see the dark evenings receding, spot little floral bursts of white, purple and yellow amongst the grassy urban verges and feel like my winter coat’s days are swiftly numbered! To celebrate this arrival of spring, here are some interesting events related to fashion taking place in the capital this month.
The first is the Women of the World Festival at Southbank, in central London, which takes place this week 1st – 8th March. In its fifth year, the WOW Festival celebrates women and girls through a range of talks, workshops and performances that draws upon the global and local. Two interesting exhibitions about gender, identity and dress include the early 20th century self-portraits of artist Claude Cahun and Sara Shamsavari’s contemporary portraits of hijab styles as worn by young Muslim women in London, Paris and New York. Both of these are free and run throughout the festival. On Saturday 7th March, there is a specific talk on the power of fashion and a workshop on finding new ways to portray women in underwear to avoid objectification, both of which you can join by purchasing a day ticket for £20.
Lernert & Sander’s work featuring in Clothes on the Move: What’s Behind the Production of Fashion Films? 17 March
Later on this month is the Fashion in Film Festival, which launches on 17 March until 24 March across three London locations: Central Saint Martins, Somerset House and Hackney Picture house. Also in its fifth year, this festival aims to “explore the recent rise of the moving image in the fashion industry and get behind-the-scenes insights into the production of fashion films” through a series of talks and conversations curated by Hywel Davies and Marketa Uhlirova. Featuring speakers such as Caroline Evans, Nick Knight, Caryn Franklin, Pamela Church-Gibson, Oriole Cullen and Agnes Rocamora, the festival draws upon their views as historians, journalists, designers, image makers and theorists to debate the role of the moving image in fashion. It will be an exciting programme of free events and I was particularly pleased to see the use of different London locations, making it possible to see much more!
Jacket, Alexander McQueen, It’s a Jungle out there, Autumn/Winter 1997-8. Image: firstVIEW
On Saturday 14 March, the V&A Museum will welcome visitors to the eagerly awaited exhibition Alexander McQueen: Savage Beauty, which runs until 4 August. I can still remember booking my ticket this time last year for what will definitely be one of the most talked about fashion related events this year. It will be interesting to see what the V&A’s fashion curator Claire Wilcox has done with the exhibition given its new European location.
Fashioning Professionals Symposium, 27th March Gaby Schreiber Industrial/Interior Designer (1916-1991). Photographer: Bee & Watson, 1948. Design Council Archive, University of Brighton Design Archives.
Finally, Friday 27th March is a popular day for fashion symposia here in the city! Competing for our attention is Fashioning Professionals at the Research Department in the V&A Museum and Fashion and the Senses at London College of Fashion. As it was impossible for me to be at both, I decided to attend Fashioning Professionals as this is more closely related to my research interests. I will report back in April, hopefully along with a review of McQueen.
June 29-30, 2015
University of York, UK
Fashion and art often follow a shared trajectory of social, political, and historical circumstances. In collaboration with the University of York, the AAH’s annual Student Summer Symposium will explore the relationship between fashion and art, by inviting papers that engage with this subject across a wide range of chronological and theoretical perspectives.
The influence of fashionable dress on artists and patrons of art has recently become a popular and productive avenue for research in art history, while fashion designers have likewise been shown to engage continuously with historical and fine art as sources of inspiration.
‘Fashion and Art History’ invites papers that build upon these conversations while also addressing questions that continue to be debated in art and fashion history circles: What evidence does art provide for how dress operates within society? Is fashion ‘art’? Should fashion history be taught alongside art history in academic curricula? When should these objects be displayed in galleries alongside each other, and how does this change the way we understand artworks and fashionable dress? Finally, how might the tools and methodologies of these related disciplines aid the study of their respective subjects?
We welcome contributions from all periods and contexts that engage with the relationship between art and fashion within aesthetic, cultural, social, and material frameworks.
Topics may include, but are not limited to:
• The engagement of artists, sitters, and patrons of works art with fashion
• Artworks and visual imagery as evidence for understandings of historical dress
• Artists as fashion designers and style setters.
• The dissemination of fashionable dress through artworks
• Fashion designers as artists and the status of fashion as an art
• Historical revivals in fashion and the role of visual culture in this process
• Exhibitions devoted to fashion history, and the display of fashion in art galleries
• Developing relationships between fashion and art and its histories.
No more than 250 words for 20-minute papers plus a 100-word biography should be submitted as a single Word document to Anna Bonewitz, Serena Dyer, Sophie Littlewood, and Sophie Frost at email@example.com by March 27, 2015. The symposium is open to all, however speakers are required to be AAH members.
