Critical Studies in Men’s Fashion call for papers
Special Issue: ‘Exhibiting Masculinity’
Deadline to submit is: February 1, 2016
The early twenty-first century has witnessed a relative spark, if not an explosion, of museum projects devoted solely or predominantly to the subject of men’s fashion, and has coincided with new emphasis on questioning and examining forms of dressed and embodied masculinity; see for example Vol. 2 No. 1 of Critical Studies in Men’s Fashion, March 2015.
In this special issue of Critical Studies in Men’s Fashion we are interested in critical intersections between museology, masculinity and fashion. Intellect Books invites submissions on topics including but not limited to the following:
• Museum exhibitions of men’s fashion
• Museum collections of men’s fashion
• Examination of respective issues in developing collections and /or exhibitions of women’s versus men’s fashion
• Masculinity as a subject of museum inquiry
• Problems and practices in exhibiting men’s fashion in the museum
• Audience engagement with museums and masculinity
• Conservation issues around men’s dress
All submissions must follow Intellect’s house style for review. Manuscripts should be approximately 5000-7000 words and use British spelling. It is the author’s responsibility to clear image rights usage if they are included in the manuscript. Please send submissions and queries to the guest editors Sally Gray (email@example.com) or Roger Leong at (Roger.Leong@maas.museum).
See the full call for more information.
Kentucky Historical Society, Frankfort, KY
Churchill Weavers Fellowship
Application deadline: June 1, 2015
Notification by: July 15, 2015
This program makes available one of the finest weaving archives in the nation for scholarly research. The Churchill Weavers collection is an untapped resource for scholarship in such areas as labor history and textile production in Appalachia. Churchill Weavers operated in Berea, Kentucky, from 1922 to 2007 and once was considered America’s premier producer of luxury handwoven goods. This comprehensive collection includes business records, artifacts and an extensive fabric archive. In addition to using the Churchill Weavers collection, a fellow also may explore related KHS collections. Learn more about Churchill Weavers and the KHS collection.
Applicants must submit a curriculum vitae or resume and prospectus. Your prospectus should describe your current project and its significance, emphasizing how it would benefit from research at KHS. Include a project overview, theoretical perspectives, sources, methods, work completed to date, necessity of KHS collections research, significance, bibliography. In this description make sure to cover the following points:
• What is the end-product of your project?
• What aspects of the Churchill Weavers collection and other KHS collections or resources
contribute to your project? How so?
• What collections essential for your project are NOT at KHS?
• How much time do you intend to spend at KHS
• What is the estimated timetable for your project?
Graduate and undergraduate students must include two letters of recommendation from faculty members familiar with the student’s work and with the project being proposed. Independent scholars who do not have a curriculum vitae should provide a statement about their experience with historical research and publishing. Applicants are strongly encouraged to contact Louise Jones, firstname.lastname@example.org or 502-564-1792, ext. 4407, well in advance to help orient them to the Churchill Weavers collection.
More information and the application form can be found here.
One Day Conference, University of Portsmouth, Saturday October 10, 2015
Venue: Park Building, 5 minute walk from Portsmouth & Southsea station
The Conference organisers welcome proposals for papers on any aspect of the First World War relating to women and gender.
Possible topics may include, but are not restricted to, the following themes:
- Women and pacifism, peace movements
- Women and patriotism
- Women and war work
- Women and the state/social policy/welfare
- Women’s wartime writing
- Women war artists
- The women’s movement
- Women and voluntarism
- Women and domestic life/leisure
- Women, gender and sexuality
- Mourning and bereavement
- Poetry, plays and film
- Commemoration and heritage
Please submit an abstract of 200-300 words to June Purvis (email@example.com) and Lee Sartain (firstname.lastname@example.org) by June 15, 2015.
Confirmed speakers so far include: Maggie Andrews, Alison Fell and Lucy Noakes.
The Conference is supported by the AHRC funded Gateways to the First World War Public Engagement Centre, the Southern Region of the Women’s History Network and the Centre for European and International Studies Research (CEISR), University of Portsmouth.
It is intended that a selection of the papers will form a Special Issue of the journal Women’s History Review and/or an edited book.
Today Worn Through would like to present a guest post from Hannah Schiff, a current Master’s candidate in New York University’s Costume Studies program. Her research primarily focuses on the strange and unusual, centering on curiosities and outliers throughout history.
In addition to my passion for antique and vintage dress and textiles, I was drawn to Costume Studies in large part due to its interdisciplinary nature. A quintessentially human phenomenon, dress is linked to virtually all aspects of life, from fine art to politics, anthropology to economics. Fashion may often be marginalized or trivialized, but one may argue that this is done, in many instances, as a response to the overwhelming power clothing and textiles have over us.
