The University of Minnesota is hosting a fantastic sounding conference on Fashion & Health with speakers coming from around the country.
Click here for the details and schedule.
Registration online ends April 9.
Worn Through‘s own Kelly Cobb is speaking at the event, and I’ll also be there to hear all of the great talks and mingle.
I’m curious who of our readers is coming to town, and perhaps we’ll organize an activity together. Please add your comments.
On March 10th, 2012, the University of Venice, the London College of Fashion and the Centre for Fashion Studies of Stockhom University, held a symposium they jointly organised in conjunction with the exhibition Diana Vreeland After Diana Vreeland. The conference took place in Venice, and I was thrilled and humbled to have been invited to speak along with other distinguished emerging scholars and curators, on a panel addressing fashion curating in academia. Overall, the day’s programme included papers and panels related to Diana Vreeland’s curatorial and editorial legacies both in and out of museums, and provided a platform for reflection upon the development of fashion curating both before and after Vreeland’s tenure as Special Consultant to the Costume Institute. With keynote speakers Harold Koda, current Curator-in-Charge of the Costume Institute, and Akiko Fukai, Director of the Kyoto Costume Institute, and dress curators from around the world, the day was for me, an almost overwhelming opportunity to see and hear most of my heroes in one room – which also happened to be in Venice, my favorite city in the world without question.
Harold Koda delivering the morning keynote speech, photo: Contessanally.blogspot.com
The conference was streamed live on the IUAV website, and the conference programme is still available to download here. The day’s schedule was well-crafted and although we ran over time, there was never a more attentive and exhiliarated audience in my experience of conferences and symposia!
I hope in this post to share brief synopses of the papers and my impressions and reactions, but with all respect for the speakers, can by no means comprehensively convey the wealth and breadth of information that was shared. Overall, the presentations were highly relevant to the topics at hand, eloquently delivered and surprisingly poignant and replete with personal reflections and anecdotes. It was not merely an effect of having worked long hours preparing the exhibition beforehand, when I found myself periodically brought to tears upon hearing the moving and inspirational words of the delegates.
The morning commenced with a joint welcome from representatives of the organising institutions; Amerigo Restucci Università Iuav di Venezia, Alberto Ferlenga Università Iuav di Venezia and Frances Corner Head of College, London College of Fashion, followed by the day’s first keynote speech, delivered by Harold Koda of the Metropolitan Museum of Art.
Harold Koda, who has been Curator-in-Charge of the Costume Institute since 2000, was an assistant in the department under Diana Vreeland in the 1970s, and worked alongside her to prepare some of her most famous exhibitions including Eighteenth Century Women, and History of Russian Costume. He shared heartfelt and humorous anecdotes about what it was like to work with Vreeland – and even the story of their first meeting, during which he attempted to impress her with his knowledge, and she replied with the seeming non-sequitir, “Are you Japanese?” Even more hysterical was his recollection of having crafted a headpiece to be presented with a Ballets Russes costume for Le Dieu Bleu with exactitude and accuracy, only to be reprimanded by Vreeland for including pearls as part of the decoration for a man’s costume. He even had a photo of the moment when she received the unsatisfactory prop, with the priceless look on both of their faces. (I would love to share this photo with the readers of Worn Through but it is nowhere online – so, Mr. Koda, if you are reading this, then please share this picture if you can!) Despite the gentle laughter, Koda presented Vreeland as a mentor, a unique force and presence and asserted that there was “always intention behind her fantasy.” Above all, his demystification, and to some degree re-mystification of Vreeland set the pace and mood for the rest of the day’s papers and panels.
The keynote was followed by a panel comprised of Anna Mattirolo Direttor of MAXXI Arte, Roma in conversation with Judith Clark and Maria Luisa Frisa, co-curators of the exhibition Diana Vreeland after Diana Vreeland. The panel provided space for the curators to discuss their approaches, inspirations and relationship to Diana Vreeland’s work and curatorial language, and how the exhibition reframed her contribution for contemporary reflection. Judith Clark commented upon the process of curating and designing the exhibition as ‘building an essay,’ that was also an ‘exhibition about exhibitions.’ She also substantiated the choice to have the exhibition in Venice as an appropriate place to imagine Vreeland’s own imagination – to have the exhibit in a place whose idea of itself is almost bigger than its reality – much like Vreeland herself and the world of fashion fantasy which she presided over for so long.