2015 Annual Design History Society Conference; “How we live, and How we might live”: Design and the Spirit of Critical Utopianism
California College of the Arts, San Francisco
Proposals due: February 28, 2015
Conference held: September 11–13, 2015
Inherent in every act of design is a vision–however modest, however inarticulate–of a better world: We design because we believe that travel might be made more comfortable, work more efficient, information more accessible, experiences more fulfilling, spaces more convivial, and people’s lives more meaningful. By addressing the needs of the present, designers are, inescapably, envisioning the future.
By definition, a vision of a better future is grounded in a critique of the present, insofar as the prevailing organization of social resources obstructs the full realization of our potential to lead productive, enjoyable, and fulfilling lives. William Morris was the first to link a critique of “How we live” to a vision of “How we might live” through the medium of design, and this impulse continues to inspire design practice today.
California College of the Arts, which is at once the westernmost outpost of the Arts and Crafts Movement and the gateway to Silicon Valley, is pleased to host the 2015 conference of the Design History Society. Inspired by the spirit of critical utopianism that connects the 19th century reformers to the 21st century techno–visionaries, this multidisciplinary conference will explore the diverse ways in which designers have sought to balance critical realism with utopian idealism. The 2015 Annual Design History Society Conference seeks to explore this Utopian spirit in all of its many aspects, while engaging with the broadest possible definitions of “design. ” The themes and research methodologies of the conference will be of relevance to scholars as well as practitioners, and it will engage historians as well as futurists. It will also build in the themes of previous Annual Design History Society Conferences which have explored design as resistance, design as a postcolonial phenomenon, and design for war and peace. We invite submissions from academics, archivists, curators, journalists and independent researchers from every discipline, every part of the world, and at every stage of their careers. Possible topics include, but are by no means limited to:
Postwar, pacifism, and visions of conflict-free futures
Constructions of the post–colonial future (and the pre–colonial past).
Design as resistance; the consequences of transcending the boundaries of the prevailing social order.
Environmental and sustainable utopias
Design in film and fiction; design and the literary imagination; science fiction; design fiction; speculative design.
Design Dystopias– projects which exclude and discriminate
Urban communities-examples informed by the global history of architecture, urbanism, and design.
Technology and utopia; projects that harness the supposed power of technology to perfect the human condition.
Idealism, ideology, and education; curricula for the design of future designers.
Visionary projects involving tactical or strategic alliances between designers and practitioners from other disciplines.
New ways of thinking about the relationships between designer, client, and the public such as Critical Design, Participatory Design, the Maker’s Movement, and Design Thinking;
Globalism/Tribalism: the International Style as design imperialism; expressions of critical regionalism; design for social impact.
Design and the human condition: forces still active that nourish the spirit of utopian optimism.
Proposals for individual 20 minute papers, or for 3 person panels organized around a common theme, should be submitted by February 28, 2015, and should include the following:
An abstract not exceeding 400 words
A brief professional biography (not exceeding 50 words)
All abstracts will be refereed through an anonymous, double-blind review. Proposals are encouraged from across the entire spectrum of design and we invite submissions from established scholars but also doctoral and post-doctoral researchers; the Design History Society offers a number of bursaries (grants) to support DHS student members whose abstracts are accepted.
For further information, please refer to the conference website. Additional information about Design History Society, its activities and publications, may be found on the DHS website.
Questions may be directed to: firstname.lastname@example.org
Hillwood Scholar-in-Residence Program, Washington, D.C.
Application Deadline Extended: March 2, 2015
Hillwood Estate, Museum & Gardens announces a new scholar-in-residence program. PhD candidates or higher and any qualified applicants are encouraged to apply. There is no application form. Applicants should submit a curriculum vitae and a proposal, not to exceed 500 words, stating the necessary length of residence, materials to be used and/or studied, and the project’s relevance to Hillwood’s collections and/or exhibition program including, but not limited to: art and architecture, landscape design, conservation and restoration, archives, library and/or special collections, as well as broader study areas such as the history of collecting or material culture. The project description should be accompanied by two letters of recommendation and will be reviewed by the selection committee.
There are three potential types of awards:
Type #1: 1- 2 weeks
Hillwood will arrange and pay for travel costs to and from the museum; housing near campus; shop and café discounts; free access to all public programs.
Type #2: 1-3 months
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; a stipend of up to $1,500 per month depending on length of stay.
