to Dec 12

Internship: Costume & Textiles - Collections Management

From the Los Angeles County Museum of Art

The Costume and Textiles Department accepts applications for student interns on an ongoing basis following the academic calendar. 


The Costume and Textiles Department is undertaking a comprehensive inventory, digitization, and rehousing project of the collection. Collections Management ensures works of art in storage areas are accessible, housed in standardized environmental conditions, and are preserved while in storage. Under the supervision of the Senior Collections Administrator, the internship program is designed to provide students with an opportunity to learn about collections care and long term preservation goals specific to costumes and textiles. The intern will gain experience in handling artworks, preparing archival materials for artwork housing, conducting inventories, and navigating the museum database.

Minimum Qualifications

This non-compensatory internship is appropriate for post-graduate and graduate students from the following majors: costume studies, material culture, museum studies, art history, or library science. Candidates must have completed a bachelor’s degree before the start of the internship.  Preference will be given to candidates currently in an academic program who have completed courses in costume and textiles history, collections management, fundamentals of conservation science, and have basic sewing skills. Academic credit can be arranged.

To Apply 
Interested candidates should send a resume and cover letter to Nancy Carcione, Costume and Textiles Department, Los Angeles County Museum of Art, 5905 Wilshire Blvd, Los Angeles, CA 90036; or email carcione@lacma.org.

Applications will be accepted during the following periods:

  • February 1 - March 15 for summer

  • May 1 - June 15 for fall semester

  • September 1 - October 15 for winter/spring semester

Applications will be accepted until the internship is filled. 

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to Apr 18

Job: Associate Conservator

From the Museum at FIT

Job Description:

Under the direction of the Museum's Senior Conservator, the Associate Conservator is responsible for implementing, facilitating and assisting with the physical care, display and conservation of the Museum's comprehensive costume, accessory and textile collection. The candidate will be responsible for a full range of conservation activities within a museum that maintains a very active acquisition, fashion exhibition, photography and loan schedule, including any special projects as required.

Working closely under the supervision of the Museum's Senior Conservator, primary responsibilities and duties include but are not limited to:

  • Examining and documenting costume, accessory and textile objects with both condition and treatment reports in the TMS museum collections management system.

  • Performing object treatments, mounting and installation of both historic and contemporary fashion artifacts in support of the Museum's robust exhibition and publication photography program.

  • Documenting and performing material and scientific analyses and research of objects as required.

  • Documenting, preparing, couriering and installing of both international and domestic loans.

  • Developing and implementing a written Integrated Pest Management (IPM) plan for the Museum, including but not limited to evaluation, coordination and documentation of pest management activities. Coordinating with FIT's pest control service provider to support and maintain the IPM program.

  • Implementing and maintaining preventive conservation housekeeping methods and practices throughout the Museum's physical space.

  • In the absence of the Senior Conservator and in co-ordination with the Senior Registrar, attend to any matters relating to Facilities and Security within the Museum.

In the absence of the Senior Conservator, manage day-to-day activities in the conservation department and coordinate the management of conservation staff with the deputy director and other department heads

This is a general description of duties and is not to be construed as all inclusive.


  • Master's Degree in conservation or museum studies, with a minimum of 5 years related professional experience working with a fashion costume and textile collection in a museum setting.

  • Must have strong knowledge of costume and design history and terminology, as well as a demonstrated knowledge of museum and conservation procedures for both costume and textiles.

  • Proficiency in laboratory methods and the use of scientific instruments for examination, analysis, and treatment of costumes, accessories and textiles.

  • Knowledge and proficiency of garment construction and sewing techniques used in textile conservation.

  • Demonstrated experience and ability to make sound decisions and utilize proper judgement when couriering museum loans.

  • Excellent attention to detail, the ability to plan work and meet deadlines without compromising the quality of work performed, and excellent written, verbal, and interpersonal communication skills.

  • Strong ability to work on numerous projects with various staff members required.

  • Excellent organizational and computer skills and a familiarity with and/or ability to learn the TMS museum collections management system.

  • Ability to learn, adapt and keep current with the latest developments in the conservation practice.

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to Mar 29

Call for Papers: Disrupting Fashion: From Yesterday's Heritage to Tomorrow's Future

From Academia Costume & Moda

Conference Theme
“What we actually see are not the bodies but the clothes of those around us. It is from their clothes that we form a first impression of our fellows when we meet them. The interpretation of facial features requires a certain closeness.” (Flugel,J,C), “The Psychology of Clothes” 1930). Psychology of Clothes is related to a society completely different from ours, still the construction of a character, of an identity is utterly predominant in our fashion age. Fashion and Costume have never been so overlapped, actuating a game across different visions and redefining what Fashion is, or would mean to be nowadays. The last MET exhibition and gala explored this world of references around the catholic church; “Bolton suggests that “80%” of the modern Western fashion artefacts that he researched were inspired by Catholicism and many of France, Italy and Britain’s most prominent design talents were raised as Catholics. (Caroline Leaper the telegraph 2018).

This scenario is already evolving thanks to a wide number of designers and professionals from different cultures; still can we talk about heritage as a nurturing identity for fashion to come? May we state where is the difference between designing a costume to underline the psychology of a character and a collection for a Persona?“the still current importance of heritage in generating new design and exhibition practices”. (Martin, Vacca 2018) is part of a wide discussion on the evolution of heritage and on the current practices to disrupt fashion system and models through an in-depth analysis of the past.

How history and heritage can lead to disruption? Where fashion disruption should start from? The greater innovator in our Industry have always arised from authenticity, from history roots, not simply to replicate but to question them and to create new languages.

