CFP: The Look of Austerity Conference

The Look of Austerity

September 11-12, 2015

Museum of London

2015 marks the 70th anniversary of the end of the Second World War, the beginning of a period of economic austerity for many affected nations. ‘Austerity’ is a term that has recently re-emerged in areas as disparate as politics and design, and is used to describe everything from specific policy decisions to the national mood. In light of this, The Look of Austerity aims to re-examine the post-war period, looking at the changing meaning and the face of austerity and exploring the real implications of austerity policies and culture on sartorial aesthetics. Focusing on the immediate post-war period, specifically the years 1945-1951, we invite papers that examine the popular experience of obtaining and wearing clothes throughout the western world during these turbulent and changing times, exploring the often overlooked areas of ready-to-wear innovation, international dialogues, and approaches that look beyond some of the popular myths of post-war fashion.

Topics for discussion may include:

  • fashion consumption and austerity, particularly popular and everyday experiences of obtaining and wearing clothes
  • the production and distribution of ready-to-wear
  • the role of couture after the war
  • dialogues across Western nations and fashion capitals, particularly Paris, New York, Berlin and Rome
  • visual and written representations of fashion in newspapers, magazines, advertisements, cinema and amateur film
  • biographic approaches, for example diaries, novels and short stories
  • the designer in a culture of austerity
  • the connection between austerity and glamour
  • re-emergence of the austerity look in later periods, for example in the 1970s/1990s
  • the legacy of the look of austerity

Proposals

If you wish to present a paper, please submit the following to austerity@museumoflondon.org.uk:
  • 500 word abstract of the proposed paper naming the presenter(s)
  • contact information: name, title, position, university or institutional affiliation, postal
  • address, email and telephone
  • 150-200 word biography of the presenter(s)

Deadline for submission of proposals: Monday 27 October 2014. Notification will be made to all by the end of November 2014. 

For more information, please visit the conference website.

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CFP: Lost Museums Colloquium

Lost Museums Colloquium

May 7 and 8, 2015

Brown University, Providence, RI

In conjunction with the year-long exhibition project examining Brown University’s lost Jenks Museum, the John Nicholas Brown Center for Public Humanities and Cultural Heritage, the Haffenreffer Museum of Anthropology, and the John Carter Brown Library invite paper proposals for a colloquium on lost artifacts, collections and museums. (Other formats—conceptual, poetic, and artistic—are also invited.) 

Museums, perhaps more than any other institutions, think in the very long term: collections are forever. But the history of museums is more complicated than that. Museums disappear for many reasons, from changing ideas about what’s worth saving to the devastation of war. Museum collections disappear: deaccessioned, traded away, repatriated, lost to changing interests and the ravages of time.

We are interested in this process of decline and decay, the taphonomy of institutions and collections, as a way of shedding light not only on the history of museums and libraries, but also on the ways in which material things reflect and shape the practices of science and the humanities, and also to help museums think about current and future practices of collections and collections use.

We invite presentations from historians, curators, registrars, and collections managers, as well as from artists and activists, on topics including:

  • Histories of museums and types of museums: We welcome case studies of museums and categories of museums that are no more. What can we learn from museums that are no more? Cast museums, commercial museums, and dime museums have mostly disappeared. Cabinets of curiosity went out of and back into fashion. Why? What is their legacy?
  • Artifacts: How do specimens degrade? How have museums come to think of permanence and ephemerality? How do museums use, and “use up” collections, either for research (e.g., destructive sampling), or for education and display; how have they thought about the balance of preservation and use? How can they collect the ephemeral?
  • Museum collection history: How long does art and artifact really remain in the museum? Might the analysis of museum databases cast new light on the long-term history and use of collections?
  • “Lost and found” in the museum: How are art and artifacts “rediscovered” in museums? How do old collections regain their importance, both in artistic revivals and in new practices of “mining” the museum as artists finding new uses for old objects?
  • Museum collections policy: How have ideas about deaccessioning changed? How should they change? How do new laws, policies, and ethics about the repatriation of collections shape ideas about collections?
  • Museums going out of business: When a museum needs to close for financial or other reasons, what’s the best way to do that? Are there good case studies and legal and financial models?
  • The future of museum collections: How might museums think about collecting the ephemeral, or collecting for “impermanent” collections. What new strategies should museums consider for short-term collecting? How might digitization and scanning shape ideas about the permanence of collections?