Type #2: 3-12 months
Hillwood will arrange and pay for travel costs to and from the museum; shop and café discounts; free access to all public programs; visa support (if necessary); a stipend of up to $1,500 per month depending on length of stay.
Hillwood is in a special class of cultural heritage institution as a historic site, a testament to the life of an important 20th century figure, an estate campus, magnificent garden, and a museum with world renowned special collections. Founded by Marjorie Merriweather Post (1887-1973), heir to the Post Cereal Companies that later became General Foods, the Museum houses over 17,000 works of art. It includes one of the largest and most important collections of Russian art outside of Russia, comprising pieces from the pre-Petrine to early Soviet periods, an outstanding collection of French and European art, and jewelry, textile, fashion and accessories collections. As part of the visitor experience, and in conjunction with a robust offering of public and educational programs, the Museum presents two changing special exhibitions annually that bring together objects and thematic content that highlight the acknowledged strengths of its permanent collection.
Scholars will have full access to Hillwood’s art and research collections. The Art Research Library has over 38,000 volumes including monographs, serials, annotated and early auction catalogs, and electronic resources; the Archives contain the papers of Marjorie Merriweather Post, her staff, and family members.
We will announce the award recipient(s) by March 17, 2015
For inquiries or to submit an application please contact one of the following:
Associate Curator of 19th Century Art
Head of Archives & Special Collections
Dressing Global Bodies:
Clothing Cultures, Politics and Economies in Globalizing Eras, c. 1600s-1900s
July 7-9, 2016, University of Alberta, Edmonton, Canada
Co-Organized with the Pasold Research Fund, UK
The clothes on our backs are intimately connected with bodily experiences, cultural, social and gender portrayals, as well as the economies of fashioning and re-fashioning across place and time. Garments reflect the priorities of local and international economies, collective and personal inclinations, religious norms and conversions. These materialities are shaped by global flows of cloth and beads, furs, ready-made and second-hand apparel, in dynamic processes of fashion exchange. Dress is a charged cultural instrument, as evident in colonial and decolonization processes, social and political agendas, animated by cross-cultural and commercial flows, industrial and institutional innovations.
This international conference will showcase new historical research on the centrality of dress in global, colonial and post-colonial engagements, emphasizing entangled histories, comparative and cross-cultural analyses. This scholarship redefines national and collective communities, in the practice of fashion and the dynamics of re-fashioning and re-use, from the seventeenth through the twentieth century.
Themes could include, but are not limited to:
Cross-cultural practices and patterns of dress and / or body adornment, production and distribution of clothing (across cultures, entangled, comparative), gendered and ethnic shaping of dress and dress practice, fashion politics of dress in globalizing contexts, circulation and re-use of dress and dress idioms, design in globalized contexts, representations of clothing cultures, appropriation/acculturation of designs, materials, motifs, dress in colonial / post-colonial contexts.
- We especially welcome themed panels, maximum three speakers.
- We welcome individual papers as well.
For individual speakers: a 200-word proposal and a 1 page CV
For full panels: a 200-word panel rationale, plus 200 word proposals for each panel participant along with their individual 1 page CVs.
Send all submissions to: email@example.com
Deadline for submissions: October 1, 2015.
Acceptances of papers to be announced: December 1, 2015.
Call for Papers for Special Joint Issue: Masculinities
Over the past three decades, masculinity has developed from a burgeoning area of scholarship to a comprehensive one. Researchers have explored how men’s enactment of masculinity reveals that expressions of gender are numerous and fluid; moreover, they have revealed that women can also express masculinity. While researchers have investigated how people experience and enact masculinity in a range of contexts (e.g., relationships and education), limited research still exists on the construction and expression of masculinity through fashion and style in popular culture. In an attempt to rectify the gap, these combined special issues of Fashion, Style & Popular Culture and Critical Studies in Men’s Fashion seeks to explore the myriad ways in which masculinities are represented, experienced and enacted in popular culture through fashion and style. Contributions are accepted from any discipline and methodological approach.
Potential topics for the special issues include but are not limited to: men’s cosmetics and grooming products; male models; male beauty ideals and body image; social media and the selfie; representations of heroes in film, music and video games; marginalized masculinities and their expression through fashion and style; team sports, uniforms and face paint; masculinity in fashion magazines, fashion shows and/or reality television; masculinity and fashion consumption; masculinity, style and cars; boys, blue and trucks on t-shirts; material culture and menswear; masculinity and appearance management; women’s and queer expressions of masculinity and drag kings.