In attending The Fourteenth Annual Richard Martin Visual Culture Symposium, an event hosted by the Costume Studies program at New York University, I was pleased to see the interdisciplinary nature of this field on full display. The four M.A. candidates and guest speaker, Dr. Alison Matthews David, made it clear through their dynamic and varied presentations that the boundaries of this discipline are limitless.
The evening began with the presentation of Fashion Victims: The Dangers of Dress Past and Present, by Dr. Alison Matthews David of the Ryerson School of Fashion. A rich and visually stimulating talk, Matthews David took the audience on a forensic journey through some of history’s darker moments in the conception of aesthetics. Her strong language (including references to “satanic mills” and “homicidal luxury”) acted as vibrant punctuation for a series of fascinating topics discussed, namely the intersection of disease and dress, toxic processes and dyes used, and fashion accidents.
Matthews David referenced this charmingly grim turn of the century poster representing the transformation of rabbits into hats (the source, as she explained, for the perennial favorite magic trick), in her discussion on the use of mercury in constructing hats.
Specific examples explored included the use of mercury in millinery, the 1778 development of an emerald green pigment created with arsenic, and the tragic death of a prima ballerina in 1862 after her tutu caught flame. Matthews David’s use of quotes from primary sources, and her deep exploration into the scientific, psychological, and sociological causes behind these varied fashion traumas made for an engaging talk. Her forthcoming book on the subject promises to be just as inspired as her presentation, and while waiting for its release I would encourage all who are able to see her work on display at the Bata Shoe Museum in Toronto.
The first M.A. candidate to present was Felicity Pitt with her talk entitled Bare-Cheeked Bicycling: Trick Cyclists and the Eroticism of Female Bicycle Riders, 1885-1900. This cheeky presentation chronicled the impressive feats, both on wheels and in society, of female daredevils at the turn of the century. Pitt’s research primarily focuses on 25 cigarette cards advertising these female performers, which reside in the collection of the Metropolitan Museum of Art.
Female trick cyclists of the nineteenth century wore scandalous (for the day) garments, Pitt argues, both out of necessity for movement and as an attraction.
The talk, centering on voyeurism, objectification of the female body, adoption of masculine influences in female dress, and displays of curiosity and taboos, demonstrated how these performers also engaged in impressive social feats in order to balance out their subversive behavior. “The mere sight of a woman riding at this time is a trick,” states Pitt, underscoring the fact that the athletic skill of these revolutionary women was perhaps only a piece of the equation which brought them notoriety.
Following Pitt, Anna Burckhardt presented a strikingly original topic entitled Walking Weavers: Ethnicity, Gender, and Tradition in Contemporary Indigenous Columbia. As the title suggests, this research has a strong anthropological component, and is a refreshing contribution to a field dominated by the study of Western dress throughout history. Burckhardt spoke passionately about the gendering of weaving and themes of reviving tradition in spite of geographic and cultural displacement.
Mama Rosa, a member of the community at La Maria in Piendamó, Columbia, weaves a chumbe, a band of cloth essential to female cultural expression.
Specifically looking at the chumbe, a woven band of cloth, usually in bright colors, Burckhardt illustrated how this woman-woven textile is an umbilical chord which connects the woman’s hand to the land of her people. Burckhardt’s personal experiences conducting research in the reservations of Silvia and La Maria in Columbia lent further support to her discussion, and her visual aids, many of which were pictures she took during her time there, offered undoubtable proof of the agency and support system weaving provides for these indigenous women.
Continuing on the thread of autonomous women, Bruckhardt was followed by Stephanie Kramer presenting You Look Good in My Dress: Courtney Love, Grunge and the Role of Gender in Postmodern Subcultural Style. Of the topics presented, Kramer’s was perhaps most accessible to the audience, for while grunge may have emerged as a subculture, it rapidly gained media attention and made household names of musicians such as Courtney Love and Kurt Cobain. However, while much existing scholarship (and press) have traditionally focused on the male contributions to the grunge sound and aesthetic, Kramer shows the strong influence wielded by Love by placing her within the framework of theorist Simone de Beauvoir.
Kramer illustrates the significance of Courtney Love’s role in the grunge movement by placing her life within the theoretical framework established by Simone de Beauvoir.