Papers from the Colloquium may be published as a special issue of the Museum History Journal.

Proposal Deadline: September 15, 2014

Please send an abstract of about 250 words and a brief CV to Steven Lubar, lubar@brown.edu. 

See the conference website for more details. 

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CFP: World Ethical Apparel Roundtable (WEAR) 2014

Fashion Takes Action presents: World Ethical Apparel Roundtable (WEAR) 2014
“Creating Shared Value” Comparing Canadian Experiences With International Benchmarks

November, 2014

Evergreen Brick Works, Toronto

The first conference of its kind in Canada, WEAR will bring together apparel brands and retailers, sustainability experts, NGOs and academia to share best practices, build relationships, present new research and tackle the social and environmental challenges facing the industry today.

Topics may include but are not limited to:

  • Profitability: the profitability case for sustainable and ethical fashion
  • Social Responsibility: make fair/buy fair, navigating corporate social responsibility
  • Environmental: incorporating sustainability into the design and manufacturing process, the need and effectiveness of standards
  • Engagement: consumer perceptions, green washing and transparency

You are cordially invited to submit a presentation proposal or research abstract relevant to our overall theme or specifically referencing one of our topic areas.

Proposals should be submitted by email by no later then August 4th, 2014.

Please format using Times New Roman, font size 12, no longer then one page, and be sure to include contact information for the presenter.

Email submissions to tarah@fashiontakesaction.com.

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CFP: Brazilian Fashion Special Issue

Brazilian Fashion: A special issue of Fashion Theory – the journal of dress, body and culture 

Publication date: April 2016 (Issue 20.2)

Guest editors: Rita M. Andrade (Universidade Federal de Goiás, Brazil) and Regina A. Root (The College of William and Mary, USA)

Despite its popularity around the globe, the richness and complexity of Brazilian fashion remains relatively unstudied by scholars of fashion history and theory. This call for papers seeks contributions on the diverse influences and cultural construction of Brazilian fashion that surpasses any single notion of Brazilianness: its diverse styles, its postcolonial issues and avant-garde possibilities, its ethical concerns and challenges, its relationship to time and space. Integrating Brazilian fashion into a larger narrative on global trends, this volume will prioritize essays that detail history and analyze design creation and consumption, cultural references found in museum collections and archives, interactions with popular and visual culture, and projections for the future.

Submission Guidelines

Proposal due date: August 1, 2014.

Proposals should include:

  • Title
  • 300- word abstract
  • Brief bibliography (that provides a glimpse into both the subject of study and the theoretical framework)
  • 50-word biography
  • Contact information

Email: ritaandrade@hotmail.com and raroot@wm.edu. We will accept preliminary abstracts in Spanish and Portuguese with the final essay written in English. Completed essays will be due no later than March 30, 2015.

Please see the Fashion Theory website for more information.

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CFP: Pretty In Kink – Culture, Theory, Sex, Kink

This collection will focus on the many ways in which various sexual practices are framed, represented, and commodified as aberrant, transgressive, or non-normative in popular culture. Embracing a fluid and dynamic definition of the term “kink” as sharing a continuum with “normal” sexual behavior, this collection of 15-20 chapters will explore the intersection of sexuality, cultural norms, and power through focused examination of popular representations of and discourses surrounding kink.

Chapters are sought  from scholars who study, encounter, and/or teach artifacts, texts, and issues related to kink, from fields including (but not limited to) gender/queer studies, film and media studies, literature, performance studies, sociology, fashion and design, and cultural history. Possible essay/chapter topics might include, but are not limited to:

- Kink throughout history: Victorian erotica, “medical” literature, stag films.
- The “mainstreaming” of kink – fashion and advertising.
- The historical relationship between kink and queerness/homosexuality
- Kink and leather: representations of dominance and submission
- Kink and representations of trans culture and bodies
- The sideshow: watching kink/voyeurism
- Kink and public/private performance of sex (orgies, parties, swinging, webcast/amateur porn, etc)
- Kink and feminism: demonization and sex-shaming trends
- Kink and sex work: “professional” kink
- Representations of kink, pain and “extreme” lifestyles
- Kink and legal issues (secrecy, surveillance, blackmail, etc.)
- Kink and trends in mainstream and alternative pornography
- Kink in popular/alternative music
- Kink and race/nationality/ethnicity/religion
- Kink in the classroom: the pedagogy of kink

Please submit proposals of approximately 500 words to kinkandpopculture@gmail.com.