Manuscripts should be between 5000-7000 words and prepared using the Intellect Journal House Style.
Deadline for submissions: May 1, 2015.
Please send manuscripts to Ben Barry at firstname.lastname@example.org, Joseph H. Hancock II at email@example.com and Marvin Taylor at firstname.lastname@example.org.
For questions regarding submissions or inquires regarding the journals, please contact Founding Editor of Fashion, Style & Popular Culture, Joseph Hancock at email@example.com.
The original Call for Papers can be found here.
British Art Studies: announcing a new online journal
Call for Submissions
Deadline for the first issue is March 31, 2015
The Paul Mellon Centre for Studies in British Art and the Yale Center for British Art are pleased to announce their collaboration on a new online, open access and peer-reviewed journal. The aim of British Art Studies is to provide an innovative space for new research and scholarship of the highest quality on all aspects of British art, architecture and visual culture in their most diverse and international contexts. The journal will reflect the dynamic and broad ranging research cultures of the Paul Mellon Centre and the Yale Center for British Art, as well as the wider field of studies in British art and architecture today.
The editors are keen to encourage submissions that will make the most of the journal’s online format and want to publish articles that propose visually stimulating ways of presenting art historical research. British Art Studies will be one of the few completely open access journals in the field of art history, providing a vital forum for the growing debate about digital scholarship, publication and copyright. An editorial group based in London and New Haven will manage the journal and an international advisory board will offer advice and support.
The first issue of British Art Studies is planned for Autumn 2015. Texts should be between 5000 and 8000 words in length (although the editors are willing to discuss shorter and longer formats). Authors must include a list of proposed images and sources. See the full call for writing guidelines and a style guide.
For all enquiries about British Art Studies, contact Dr Hana Leaper, firstname.lastname@example.org.
Last month I was lucky enough to attend the Fashion, Dress and Society in Europe during World War One conference, co-hosted by Dominique Veillon, Lou Taylor, Adelheid Rasche and Patrick Fridenson, and held at l’Institut Français de la Mode in Paris on December 12th and 13th, 2014.
A packed program featuring 60 speakers, the conference brought together academics, curators, journalists and independent researchers from across Europe and North America. Dominique Veillon, director of research at l’Institut d’Histoire du Temps Présent, opened the conference on Friday with an overview of the massive social, political and cultural upheaval which took place during the four years of World War One. The rest of the morning’s speakers included Mary Lynn Stewart on marketing haute couture in America, Catherine Join-Dieterle on the fashion magazine l’Art et la Mode, Adelheid Rasche on fashion images in Paris, Berlin and Vienna, Amy de la Haye on British Women’s Land Army uniforms, Alexandra Palmer on war and fashion in Canada, and Lourdes Font on American buyers, designer and journalists in Paris. I especially enjoyed Rasche’s presentation on her exhibition ‘Wardrobes in Wartime 1914-1918,’ which used graphic works from the Lipperheid Costume Library at the National Museum in Berlin.
In the afternoon, attendees heard from Victoria Rovine on French fashion and colonial influence, Margaret Vining and Barton C. Hacker on American female military uniforms, Guillaume de Syon on French aviation uniforms, Patricia Tilburg on the patriotic cockade-making French garment workers, and Marguerite Coppens on French and Belgian lacemaking. Lou Taylor from the University of Brighton concluded the first day of the conference with a paper discussing British nurses’ uniforms and their appropriation by upper-class women volunteers, raising issues of class tension, control and authority through the use of clothing.
On the second day, papers were grouped by subject and presented simultaneously in three different rooms. I had been deliberating my choices since the Eurostar train ride over on Thursday and was now faced with a few difficult decisions. For the morning’s first session, I chose the ‘Images of War’ panel of speakers, featuring Muriel Berthou-Cresty on Adolf de Meyer’s photography for Vogue, Cally Blackman on fashion in the autochromes of Albert Kahn’s Archives de la Planète, Änne Söll on Viennese men’s fashion magazine Die Herrenwelt, and Enrica Morini on Italian fashion magazine Margherita. Four presentations accompanied by beautiful, vivid imagery, I was particularly struck by Blackman’s study of autochromes, early colour photographs which have been under-used by fashion historians to date.
