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
Costume Society of America Northeastern Region
Call for Papers
CSA Northeast Region Symposium
In Celebration of Dr. Margaret Ordoñez: Education, Conservation, and Inspiration in Dress and Textile Studies
University of Rhode Island
Abstracts due January 15, 2015
Symposium held September 2015
Dr. Margaret Ordonez is retiring after fifty-three years of life in the academy! In celebration of her long career, the Northeast Region of the Costume Society of America invites you to join us at the region’s fall meeting. Papers and posters of recent research, conservation projects, or exhibitions by former students of Dr. Ordoñez are requested for presentation at the symposium, to be held on the URI campus on a Saturday in late September 2015. CSA members and non-members from all geographical areas are invited to submit. The Textiles, Fashion Merchandising and Design Department will sponsor a reception and keynote speaker on Friday evening to start the symposium.
Instructions for Submission
Submit a one-page abstract of your proposed presentation or poster no later than January 15, 2015. Do not put your name on the abstract. All submissions will be blind-reviewed by two CSA senior scholars. Selections will be announced no later than March 23, 2015.
Use 12 pt. font (Times New Roman). Include a cover sheet with name, affiliation, contact information, and connection to Dr. Ordoñez.
Submissions can be by email: email@example.com or three hard copies to:
500 Horseneck Road
South Dartmouth, MA 02748
The Tenth Biennial Feminisms and Rhetorics Conference
Women’s Ways of Making
Memorial Union, Arizona State University in Tempe, Arizona
Proposals due February 1, 2015
Conference held October 28-31, 2015
The Graduate Programs in Writing, Rhetorics, and Literacies as well as the ASU Writing Programs in the English Department at the College of Arts and Sciences at Arizona State University (ASU) invite proposals for the Tenth Biennial Feminisms and Rhetorics Conference to be held at ASU October 28-31, 2015. The conference theme—Women’s Ways of Making—is meant to call attention to women as active knowledge and meaning makers in an inestimable variety of fields. Resonating as it does with the influential Women’s Ways of Knowing by Mary Field Belenky et al., published nearly three decades ago in 1986, this theme draws attention to making as an epistemic endeavor. Thus, the theme collapses several impoverished binaries: mind/body, producer/consumer, passive recipients/active agents, public/private, male/female, and craft/art. Our intention is to aim for a conference that will challenge gendered notions of making, of artifacts, of practices, of innovation, of digital spaces, of applied/theoretical research as well as more conventional notions about ways of making arguments, making knowledge, and making sense.
Working together to articulate a multi-vocal sense of women’s ways of making, we call for proposals that value and emphasize different ways of innovating, composing, creating, making, translating, hacking, using, reusing, repurposing, recycling, researching, and remixing in history or today. We encourage proposals that engage conference participants in making, in other forms of collaborative work, and in community building.
See a list of possible topics and presentation styles on the conference website.
University of York, UK
May 28-30, 2015
CFP Deadline: January 15, 2015
Disseminating Dress is a three-day international and interdisciplinary conference that explores how ideas and knowledge about dress have been shared, sought and communicated throughout history. In bringing together academics, curators and industry professionals, this conference is an invitation for interdisciplinary discussion concerning methods of communicating concepts of what someone should, could, or would wear. Dress has been demonstrated to be central to the creation, expression, and subversion of cultural and national identity. However, what remains relatively unexplored is how these ideas were conveyed and perceived. If fashion is the result of a mixture of innovation and emulation, then we need to ask how these new ideas came to be circulated around and between societies.
From the London of the Blitz to Renaissance Italy, men and women have both sought out and been instructed in what to wear, forming personal, social and cultural aesthetics, while driving trade and mercantile success. This conference welcomes a broad interpretation of how dress has been disseminated throughout history, and will be an open forum for work undertaken from a variety of disciplinary and professional viewpoints.
Disseminating Dress invites proposals for 20-minute papers that explore the manifold media, methods, perceptions and motivations driving fashion dissemination across history. Paper topics might include, but are certainly not limited to, the following methods and media for transferring fashion ideas and information:
Correspondence and social networks.
Global networks for trade and cultural exchange.
The written word – including novels, journals, and fashion magazines.
Costume books, home sewing patterns, and other instructional sources.
Visual and material culture, including both fine art and popular culture.
Advertising, the role of fashion designers, and branding.
Famous persons, from court culture to modern celebrities.
Film, television, the Internet, and modern social media including MMS-ography.
The history of taste, and the influence of outside cultural forces such as developments within architecture and the decorative arts on fashion.
Abstracts of 250 words in length, with an accompanying 100-word biography should be sent to firstname.lastname@example.org no later than January 15, 2015.
June 11, 2015
University of Wolverhampton, UK.
CHORD (The Centre for the History of Retailing and Distribution) invites submissions for a workshop that explores the role of individuals and organisations, both amateurs and professionals, in making, collecting and caring for dress and textiles in museums and historic houses. Papers focusing on any historical period or geographical area are welcome. Museum professionals, conservators, students, academics or anybody with an interest in the topic are warmly invited to submit a proposal. We welcome both experienced and new speakers, including speakers without an institutional affiliation. Potential speakers are welcome to discuss their ideas with the organisers before submission (please see details below). Some of the themes that might be considered include (but are not limited to):
- Collecting and the collector
- Class, gender and/or ethnicity and the care of historic dress or textiles
- The roles of professionals and amateurs in museums and historic houses
- The history of museum curatorship and conservation in dress and textiles
- Professional organisations, charities and philanthropy
- Amateur production, conservation, repairs and care of historic textiles or dress
The workshop will be held at the University of Wolverhampton, Wolverhampton City Campus.