The Royal Ontario Museum
The morning session continued with a talk by Alexandra Palmer, Senior Curator Textiles & Costume, Royal Ontario Museum, who spoke about her own role as a curator within the museum, as well as mapped the history of the Costume Institute from its inception and under the directorship of a lineage of pioneering curators such as Polaire Weissman, and Stella Blum.
Installation view of the costume and textile galleries of the Royal Ontario Museum
The session concluded with Amy de la Haye’s case study of Diana Vreeland’s curatorial legacy in comparison with that of Cecil Beaton, whose landmark exhibitoion at the V&A, Fashion: An Anthology by Cecil Beaton, shortly preceded Vreeland’s career at the Costume Institute.
Chanel's sequined evening suit as pictured in the catalog for Fashion: An Anthology by Cecil Beaton, 1971
She used a Chanel sequined suit worn by Vreeland and exhibited by Beaton as the key to unlocking the relationship between the display of 20th century dress, the practices of collecting, and the similarities in the approaches of Beaton and Vreeland at a turning point in the history of dress exhibitions. Somewhat mischievously, she elucidated the fact that Beaton came before Vreeland in staging a spectacular and comprehensive survey of fashion – and that Vreelandisms, such as filling exhibit galleries with accompanying scent, were employed by Beaton first.
The following session was a conversation concerning the relationship between fashion curating and fashion editing by Stefano Tonchi Editor-in-Chief, W magazine and Mario Lupano of Università Iuav di Venezia. It was welcome and enlightening to have Mr. Tonchi’s strong and varied insights into the realm of fashion image-making in magazines, and his commentary on the future of magazines and the proliferation of digital platforms for the dissemination of fashion information. In his opinion, the magazine is not headed for extinction – because people are still hungry for the content of magazines, even if the amount of print publications may continue to decrease. I would have like there to have been more voices from the world of fashion editing, which played such a large role in Diana Vreeland’s oeuvre, but it was enlightening to have such a prominent and well-spoken editor on the panel.
Benedetta Barzini in Vogue USA April 1964
Appropriately, the following paper was a portrait of Vreeland and her work in the sixties, through the eyes of one of the era’s most famed beauties, the fashion model Benedetta Barzini. Her recollections of what it was like to be one of “Vreeland’s girls,” was evocative and poignant – and even tinged with sadness. In five years working as a model for Vreeland at Vogue, Vreeland never spoke to Barzini directly; she was as she called herself ‘Mediterranean colour,’ in Vreeland’s fashion palette. The talk made real the experience of modelling, working in the 1960s, and being in the room with Vreeland, and was illustrated by a slideshow of spectacular images from Vogue featuring Barzini styled as a host of exotic female archetypes.
After the lunch break, which was a splendid opportunity to meet and get to know colleagues from around the globe – and as always at fashion conferences – to have a good look at what people were wearing – the day proceeded with the second keynote delivered by Akiko Fukai of the Kyoto Costume Institute. Significantly, the Kyoto Costume Institute was founded directly as a result of Vreeland’s costume exhibitions, following the display of Vreeland’s Inventive Paris Clothes exhibition at the contemporary art museum in Kyoto. Fukai brought up the salient points that in the Japanese mentality, dress had been long recognised as an art form, specifically with regards to the kimono and traditional textiles. When the Kyoto Costume Institute was founded, there was no tradition for the display of Western dress in Japan, although there was an interest in it, by both Japanese designers and the exhibit -going public. As a result of the pioneering status of the museum in Kyoto, the curators and designers developed the now world-reknowned system of custom period mannequin silhouettes.
Custom designed period mannequin silhouettes by the Kyoto Costume Institute
Undoubtedly, the Kyoto Costume Institute is a paragon of the modern costume and fashion museum, with innovative and insightful permanent displays and temporary touring exhibitions, and a prolific series of exquisite publications. It was thrilling to learn more about the development of the museum and its ties early ties with Vreeland, and her lasting influence upon their mission, aesthetic and philosophy.
18th century dress from the collection of the Kyoto Costume Institute, with wig in exaggerated style referencing Vreeland's mode of display from the Eighteenth Century Woman exhibit at the Costume Institute
The afternoon session proceeded with a series of talks by museum curators, commenting on projects, exhibitions and the research activities and innovations at their respective institutions. Highlights for me among the talks were Laurent Cotta Musée Galliera, Paris, Kaat Debo Director, MoMu Antwerp Fashion Museum and Miren Arzalluz Cristóbal Balenciaga Foundation. Notably, because I have not had the opportunity to visit MoMu, or the recently opened Cristobal Balenciaga Museum or the Madame Gres exhibition curated by Musee Galliera, I was eager to hear and see more about these institutions and their work.