‘Haute Couture & Couturiers’ was the theme of the second session I chose, with papers presented by Ana Balda on haute couture consumption in Spain, Emmanuelle Polle and Johanna Zanon on the early years of Jean Patou, Sophie Kurkdjian on the wartime fashion publications of Lucien Vogel, and Katy Conover on haute couture in England. The highlight from this session for me was Polle and Zanon’s presentation, as I am thoroughly enjoying my copy of Polle’s recent book on Patou and could not help but envy the author’s unprecedented access to the Patou family archives.
In the afternoon, I must confess that I skipped out on the third session to visit the Sonia Delaunay: Les Couleurs de l’Abstraction exhibition at the Musée d’Art Moderne de la Ville de Paris. Although I would have liked to attend one of the three sessions (‘War in the Archives,’ ‘Women & Identity,’ ‘Women during the War’), the exhibition certainly did not disappoint – stay tuned for Hayley-Jane’s review of the exhibition for Worn Through in the coming weeks.
Returning for the final session of the conference, I just barely managed to get a seat for the ‘Production & Consumption’ session upstairs in a smaller classroom. Papers presented by Suzanne Rowland on ready-made blouses in Britain, Marta Kargol on dress production and homemade clothing in the Netherlands, Marie McLoughlin on the evolution of the trench coat, and Laura Casal-Valls on fashion production and consumption in Barcelona provided an excellent conclusion to the conference, albeit with a slightly dramatic trench coat controversy. Final comments by Lou Taylor and conference organizers Maude Bass-Krueger and Sophie Kurkdjian, along with an excellent bistro dinner that evening, rounded out a weekend very well spent in Paris.
Overall, Fashion, Dress and Society in Europe during World War One brought together a very interesting and diverse group of presenters. My only suggestion for improvement would have been the addition of simultaneous translation, as nearly half of the papers were delivered in French but not all attendees were French speakers. However, many of the presenters were prepared with translated copies of their papers to distribute or bilingual presentation slides, and all were willing to answer questions following their talks in either language.
Image Credits: http://histoiredemode.hypotheses.org/1498 (first image, second and third author’s own)
Call for Proposals
Crossing Boundaries: Fashion to Deconstruct and Reimagine Gender
Submissions due: March 1, 2015
This call for proposals is to gauge interest in a potential new publication which has already had strong interest from Bloomsbury publishing. Please see submission procedures (below). Our hope is the final text will be approximately 250‐300 pages with each paper no more than 7,000 words including figures and references.
Andrew (Andy) Reilly, Associate Professor, University of Hawai`i, Mānoa, USA
Ben Barry, Assistant Professor, Ryerson University, Toronto, Canada
Dress is primarily vehicle by which we experience, embody and enact gender. While dress constructs a gender binary system, it also has the power to deconstruct this very system that it has created. This book examines how dress has divided particular modes of dress into specific gendered categories as well as how dress is being used by people to deconstruct the gender binary and re‐imagine gender altogether. From Afghani girls who dress as boys to mature men who borrow their wives clothing to contemporary menswear designers whose collections conflate gender categories, this book reveals the multitude of ways in which fashion destabilizes gender in diverse contexts. While previous works have focused on the relationship between fashion and cross‐dressing in relation to queer communities and for men or women specifically, this book brings together a diversity of situations and contexts in which people actively cross gender boundaries through fashion and self‐presentation.
This edited volume will include classic and new articles on the role of dress in constructing and reconstructing gender. The book will be divided into four chapters:
1. The construction of gender through dress
The primary target market is students in upper level (3rd and 4th year) fashion oriented classes that focus on behavioral aspects of fashion and dress. The secondary market is undergraduate students in gender, sexuality, anthropology, sociology, and psychology studies courses. The tertiary market is general readers of fashion‐oriented academic books (e.g., researchers, academics). The text will be broad enough to serve the needs of one course (e.g., a course on Fashion and Society), but could also be used as an enhancement where a primary text is used (e.g., Cultural Anthropology, Gender Studies).
Examples of suggested topics
Geopolitics and cross‐dressing
Social and legal regulation of gender through appearance
Transgender issues related to appearance and style
Body image/body management related to maintaining or disrupting gender boundaries
Historic development of gendered clothing
Gendered clothing related to children (e.g., princess culture)
Consequences of violating gender appearance norms
Fashion consumption and dressing practices of gender nonconforming garments
Cultural differences with regard to gender and appearance
Straight men who cross‐dress
Fashion designers, brands and retailers who disrupt gender norms
Fashion imagery and models that challenge gender codes
Fantasy and eroticism related to cross‐dressing
Genderless, sexless clothing
Men and beauty pageants / women and bodybuilding
Submission Procedures: Please note these dates are estimates and subject to change
1. Proposals for a paper should clearly reflect the main topics covered in the paper, paper structure, approximate number of words and an overview of the relevant sources. With the proposal submit a biographical sketch of 50‐60 words. The sketch should identify where authors earned their highest degrees, their current affiliations and positions, current research interests and publications, and an email address. Please submit to email@example.com or firstname.lastname@example.org no later than March 1, 2015.