To submit a proposal, please send title and abstract of c.300 to 400 words to Laura Ugolini, at email@example.com by March 6, 2015. Individual papers are usually 20 minutes in length, followed by 10 minutes for questions and discussion. We also welcome shorter, 10 minute presentations, which might focus on a specific collection, new project or work in progress. If you are unsure whether to submit a proposal, please e-mail Laura Ugolini at firstname.lastname@example.org to discuss your ideas.
Small bursaries will be available for speakers to subsidise the cost of travel (within the UK) and the workshop fee.
For further information, please e-mail: Laura Ugolini at email@example.com or Margaret Ponsonby at firstname.lastname@example.org
The Twenty-Fourth Annual Parsons/Cooper Hewitt Graduate Student Symposium on the History of Design
Cooper Hewitt, Smithsonian Design Museum, New York City
Proposals due January 26, 2015
Symposium held April 23 and 24, 2015
This symposium is seeking papers on the forms color takes and the roles color plays in the meanings of design and the decorative arts since the Renaissance. We are especially interested in research that touches on moments of change: for example, on transitions from monochrome to full-color production, or when particular colors became available, fashionable or unfashionable.
Coloration is intrinsic to the social meanings of objects. Colors shape our interaction with things and other people in fundamental ways; they can appeal to our most visceral senses of pleasure or desire. Colors affect behaviors, and we use colors metaphorically to describe attitudes, feelings and moods. In the world of consumer goods, the need to produce certain colors has driven innovations in mechanical processes, and markets can rise and fall based on color trends.
Areas of investigation might involve:
- Graphic design and broadcast media–e.g. color printing in lithographs, newspapers and magazines; day-glo color inks and psychedelic design; Technicolor and other cinematic color systems; the advent of color television; etc.
- Fashion and costume studies–e.g. color, or lack thereof, in menswear; aniline dyes and other technologies of coloration; color forecasting; etc.
- Industrial design–e.g. colored plastics; anodized aluminum; the color of high technology (silver, black, white, beige) or domestic appliances; color theory and consumer choice; color-customizable products; colors in toys; etc.
- Decorative arts–e.g. hand-painted and printed colors ceramics; tapestry, color-changing fabrics and other textiles; polychromy in sculpture; etc.
- Architecture and interior design–e.g. colored exterior lighting; psychologies of colored interiors; wallpapers; “white cities” and exhibition architecture; etc.
- …or any number of related fields of production and consumption.
Proposals are welcome from graduate students at any level in fields such as History of the Decorative Arts, History of Design, Curatorial Studies, Design Studies, Art History, History of Architecture, Design and Technology, Media Studies, Consumer Studies, Cultural Anthropology, Sociology, and other fields.
The symposium’s Catherine Hoover Voorsanger Keynote speaker will be Jeffrey L. Meikle, Stiles Professor in American Studies and Professor of Art History at the University of Texas at Austin, speaking on “Postcard Modernism: Landscapes, Cityscapes, and American Visual Culture, 1931-1950.” Dr. Meikle is one of the leading voices in design history and cultural history. His renown scholarship extends to industrial design and technology, popular print media, and alternative cultures from 1950 to the present. His books include Twentieth Century Limited: Industrial Design in America, 1925-1939 (1982); American Plastic: A Cultural History (1995); and Design in the USA (2005).
The Keynote will be on Thursday evening, April 23, 2015 and the symposium sessions will be in the morning and afternoon on Friday, April 24.
To submit a proposal, send a two-page abstract, one-page bibliography and a c.v. to:
Associate Director, MA Program in the History of Design and Curatorial Studies
Deadline for proposals: January 26, 2015
The symposium is sponsored by the MA Program in the History of Design and Curatorial Studies offered jointly by Cooper Hewitt, Smithsonian Design Museum and Parsons The New School for Design.
Joanne B. Eicher Symposium II
Fashion, Sex, & Power
College of Design, University of Minnesota, Minneapolis
Keynote address by Valerie Steele, Director and Chief Curator, Museum at the Fashion Institute of Technology
Abstracts due January 5, 2015
Symposium held September 11-12, 2015
This symposium encourages exploration and discussion of the intriguing relationships between power, sex and fashion in dress over the centuries and across cultures. We are well into the 21st century. How are we faring with regard to fashion, sex, and power? How does power relate to sex and fashion? We research gender, but what about sex? Have we come away from the Mad Men commentary with sex used to gain power? Can women break through the glass ceiling aided by books such as Sheryl Sandberg’s 2013 Lean In: Women, Work and the Will to Lead? When will we realize a woman as President of the USA? What about the change in men’s roles, for example, the increase in stay-at-home fathers and their feelings of power and masculinity. Perhaps we need to examine the effects on young girls and boys about role-playing regarding power and sex.
Suggested paper topics include, but are not limited to:
• Role of fashion in expressions of sexual agency in the Millennium
• Intersection of race, beauty, sexuality and empowerment
• Fashion and modesty in a cultural or generational setting
• Male and female power and sex in fashion across cultures
• Fashionable appearances in public and private spaces
• Politics of gender identity labeling and fashion
• Self-objectification and empowerment
• Sex education for the 21st century
• Sexual agency, identity, and fashion over time
Submit an abstract of 250 words (one page, 12 pt. font with one inch margins). Title centered at the top and no author information. Include a separate cover page with author and contact information. Send abstract and cover page by January 5, 2015 to Marilyn DeLong (email@example.com).
Notification of acceptances by February 16 (following blind peer review). Full paper is due by August 1, 2015. Full papers will be considered for a book edited by Annette Lynch and Katalin Medvedev, to be published by Bloomsbury. See the full call here.