Laurent Cotta of Musee Galliera presented a behind the scenes look at the first of the museums ‘extra-mural’ exhibitions, held outside the Galliera Museum during its closure for major renovation works. The seeming handicap; lack of home venue, was transformed into a unique opportunity to view Gres’ work in another context – within the Musee Bourdelle scultpure museum. This venue provided an arena to examine Gres as a sculptor, and the exhibition design and curation was crafted to elucidate the relationship between dressmaking and sculpture, and even employed the design of the sculptor’s turntable as a device for display of the garments. Cotta also revealed some technological secrets, such as how they managed to display fragile garments in light filled galleries via the use of UV glass showcases.
Kaat Debo, of MoMu discussed a number of exhibitions held at the museum under her directorate, primarily the recent Walter Von Bierendonck exhibition and the Stephen Jones retrospective. She also gave a preview of the installation of their upcoming exhibition of 19th century fashion whose scenography includes a hand-painted cobblestone floor treatment that took over three dozen painters day to create. Debo was brilliant at elucidating some of the challenges inherent in contemporary curating, such as working alongside a living designer, and collaborating to bring their vision of their work in line with the remit of the museum and exhibition curators. In the case of Von Bierendonck, this constituted the difficulty of displaying clothes designed for homosexual, male, subcultural bodies onto the available range of male mannequins. Humorously, she commented that no one is currently making mannequins to imitate the body types of gay bodybuilding culture, or specifically “bears.” To redress this imbalance, the clothes were also featured in a photo shoot and film which were displayed at the exhibition and also on ShowStudio. She showed the film clip, entitled Dream the World Awake, to the sounds of booming club music, which you can view here. The video and photo shoot are excellent examples of new ways to present archives, subcultural dress and significantly the designer’s intent.
Miren Arzalluz, of the Fondacion Cristobal Balenciaga, and author of the Museum’s stunning monograph catalog, delivered an eloquent and meditative presentation of the museum’s history, collection, exhibit design and mission to present the work of Balenciaga as a master of couture. Outstanding among the developments they have implemented in their display are a series of animated films that map the creation of 14 Balenciaga “essential” pieces from sketch to pattern to finished garment. Absolutely astounding! My only desire at the end of Arzalluz’s talk was to know how much airline tickets are to visit the museum in Getaria.
Lauren Bacall on the cover of US Bazaar under the editorship of Diana Vreeland
The afternoon carried on after tea break with a journey though Vreeland’s relationships with iconic models of the twentieth century with a paper entitled, “I suggest that she is refreshing and that you use her,” delivered by Becky Conekin of Yale University. Her talk highlighted Vreeland’s career-making interactions with famous fashion faces such as Twiggy, Cher, Lauren Bacall, Jean Shrimpton, Penelope Tree and Veruschka.
Cover of Address, fashion journal edited and published by Johannes Reponen, who participated in the Fashion Curation and Academia: New Insights panel
The day concluded with the panel entitled Fashion Curation & Academia: New Insights, chaired by Louise Wallenberg of the Centre for Fashion Studies, Stockholm and Marco Pecorari, also affiliate of the Centre. I was among the six panelists invited to speak in forum about our own individual practices of fashion curating and research and how these experiences inform our collective outlook on the discipline both in and out of museums and educational institutions. Despite the long day, and overload of information it comprised, our panel brought some further salient points to the fore, including the relationship between the curator and the works exhibited, the use of alternative spaces, and the variety of activities that constitute curating for academics and practitioners of our generation.
Finally, the conference closed with words of heartfelt thanks from Judith Clark, Maria Luisa Frisa, Mario Lupano, Louise Wallenberg. Indeed the day was rich and varied, and certainly planted the seeds for further discussions, exhibitions, interactions and collaborations, and new friends and old were acquainted and re-acquainted. Thank you above all, Diana Vreeland, for giving fuel to our fire, and for being a visionary and fearless innovator, whose legacy is indelibly present upon all that
Re:address – A Fashion Exhibition
22 – 27 March 2012
London College of Fashion MA Fashion Curation presents Re:address, A Fashion Exhibition exploring British vintage. Curated by fifteen students, the week-long exhibition will take place in Kingly Court off Carnaby Street.