Initial deadline to meet first publishing proposal is July 15, 2014.

Please include a brief c.v. or bio which includes information about relevant research, experience, or previous publications. We welcome submissions from independent and early career scholars or others with specific related experience or expertise.

Proposals that approach the study of human sexuality from a variety of methodologies are encouraged, particularly those that are sex-positive and approach the study of this subject from a critical but non-judgmental perspective.

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CFP: The International Thread: Lace and Commerce in Eighteenth-Century Europe

“The International Thread: Lace and Commerce in Eighteenth-Century Europe”: Panel at the ISECS Quadrennial Congress on the Enlightenment

July 27-31, 2015

Rotterdam, the Netherlands

Chairs: Tara Zanardi (Department of Art & Art History, Hunter College/CUNY 695 Park Avenue, New York, NY 10065; tzanardi@hunter.cuny.edu), and Michael Yonan (Department of Art History and Archaeology, University of Missouri, 21 Parker Hall, Columbia, MO, 65211; yonanm@missouri.edu)

Enormous amounts of lace flooded the marketplaces of eighteenth-century Europe, which fostered a vibrant international trade.  This marketplace centered on competition between the Low Countries (especially the regions that now comprise Belgium) and northern France, two areas that included Europe’s most technically accomplished lacemaking centers, including Alençon, Argentan, Brussels, Mechlin, and Valenciennes. These towns exported huge quantities of lace to an international clientele and competed with locally manufactured lace. Our panel seeks papers that examine how lace operated within eighteenth-century mercantile networks, economic systems, and black markets. What were the trade factors the affected the distribution of lace, both locally and globally, and how did those factors affect working conditions, design choices, and the objects created?   How did these market conditions affect what lace was used for, be it garments, decorative items, or household textiles?  Topics might include:

  • Treatments of lace and lace making in gendered terms
  • Lace and lace making as statements of regional or national pride
  • Labor practices in lacemaking
  • Techniques and materials
  • The industry’s global ambitions

Interdisciplinary papers are especially welcome. 

Submissions should be sent to both chairs by  June 15, 2014.

For more information, visit the congress websites:

http://www.openingmarkets.eu/

http://isecs2015.wordpress.com/

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CFP: Costume Society of America-Western Region 2014 Symposium

From the Street to the Catwalk, Cultural Influences on Contemporary Fashion

October 10-12, 2014

Portland, Oregon

The Western Region Symposium offers an opportunity for established members and potential New members to present Oral Research Papers or Research-in Progress Reports on unpublished research, new creations and/or practical experience. We welcome proposals from

  • CSA Members and CSA Student Members
  • Film, Television & Theatre Historians & Designers
  • Historians of Performance Costume, Fashion, Textiles and Dance
  • Collectors of Costume and Clothing & Film Enthusiasts
  • Cultural Anthropologists
  • Counter or Subculture Scholars
  • Queer Fashion Study Scholars
  • Designers of Fashion, Theatrical, Film Costumes.

**Student Honor Award**
At the time of application students must be currently enrolled and CSA members. The Award includes waiving of Conference fees, 2 nights accommodations, and airfare. Co- authors must both be students and they may split the award. Only Oral Research papers are eligible.

Possible Topics Include: 

  • Subculture fashion, such as Goth, Mod, Punk, or Queer, and it’s influence on High Fashion
  • Contributions to fashion from queer or transgender designers
  • The importance of youth subcultures on fashion
  • The influence of social media on fashion
  • Mainstreaming of Fetish Fashion
  • Subcultural influences on fashion in a historical context
  • Cross-cultural/Global influences on fashion

Presentations will be either: 1) Oral Papers–appropriate for the presentation of new research findings, case studies and conclusions. Limited to 20 minutes for a presentation; or 2) Research in Progress Reports–appropriate for the presentation of ongoing research toelicit feedback from registrants for additional research sources and/or comments on methodology. Limited to 10 minutes for presentation.