2. Authors will be informed about acceptance or rejection of their proposals no later than April 15, 2015. The entire book proposal will then be sent to Bloomsbury for a thorough review by international scholars. A response from Bloomsbury is expected in August 2015.
3. Based on the expected date (August 2015) that Bloomsbury accepts the proposal, authors will be sent article guidelines and full chapters should be submitted by January 20, 2016.
6. Authors will be informed about editorial decisions on the full paper by April 1, 2016.
7. The author(s) will be invited to execute revisions and submit the revised chapters by June 1, 2016.
8. The entire book will be submitted to Bloomsbury by September 1, 2016 where it will go through the publisher’s own manuscript peer review.
Please contact the Editors with any questions: Andy Reilly (email@example.com) or Ben Barry (firstname.lastname@example.org).
The Centre for Fashion Studies, Stockholm University, May 5-6th 2015
Workshop Co-convenors: Joanne Entwistle (King’s College London), Caroline Evans (Central Saint Martins) and Andrea Kollnitz (Centre for Fashion Studies, Stockholm University)
Joanne Entwistle will serve as a co-convenor of this workshop alongside Caroline Evans and Andrea Kollnitz. Caroline Evans, fashion historian and author of Fashion at the Edge (2003) and more recently, The Mechanical Smile (2013), will offer her expertise in technologies of the body as well as the connections between fashion and early 20th century cinema. Art historian Andrea Kollnitz, editor of the forthcoming Modernism och Mode (2014) and a forthcoming research agenda about artistic self-fashioning, will similarly broaden this highly interdisciplinary workshop with her interest in the relationship between fashion and identity.
Traditionally, the literature on fashion and dress has tended to ignore the body, while the sociology of the body has tended to ignore dress. However, fashion can be seen as a tool to speak about identity and the body in new ways. One of the great contributions of The Fashioned Body is Entwistle’s discussion of dress as “situated bodily practice”—a paradigm for recognizing that all bodies are inherently dressed bodies, as well as for the dynamic intersections between the body, dress and culture. Working from this legacy, the workshop welcomes PhD papers that interrogate and expand upon the various relationships between fashion and the body, as well as their intersections with identity, power, gender, race, sexuality and the fashion industry.
Furthermore, this workshop will reflect the interdisciplinary nature of fashion studies and aims to bring together disparate research interests from PhD students working within the bounds of critical fashion thinking. We welcome applications from a wide range of academic fields and disciplines including, amongst others, cultural studies, dress history, sociology and anthropology, as well as from students doing applied PhDs in fashion.
The workshop will run for two days during which time the participants will have the chance to present and discuss their research with the convening professors who have engaged in their own research pertaining to issues of fashion and the body. In practical terms, the two-day workshop will be as follows: the PhD student will briefly present a summary of his or her research and one pre-chosen co-chair professor will then comment on the paper and offer feedback. After each presentation, a group discussion will be held with the participating PhD students and the other co-convening professors. At the conclusion of the workshop, the participants will also discuss different opportunities and possibilities for jointly publishing their work in a journal or edited volume.
In addition to the workshop, participants will be invited to attend Dr. Entwistle’s open lecture on the afternoon of May 7th 2015 with a reception to follow.
Practical Information for Applicants
PhD students are invited to submit a 300-word paper abstract along with a brief summary of their doctoral projects by February 20th 2015. Applicants will be informed of their selection two weeks later, on March 5th 2015. Papers of 3,000-4,000 words will be due in-full no later than April 17th 2015.
More practical information—including details about the schedule, meals, social events and the format of presentations and visual aids—will be provided by the organizers in advance of the workshop. Funding is not provided for this event, so students will be required to fund and arrange their own travel and accommodations. Students will, however, receive a certificate as verification of their participation, which they may take back to their home institution to receive course credit.
Interested PhD students are kindly asked to send their applications to the following email address: INFOfashion@ims.su.se
For Further Information
Lauren Downing Peters, PhD Student, Centre for Fashion Studies, Stockholm University
Sara Skillen, PhD Student, Centre for Fashion Studies, Stockholm University