Re:address will explore the contemporary perception of historical garments as precious objects; either as a relic of the past preserved in the museum or its revival into a second life as vintage clothing. With a focus on British heritage and design, Re:address will examine the motives behind the resurrection of objects from the past and will portray the eclectic landscape of vintage in London today. Juxtaposing pieces from the London College of Fashion and Central Saint Martin’s archives, London vintage shops and from our own wardrobes, Re:address will represent ideas of nostalgia preserved from personal memories, relics acquired for inspiration and collective memory, and new style identities created by modern wearers who re-enact and re-interpret.
An exciting panel discussion chaired by Professor Amy de la Haye will take place at the London College of Fashion on the evening of 26th March. A panel of diverse experts will discuss their relationship with British vintage and the influence it has on current fashion. A question and answer session will follow. LCF students and members of the public are welcome to attend this free event.
Opening Hours of the Exhibition:
Monday – Saturday, 10:00am – 7:00pm
Sunday, 12:00pm – 6:00pm
Admission is free
Unit 1.4 Kingly Court off Carnaby Street
London W1B 5PW
Underground: Oxford Circus, Piccadilly Circus
For further information on re:address:
re-address.co.uk
indiegogo.com
It’s not every week that one finds oneself in close physical contact with Fortuny delphos dresses, Balenciaga masterworks, Cecil Beaton drawings, YSL Mondrian dresses, a Schiaparelli hat, and Ballets Russes costumes by Matisse and Bakst.
Dresses by Balenciaga await their place in the exhibition showcases.
Last week, those were merely the icing on the cake of my experience working to mount and install the Diana Vreeland After Diana Vreeland exhibition curated by Judith Clark and Maria Luisa Frisa at the Palazzo Fortuny Museum in Venice. I served the project as curatorial assistant along with Gabriele Monti.
Overview of the second floor gallery, 72 hours before opening.
In addition to the immense pleasure I could not help but take in handling treasures of costume and fashion, I was astonishingly pleased and inspired to be working alongside such a phenomenally talented, dedicated and wonderfully warm team. To all new friends and colleagues from Venice and abroad, I send my appreciation and very warmest respect and thanks.
The worktable of hair genius Angelo Seminara, and his wondrous team, who crafted the masterworks of wigmaking for the exhibition.
In addition to the exhibition, a conference on fashion curating was held jointly by the IUAV University of Venice (whose MA students were an absolute joy, with immense talent and energy), the London College of Fashion and the Centre for Fashion Studies (Stockholm University).
Display of archive material relating to Diana Vreeland's life and career, at the Diana Vreeland After Diana Vreeland exhibition
The conference brought together prominent voices in the field of fashion and museums, to reflect upon Diana Vreeland’s legacy, and the past and future of fashion curating as a discipline. I’ll be reporting on the conference next week, but for the present am proud to share my photographs from behind-the-scenes at Diana Vreeland After Diana Vreeland.
Chanel metallic crepe dress, Cecilia Matteucci Collection, Wig by Angelo Seminara.
Leon Bakst Ballets Russes Costume, Judith Clark Costume Collection Archive, mounted by Jenna Rossi-Camus.
The Belle Epoque and Balenciaga. Wig by Angelo Seminara, dress collection of MArtin Kamer, Velvet coat, Balenciaga Museum.
Display of Missoni and Pucci ensembles, alongside the calico upholstered horse, masterminded and crafted by the MA Fashion students at IUAV who assisted on the project.
Garments pictured from collection of Martin Kamer.
Exhibition view, March 9, 2012
And, do also check out the exhibition publication, available from April 15, 2012. It is a gorgeous and well-thought out document of Vreeland’s work, and the work of the exhibition’s team.
From Bodies to Billboards: Alternative Sites of Display
History of Art Graduate Student Symposium, University of Michigan
Stern Auditorium, University of Michigan, Ann Arbor
October 27, 2012
Submissions are due by April 1, 2012
Keynote speaker: Mary Coffey, Associate Professor of Art History, Dartmouth College
To greater and lesser degrees, a viewer’s engagement with works of art will always be informed by the conditions of display. This symposium will build upon recent developments in curatorial practice and museum theory by focusing attention on alternative sites and modes of display. We seek papers that critically consider how meaning is generated from specific sites, and how context changes our understanding of the work of art. We view “alternative” as an open category that might embrace unusual or overlooked spaces and display practices, or encourage new, critical approaches to traditional exhibition arenas (galleries, museums, etc.). Priority will be given to papers that demonstrate the reciprocal engagement between works of art and their original or current sites of display.