Tracing Love’s journey through the three phases of womanhood de Beauvoir outlined, Kramer provided compelling support for her assertion that Love subverted each of them. Above all, Kramer’s use of quotes from Love, such as “I am a woman. I depend on artifice as I have been taught,” vastly legitimized the agency of a woman commonly ridiculed by the media rather than seen as an originator of a trend and a figure consciously in control of her image.
Rounding out the evening, Eric Zhang brought levity to the symposium with his presentation Just Landed Like Fresh Tilapia: Race, Gender, and Ambivalence in Asian American Drag Performance. Zhang, like Burckhardt, provided a much needed discussion about a minority rarely represented in fashion or academia. Tracing the construction of identity of several drag queens featured on various seasons of the television series, RuPaul’s Drag Race, as well as queens who have not participated in the show, Zhang looks critically at the ambivalence of gender and race in Asian American drag culture.
In both visual and rhetorical terms, many Asian American drag queens express the complexity of their cultural identities.
Assessing the “rhetoric and aesthetic of race,” Zhang locates these performers as falling “somewhere in between being Asian and American,” calling the audience’s attention to the tensions present between race, gender, and the presentation of the two. Although video clips from Drag Race elicited laughter from the audience, they also provided solid evidence supporting Zhang’s interpretation of the complex relationship between gender, race, and the development of a performer’s persona and personal ideologies.
As the vastly divergent presentations of The Fourteenth Annual Richard Martin Visual Culture Symposium illustrate, Costume Studies is a discipline with endless possibilities for research. Trauma induced by fashion, female trick cyclists at the end of the nineteenth century, the links between tradition, textiles, and cultural identity in Columbia, the subversion of gender norms and theory by a female grunge music and style pioneer, and the search for identity among Asian American drag performers may all be seemingly disparate subjects. At their heart, however, they are tied together with intersecting themes of gender, race, identity, and the impact of dress and textiles, and have been masterfully woven together by the five scholars to show the numerous impacts fashion has on human experience.
Opening Image Caption: Open until June 2016, The Bata Shoe museum in Toronto plays host to Fashion Victims: The Pleasures & Perils of Dress in the 19th Century.
Did you attend the symposium? What did you think? Have you attended other symposia with student speakers that you would like to share with Worn Through readers? Please feel free to share your thoughts and impressions in the comments below.
Survival & Revival: Clothing Design that Survives & Fashion Trends that Are Revived
International Conference of Dress Historians
Saturday, October 31, 2015
The Art Workers’ Guild, 6 Queen Square, London, WC1N 3AT, UK
Some styles and forms of garments have remained static for decades, if not for centuries, perhaps symbolizing the eternity of the sacred or the authority of tradition. Meanwhile, from Augustus to Napoleon to modern day, in countless periods and cultures, dress has played an important role in revivals whether for patriotic, political, or other purposes. This conference will explore the meanings of ‘survival’ and ‘revival’ in dress from the archaeological to the conceptual, from ‘retro’ to ‘futuristic.’ We invite the submission of proposals for papers that might include, but are not limited to, the following themes.
Survivals: Clothing design that has survived and remained consistent over long periods of time, including religious dress and ecclesiastical vestments, ceremonial garments, ethnic or national folk dress, military and other uniforms, utility clothing (including blue jeans, etc), and ‘heritage brands’ such as Burberry, etc.
Historic Revivals: Fashions and trends that have been revived including, Medieval, Greek and Roman revivals at different periods, vintage garments, Scottish tartan, and replicas of historic fabrics for dress.
Designer Revivals: The work of designers who reference earlier periods or utilize archival material, including Laura Ashley, Cristobal Balenciaga, Christian Dior, Alexander McQueen, Paul Poiret, Zandra Rhodes, Vivienne Westwood, etc.
Call For Papers
Please submit your proposal as a Word document with a paper title, a 200-word abstract, a brief biography, and contact information to the ADH Events Secretary, Jennifer Daley, at email@example.com. Each speaker will be allotted twenty minutes. The deadline for submissions is June 15, 2015. Notification of the outcome will be advised by e-mail on or before July 1, 2015. Speakers do not have to pay the admission fee, though we do request that all speakers become members of the association.
May 1-2, 2015 is the Fashion and Gender Symposium at the University of Minnesota.
This is where I teach part time and I live in the area so I’m curious if any readers will be in attendance? Drop me a line if you plan to come to town.