Please send your proposal abstracts to wrsymposium@gmail.com with CSA: WR Symposium Abstract in the subject line. Submissions are only accepted via email to help keep us green. The body of your email must include:

  • Name
  • Address
  • Email
  • Telephone Number
  • Institutional Affiliation (if any)
  • Students should indicate if they would like to be considered for the Student Honor Award.
  • Brief (<100 words) Autobiography
  • Abstract Type (Research Paper or Research-in-Progress)
  • Abstract Title

Abstract: Do not include any identification information on the abstract itself.

  • Format: doc or rtf
  • Text Length: ORAL PAPERS <= 500 words RESEARCH IN PROGRESS <= 300 words Text Font: Times New Roman 12 (inclusive of footnotes/endnotes & bibliography)
  • Language: English
  • Interspacing: 2 Text, 1 Endnotes/Footnotes & Bibliography
  • Identification: Type of Abstract (Research Paper or Research-in-Progress) centered at top of first page with title of abstract in bold font beneath it
  • Style: Chicago Manual of Style, AP Style Book, MLA Style Manual, Oxford Writers Dictionary or Hart’s Rules

Deadlines: Your proposal abstract and email must be received by June 13, 2014

Candidates will be informed of their status by August 15, 2014 Your acceptance is required in writing by August 29, 2011

Please direct questions to Abra Flores, Symposium Chair abritaflores@gmail.com

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CFP: People and Things on the Move: Migration and Material Culture

The University of Chicago seeks papers for a workshop to be held May 13-15, 2015 dedicated to exploring the relationship between migration and material culture in the modern world (the 18th century to the present), sponsored by the Neubauer Collegium for Culture and Society. The University welcomes paper proposals from both academics (including advanced graduate students) and practitioners—historians, anthropologists, archaeologists, public historians, librarians, archivists, and museum curators—who are working on the intersection between migration and material culture in any region of the world. The selected papers will ideally be published as a special issue or forum for the American Historical Review.

Both migration and material culture have profoundly shaped societies and cultures across the globe in the modern era. This workshop will define migration broadly, to include intra-state, international and intra-imperial migration, as well as “forced” and “voluntary” migrations. Our use of material culture is also inclusive, embracing the objects that furnish domestic interiors, architecture, tools, books, toys, clothing, modes of transportation, musical instruments, dance, and even food. The precise relationships between migration and material culture have varied dramatically across time, space, and political and social context. The goal of this workshop is to analyze and thereby be able to explain the diversity of these relationships and experiences.

Possible questions that papers might address include:

- What objects have migrants carried with them, and what can these objects tell us about processes and experiences of migration?

- How has migration been linked to cultural transfer in the realm of material culture?

- How have gender and generation been implicated in this dynamic?

- How has migration shaped the production as well as the consumption of particular objects?

- How has migration and return migration been linked to the transformation of material culture in sending countries?

- How has the circulation of material objects and consumer goods shaped imperial projects in the 19th and 20th centuries?

- How has material culture been linked to the imagination & consolidation of diasporic communities and minority cultures?

- What role has material culture played in the politics of migration, including ideas about “assimilation” and pluralism?

- What can material culture tell us about the emotional and social experiences of migration?

- How is material culture linked to individual or collective memory of migration?

- What is the role of material culture in forced migration or population transfers? What happens to the objects left behind in the aftermath of refugee movements?

These are only some of the potential topics that the workshop may address.

The three-day workshop will be held at the University of Chicago and will include both open sessions and working-sessions limited to the participants. We will also be visiting one or more museum/gallery/installation in the Chicago area. We particularly encourage proposals that engage the public history/historical sites of the city.

Please note that we will require participants to:

submit their full papers one month in advance of the conference
provide written comments on a set of related papers the week before the workshop
be present for the entire workshop
We ask that you both refrain from submitting proposals for work already published or committed elsewhere and that you agree to publish in the AHR forum should your paper be selected and the forum accepted by the journal.
We will cover travel and lodging.

Interested participants should send a 500 word abstract, an article or chapter (ms. or published on a related topic) and C.V. to tzahra@uchicago.edu and lausland@uchicago.edu.

Deadline for submision: June 15, 2014

 

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Global Mode: HERA

EOC-image-Hagley-Museum-and-Library

A few weeks ago I was in the audience for “Swedish Innovations & High Street Fashion,” a conference held at the Swedish Centre for Architecture and Design. Combining the academic with the commercial, the topics ranged from “Swedish fashion industry in the 20th century” by Ulrika Berglund, PhD candidate at the Centre for Fashion Studies at Stockholm University, to “‘It’s not what you do but how you do it’” by Jörgen Andersson, a long-time H&M executive and recent Uniqlo transfer.