“Alternative sites,” an intentionally broad rubric, is employed so as to encourage submissions on works from all time periods, in a variety of media, and produced in a wide range of circumstances and locations. Papers might address such disparate themes as:
- Manuscripts, scrolls, albums, ‘zines, and artists’ books
- The body, fashion, and performance
- Public art (including sculpture, murals, and graffiti art)
- Landscapes and the environment
- Conceptual art and the imagination
- Architectural structures and spaces
- Religious sites
- Audience and reception
Abstracts should be no more than 300 words and must be accompanied by a CV.
Submissions are due by April 1, 2012, and should be submitted to the Symposium Committee by email. Successful candidates will be contacted by email by May 15, 2012.
History of Art Graduate Student Symposium, University of Michigan
Conference website
Image credit: Mariell Amelie
Call for Papers—Fashion Studies Journal
“What is Fashion Studies?”
Completed Papers due by March 20, 2012
The Parsons MA Fashion Studies program invites you to submit to its inaugural issue of Fashion Studies—a new graduate journal for the academic, interdisciplinary study of fashion.
This issue asks contributors to address the question, “What is Fashion Studies?” As this new field gains a foothold in academia in the United States, students of Fashion Studies struggle to articulate to their peers what exactly it is they study, while the truth is these students study everything relating to fashion, dress and identity. The first issue of FSJ is seeking to set the record straight, once and for all, by showcasing the breadth and depth of new Fashion Studies research.
Potential topic areas include (but are not limited to):
● Fashion and the body
● Vintage or retro fashions
● Fashion in the museum
● Antifashion
● Fashion subcultures
● Music and style
● Street fashion
● Everyday dress
● Fashion and film
● Art and fashion
● Gender, sexuality and fashioned identities
● Blogging and new media
● Fashion curation
Submission Guidelines
● Please limit your entries to 5,000 words
● Thoughtful photo essays of new fashion-related work will be reviewed
● Limited to MA/MFA students or MA-level papers from all disciplines
● Co-authored papers welcome
● Please submit new research that has not been published in other journals or zines
● Please use Chicago style citations
Submissions are due by March 20, 2012 at 5PM. Notifications of accepted papers will be emailed April 20, 2012.
Email completed papers along with your name, affiliation and a brief biography to fashionstudiesjournal@gmail.com.
CHORD Workshop and Call for Papers
‘Dress, Textiles and Heritage’
13 June 2012 – University of Wolverhampton
abstracts due 15 February 2012
The University of Wolverhampton invites proposals for papers that explore the collection, display, conservation and all other uses of dress and textiles in heritage settings, including museums and historic houses, in Britain and beyond. Both theoretical and practice-based papers are welcome. Proposals by museum professionals, conservators, historians and all other interested scholars are equally welcome. Themes of interest include – but are not limited to:
To submit a proposal, please send title and abstract of c.300/400 words to Laura Ugolini by 15 February 2012.
A small fund is available to help cover speakers’ travel and fees. To find out more, please contact Laura Ugolini
Please visit the University of Wolverhampton’s website for more information.
Applications are welcomed for the post of graduate heritage trainee and Archives assistant at the Gillett Trust.
Deadline: Friday 24th February 2012
The Trust is responsible for the care of the heritage collections of C&J Clark Ltd, Street, Somerset, and the Clark family. The collections are varied, and include family and business archives, shoe catalogues, point of sale materials, fossils, artworks and furniture, costume, film and sound archives, and a large collection of historic shoes and shoe making machinery. The Trust is currently coming to the end of an exciting project to create new public, exhibition and staff spaces at The Grange, Street, including an innovative passive archive/museum store.
Further information about the archive is available here
Graduate heritage trainee, Alfred Gillett Trust
It is expected that applicants for this post will be planning on pursuing a career in the archive and museum sectors. This post is suitable for candidates wishing to study by distance learning, as appropriate professional support will be given.