Call for Papers: Art, Science and Industry: Historic Costume Collections in the 21st Century
Westphal College of Media Arts & Design, Drexel University, Philadelphia
Abstracts due: May 15, 2015
Notification of acceptance: August 1, 2015
Symposium held: November 13-14, 2015
In conjunction with the exhibition Immortal Beauty: Highlights from the Robert and Penny Fox Historic Costume Collection, Drexel Universiy will host a symposium on the role of Historic Costume Collections in the 21st Century. Is fashion truly art, or should it be considered material culture? Where does it fit in the context of academic study? How can technology assist in both preservation and accessibility for items of dress? Is the physical object still relevant in the age of social media? All of these questions and many others will be addressed.
Proposed abstracts should be 250 words or less in Times New Roman on one page formatted according the Chicago Manual of Style. All abstracts should be submitted digitally via email to firstname.lastname@example.org with the subject line: ASI Symposium Abstract.
Suggested topics for papers include:
- collection practices
- conservation methods
- social media
- education & training
- modernity & relevancy
All questions and inquiries can be directed via email email@example.com or by phone (215) 895-3504. For more information about the Robert and Penny Fox Historic Costume Collection visit the FHCC website.
Fashion: Now & Then: Passé, Presente, 未来
Proposal due: June 8, 2015
Conference held: Thursday, October 22, 2015 to Saturday, October 24, 2015
LIM College, New York City
Call for Presentations
The Adrian G. Marcuse Library at LIM College invites participation in the fifth annual Fashion: Now & Then Conference, a three day conference in which participants will discuss the past, present, and future uses of fashion information and the global reach that the fashion industry possess. Participants will be drawn from the fashion industry, libraries, archives, academic institutions, publishers, collectors, and museums to represent a full range of expertise.
The theme for this year’s Fashion: Now & Then Conference is Passé, Presente, 未来. We look forward to proposals that will demonstrate how fashion information and the global reach of the fashion industry has evolved through time and how it will continue to evolve in the future. Proposal topics can include one or more of these subjects in relation to fashion or style: archives, blogs, books, business, collection development, collectors, designer archives, digital archives, digital collections, digitization projects, ephemera, fashion analytics, fashion forecasting, fashion history, fashion studies, film, librarians, libraries, magazines, mapping & data visualization, marketing, material culture, merchandising, museums, new media, oral history, patrons, photography, preservation, print & non-print media, product development, rare books, retail, social media, special collections, street style, textiles, and trend reporting.
Call for Poster Sessions
We invite proposals for an organized poster session for the 5th Annual Fashion: Now & Then: Passé, Presente, 未来 Conference. Organized poster sessions will consist of six posters that are organized around this year’s conference theme with all of the presenters invited by the organizer. Organized poster sessions will be scheduled for Friday, October 23rd from 5:45-6:30 PM.
Presentation Proposals and Notifications
Proposals for presentations should include: the name, title, affiliation, and email address of the author(s) and an abstract of the 15 minute paper or presentations including keywords (<500 words). Email the proposal to firstname.lastname@example.org. Please submit the text of the proposal in the body of the email and as a PDF or Word attachment. The proposal due date is Monday, June 8, 2015.
Notification of proposal and poster session acceptance will occur Monday, June 22, 2015.
At least one author of each accepted abstract must register for the conference and present the paper.
For more information, visit the conference site.
Thursday September 24 – Saturday September 26, 2015
Mansfield College, Oxford, United Kingdom
Call for Presentations:
Coco Chanel observed that fashion is ‘not something that exists in dresses only,’ and ‘has to do with ideas, the way we live, what is happening.’ Scholars, designers, artists, bloggers, and ordinary individuals who are putting a ‘look’ together, agree. For them, fashion is an evolving creative historical, political, economic, and social process that reflects contemporary preoccupations. Fashion is a statement, a stylised form of expression, which displays and is part of what defines a person, a place, a class, a time, a culture, a society, a nation, and membership in global subcultures and communities. Georg Simmel described fashion as a system of sense and social stratification, based on group definitions. This inter- and trans-disciplinary conference explores the historical, social, economic, political, psychological, and artistic phenomenon of fashion, a powerful component of contemporary local and global culture. While some aspects of fashion can be exclusive, fashion is inclusive and lies at the very heart of persons, their construction of identity and the communities in which they live. Individuals emerge as icons of beauty and style, cities are identified as centres of fashion, and the business of fashion is a billions of dollar per annum global industry, employing millions of people. The project assesses the history and meanings of fashion; evaluates its expressions in politics, business, pop culture, the arts, consumer culture, and social media; determines its effect on gender, sexuality, class, age, race, ethnicity, nation, religion, and other sources of identity; and explores future directions and trends.