The talks were interesting, engaging, and centered around what keynote speaker Regina Lee Blaszczyk termed “the new business history.” Instead of focusing on managerial systems at the most visible companies, Blaszczyk supports turning to small businesses, clothing companies, and objects, among many other overlooked portions of business history. She sees the clothing industry, in all its iterations, as vital to the study of business history as a whole, and the study of business history as integral to the future of fashion studies.

Professor Regina Blaszcyzk of the University of Leeds.

Professor Regina Blaszcyzk of the University of Leeds.

“Swedish Innovations & High Street Fashion” was one of many public outlets for the three-year project Blaszczyk chairs, “Enterprise of Culture.” Their plan is straightforward and exciting:

This project seeks to deepen our understanding of these developments using an interdisciplinary approach that explores the relationships among enterprise and culture. Fashion is often studied from a purely theoretical perspective, from a costume history or dress history viewpoint, or from a popular media-driven vantage point. EOC breaks new ground, using the fashion business to examine how various types of cultural encounters – between “core” fashion cities such as Paris and London and “peripheral” areas such as Sweden and Scotland, between style labs and the high street, and between fibre makers, clothing manufacturers, and retailers – stimulated innovation, and created a new and competitive industry.

Significantly, this enterprise is funded by HERA [Humanities in the European Research Area], a funding network of twenty-one humanities councils across Europe. HERA has been a generous supporter of dynamic fashion projects in the past, such as “Fashioning the Early Modern“; read my review of that conference for Worn Through here. These projects consistently bring together some of the best researchers in Europe across many disciplines, and the collaborative, multinational nature of the work is modern and forward-thinking.

It’s especially encouraging to learn about funding sources that despite (or because of?) their broad reach have chosen to fund fashion studies-based projects. In 2012 alone, HERA’s Joint Research Programme funded collaborations as different as “Cultural Encounters in Interventions against Violence” and “Travelling Texts 1790-1914: the Transnational Reception of Women’s Writing at the Fringes of Europe.” That fashion studies holds a respected place among more traditional academic topics is a major step forward.

What projects would you like to see funded? What other large and diverse geographic areas do you think deserve a similar funding source? Had you heard about HERA or their projects before?

 

Lead image source: Pierre Cardin design, 1961, for a DuPont textiles ad. From the Hagley Museum and Library, Wilmington, Delaware.

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CFP: Women on the Move: Gender, Dynasty, and Modes of Cultural Transfer in Early Modern Europe

Dynastic marriage has always been a vehicle for cultural transfer between European territories whenever a crown prince or king takes a consort from another country. The new spouse, often from a foreign power, often spoke a different language, might have been from another religious confession, and might have been brought up in a different fashion. But she also moved in her new court with her own cultural baggage, cultural traditions and cultural norms, often with her own artists, chaplains and ladies-in-waiting. What kind of cultural role did she play at her new court? What were the conditions for her to play a role as cultural agent or catalyst? How did the cultural transfer between her own tradition and her new life as a consort work in practice?

This panel focuses on the cultural transfer between two or more European courts with special reference to women as agents or catalysts of cultural influence and transfer.

We welcome approaches from scholars of history, art history, literature, musicology, and other disciplines. Interdisciplinary approaches are particularly welcome. Possible topics may include, but are not limited to:

- Cultural transfer: theory and practice in the premodern context

- Political dimension of cultural transfer

- European dynastic networks and culture transfer

- Gender and specific cultural activities and influence

- Lasting effects of cultural transfer and legacy

- Cultural transfer and collections

- Cultural transfer and fashion

These RSA panels are part of the HERA “Marrying Cultures” Project affiliated to the Herzog August Bibliothek and are being organised by Mara Wade and Elise Dermineur.

Please send

Marrying Cultures is a collaborative international project made possible thanks to a generous grant from Humanities in the European Research Area and with teams based at the University of Oxford, Lund University, the German Historical Institute in Warsaw and the Herzog August Bibliothek.

More information about the “Marrying Cultures” project can be found at www.marryingcultures.eu

Deadline for submission: May 20, 2014

Please send a CV and an abstract of no more than 150 words to elise.dermineur@hist.lu.se.

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