Salary (pro-rata)
£17,500
Full-time: 37 hours per week
Duties and responsibilities
Requirements
Archives assistant (part-time), Alfred Gillett Trust
This part-time post is suitable for candidates with a general interest in heritage and the history of Clarks and Street, as well as for candidates wishing to pursue a career in the heritage sector at a later stage. Appropriate professional support will be given to a postholder who wishes to qualify by distance learning.
Salary (pro-rata)
£16,000 (to be reviewed in March 2013)
Duties and responsibilities
Requirements
Applications
Please ring the Archivist, Charlotte Berry, for an informal chat about the post (01458 842557) or email charlotte.berry@clarks.com. To apply, please submit a CV and letter of application by noon, Friday 24th February 2012 by email to Charlotte Berry or by post to:
Alfred Gillett Trust, 40 High Street, STREET, BA16 0EQ
Please include contact details for two referees. Interviews will take place on Mon 26th March 2012. If you have not heard from the Trust within 3 weeks following the deadline, we regret that your application has been unsuccessful.
Call for Papers: Women’s Studies Quarterly Fashion Issue
Article submission deadline is March 15, 2012
A thorough study of the history of fashion in its symbolic, creative and coercive faces shows how it has been crucial in the construction of national identities in fascist regimes or in processes of decolonization, such as in India, or in the remapping of the world economy, including China, India and Brazil. Fashion is closely tied to industrial, technological and economic developments and is at the center of cultural activity and change. In today’s globalized world, the fashion and textile industry are key factors to understand the profound transformations occurring in cities, nations and regions the world over.
Is fashion a women’s issue? Inherently gendered, based on female bodily display, taking fashion seriously demands exploring the limits of gender and embodiment. Pushing that envelope reveals how fashion can question pre-established notions of gender, aesthetics and behavior. How do we understand masculinity in relation to dress and fashion? WSQ invites exploration of fashion, clothing and adornment through plays of androgyny, from dandyism to lesbian chic. Seeing through clothes to the politics of power they materialize draws fashion into debates concerning identity, selfhood, sustainability, subjectivity, representation, and virtuality. How does the fashioned body trouble the boundaries between lived and represented, driving toward new phenomenological conceptions? How do the globe spanning trends of fashion reshape experiences of self and locale, and bring new relations of time and space? How has fashion in the blogosphere affected technologies of self, and produced new relations between bodies and city-scapes all over the world? How does fashion mediate the body? How do these mediations feed through text, film, the Internet and beyond?
WSQ invites a rethinking of the traditional organization of disciplines within the social sciences and the humanities to include the impact of fashion within their contexts and welcome academic papers from a wide range of approaches, including theory, empirical research, literature, art, history, design, media and film studies, cultural studies, performance studies, women’s and gender studies, psychology, sociology, semiotics, and anthropology, as well as creative prose, poetry, artwork, memoir and biography.
Article submissions are due by March 15, 2012. The full call for papers and submission instructions are available here: CFP: Women’s Studies Quarterly Fashion Issue
Contact:
Eugenia Paulicelli and Betsy Wissinger
Guest Editors of Fashion Issue
WSQ at the Feminist Press
365 Fifth Avenue
New York, NY 10016
Email
Rags and Riches: Dress and Dress Accessories in Social Context
University of Reading
21st April 2012
Deadline: 17th February 2012
CALL FOR PAPERS
This multidisciplinary day conference aims to bring together archaeologists, anthropologists, historians and others from related disciplines with an interest in the social analysis of dress to discuss current issues of methodology, theory and interpretation. The conference will address the subject holistically: from the production and exchange of textiles and dress accessories to their use and eventual deposition in archaeological contexts, or even their accession in museums. Ideas of identity, materiality, production, and transmission now shape our interpretations of dress accessories and this conferences aims to provide a forum for their discussion.
The Conference welcomes abstracts of less than 300 words for 20 minute papers from researchers at any stage in their career, studying periods from the Palaeolithic to the present day and addressing subjects relevant to the following themes:
● The construction and display of identity, such as gender, age, and ethnicity
● The facilitation, resistance and articulation of cultural change
● Production and its significance to the meaning of clothing
● Consumption, conspicuous display, and hegemony
● Cross cultural interactions, colonialism and acculturation
● Biographical approaches to objects and people
● Bodies and sexuality
● Ritual and performance
Contact
Please send abstracts to Rosie Weetch and Toby Martin along with your name, affiliation and email address to: ragsandrichesconference@gmail.com
website
Image credit: all-art.org