Building on the foundations of previous meetings, publications, and collaborations, the conference will be structured around five main areas of focus that will appeal to a wide range of fashion-oriented participants from all countries, formations, and trades, with the goal of building global pathways, dialogue, and understanding across disciplines and practices. Academics, theoreticians, designers, artists, and skilled professionals will have the opportunity to enjoy specific as well as whole group sessions, designed to provide them with opportunities for long term engagement beyond their initial participation. Papers, presentations, demonstrations, and workshops are invited on the following themes:
1. Understanding Fashion:
– Fashion, Style, Taste-Making, and Chic
– Fashion and Fashionability
– Fashion and Zeitgeist
– History of Fashion
– The Future of Fashion
– The Psychology of Fashion
– Philosophy and Fashion
2. Studying Fashion:
– Tools and Methodologies
– Theorizing Fashion: Disciplines and Perspectives
– Fashion Studies & Fashion Education
– Identifying, Defining and Refining Concepts (e.g., ‘style,’ ‘fashion,’ ‘look,’ ‘fad,’ ‘trend’)
– Documenting and Curating Fashion
– Fashion Construction and Craft
– The Materials of Fashion
3. Representing and Disseminating Fashion:
– Fashion Icons
– Fashion Models
– Fashion and Glamour
– Designers and Muses
– Costumes and uniforms
– Masquerades and other ruses
– Fashion, Popular Culture and Celebrity
– Style Guides and Makeover Shows
– Fashion Photography
– Fashion, Art, Literature, Architecture
– Fashion Magazines, Blogs, and Social Media
– Films and Documentaries about Fashion
– Fashion and the Performing Arts, Music and Television; Costumes
4. Identity and Fashion:
– Fashion and Identity
– Fashion (Sub)Cultures
– Fashion, Politics, and Ideology
– Fashion as Performance
– Fashion, the Body, and Self-Fashioning
5. Economies of Fashion:
– Fashion Professions and Trades
– Fashion Cities, Fashion Weeks, Fashion’s Night Out
– Fashion Marketing (e.g., brands, flagship stores, guerilla stores, eCommerce)
– Shopping and Consumption Practices
– Fashion Forecasting
– Marketing Platforms (e.g., communication, streaming video, social media, etc.)
– Fashion Markets: Vintage, Mass, Luxury, Accessories, Emerging, Other (e.g., food)
– Producing and Displaying Fashion
– Sustainable and Ethical Business Practices
What to Send:
300 word abstracts are due by Friday April 10, 2015. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 10th July 2015. Emails containing the abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:
a) author(s), b) affiliation as you would like it to appear in programme, c) email address, d) title of proposal, e) body of proposal, f) up to 10 keywords.
E-mails should be entitled: FASHION7 Abstract Submission.
Please Note: In this email please attach TWO versions of your abstract as follows:
1) One with title and body of abstract only (no identification of the author—this version will be for our blind peer review process).
2) The other with the following information about the author(s): affiliation, email, title of abstract, title and body of abstract
All abstracts will be at least double blind peer reviewed. Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.
Jacque Lynn Foltyn: email@example.com
Rob Fisher: firstname.lastname@example.org
The conference is part of the Critical Issues series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All proposals accepted for and presented at the conference must be in English and will be eligible for publication in an ISBN eBook. Selected proposals may be developed for publication in a themed hard copy volume(s). All publications from the conference will require editors, to be chosen from interested delegates from the conference.
Inter-Disciplinary.Net believes it is a mark of personal courtesy and professional respect to your colleagues that all delegates should attend for the full duration of the meeting. If you are unable to make this commitment, please do not submit an abstract for presentation.
For further details of the conference, please visit:
Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence
MAAM 2015 Annual Conference: Building Communities: Embracing Diversity in All We Do
Proposals due: April 2, 2015
Conference held: October 21-23, 2015
Call for Proposals!
Join MAAM in Philadelphia this October as we discuss Building Communities: Embracing Diversity in All We Do. We invite you to contribute to the dialogue with a conference session proposal. Please consider a submitting a proposal on one of the following Building Communities topics:
- Creating pathways for new audiences
- Engaging community members
- Reflecting diversity in boards, staff, programming, collections, and/or outreach
- Accessing new fiscal resources
- Social justice issues in museums
The annual meeting is the perfect opportunity to introduce theoretical or philosophical frameworks that explore daily issues shared by all. Sessions should present differing perspectives that constructively embrace controversy, enliven the session, and reflect the conference theme. You do not need to be the “expert” to propose or organize a session. Vendors are also welcome to submit proposals, but all panels should include at least one museum professional. The MAAM Program Committee, comprising recognized museum professionals, will review all proposals. Click here to download the 2015 Call for Proposals.