We live in a moment where fashion rules are in flux, where the fashion system has been put into question, from design to supply chain, distribution, to languages, methods of communication and to the interaction with final users. Therefore, we are looking for contributions from academics, students and practitioners to further investigate the theme and open cross discussions.

No session will be overlapped to offer each contributor the chance to attend and discuss other’s investigations. Therefore we intend to propose sharp sessions to synthesize concepts visions and projects. Other forms of presentation such as films or performances will be taken into consideration. Please remind that short, synthetic and meaningful presentations (visual) will be welcome (timing not more than 10/15 minutes each). We believe this is a challenge, but it will allow us to offer a wider view on the themes to all participants and to keep the excitement high.

We welcome contributions related to the following subthemes:

  • The role of Heritage to establish new paradigms

  • Fashion and Costume curating, moving beyond different visual narratives

  • Innovating aesthetics

  • Social responsibility and Responsible Innovation within the frames of tradition. CSR; economics and sustainability.

  • The role of authenticity within materials, manufacture and communication, from supply chain to digital narratives.

  • Innovative business and design models for heritage disruption

  • Fluid Fashion aesthetics and new languages …

Please send your contribution to fashioncolloquiarome@accademiacostumeemoda.it not later than March the 29th, 2019.

Selected proposals will be notified by May the 15th, 2019

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to Mar 31

Job: Assistant Professor of Fashion Design

From Albright College

The Fashion Department is searching for a new colleague who is committed to the success of our students both in and outside of the classroom. Teaching load is normally 6 courses per year. This position would include a course release for acting as design studio coordinator. The specific teaching assignments will depend on the candidate’s areas of expertise and experience as well as departmental needs. Possibilities include: Introductory sewing labs, Intermediate and Advanced Construction, Patternmaking, Draping, Textiles, Fashion History and Senior Seminar Design. Academic advising of students is a responsibility that is taken on after successful completion of the first year. Active participation in recruiting students and in departmental events is expected.

Faculty have the opportunity to develop new and innovative courses, and may choose to offer courses in January term or Summer Session. In addition, our faculty have the opportunity to partner with students in Albright’s Creative Research Experience (ACRE) during January interim and summer sessions. This program provides internal funding for student/faculty collaborative research.

This faculty position is situated within the Fashion Department which is an integral part of Albright College’s Center for the Arts. It is consistently one of the top 5 enrolled majors on campus. Last year Albright was ranked number 20 on the list of top private fashion design schools in the United States.

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to Mar 31

Job: Full-Time Faculty Position in Fashion Studies

From The New School

Parsons Paris, a branch campus of The New School, is seeking applications for a full-time faculty in Fashion Studies. The MA Fashion Studies at Parsons Paris is the first and only master program in this field in France, and one of a small handful worldwide. In this program, students investigate fashion as a cultural phenomenon involving all practices connected to the production, dissemination, representation, and consumption of clothing. They develop a critical perspective on fashion, addressing issues of globalisation, labor, and sustainability; fashion curating, heritage, material culture, and construction of beauty ideals; identity, race, and gender; everyday consumption of clothing; and technological innovation and digital fashion futures.

Applicants should demonstrate expertise in fashion studies including the theories, cultures, histories, practices of fashion and/or connected fields such as material culture, visual culture, gender studies, post-colonial studies and cultural anthropology. Candidates must show evidence of innovative pedagogical approaches and be forward-thinking about what skills and literacies are now required to adeptly respond to complex global conditions.

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to Apr 1

Call for Papers: Subcultures

Call for Papers: Presentation at the Annual International PopCAANZ Conference

The Popular Culture Association of Australia and New Zealand (PopCAANZ) is devoted to the scholarly understanding of everyday cultures. It is concerned with the study of the social practices and the cultural meanings that are produced and are circulated through the processes and practices of everyday life, as a product of consumption, an intellectual object of inquiry, and as an integral component of the dynamic forces that shape societies.

Academics, professionals, cultural practitioners and those with a scholarly interest in subcultures are invited to send a 150 word abstract and 100 word bio to the area chair, Kathryn A. Hardy Bernal, at subcultures@popcaanz.com by March 31, 2019.

Examples of Fields of Interest: Subcultural Theory, Post-subcultural Theory, Subcultures and Gender Studies, Subcultures and Girls’ Studies, Subcultures and Queer Studies, Subcultures and Cultural Studies, Subcultures and Asian Studies, Fashion Subcultures, Music Subcultures, Street Fashions and Subcultures, Alternative Cultures, Youth Cultures, Counter Cultures (and more), including literature, film, and television, etc., which analyse subcultural studies.

Examples of Subcultural Genres: Anarcho-Punk, Beatniks, Bikers, Black Metal, Bohemians, Bōsōzōku, Cosplay, Crusty Punk, Cybergoth, Cyberpunk, Emo, Ganguro, Glam, Goth, Gothic Lolita, Grunge, Hardcore Punk, Hip Hop, Hippies, Hipsters, Lolita, Metal, Mods, Mori Girls, New Romanticism, Pin-up, Psychobilly, Punk, Riot Grrrls, Rockabilly, Rockers, Rude Boys, Shironuri, Skaters, Skinheads, Steampunk, Straight Edge, Surfers, Teddies (and more).

PopCAANZ will publish peer-reviewed conference proceedings online following the conference, and presenters will be invited to submit suitable articles to the Journal of Asia-Pacific Pop Culture (Pennsylvania State University Press).

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to Feb 11

Job: Professor in Fashion Cultures and Histories

From London College of Fashion, University of the Arts London

We are looking for a Reader aspiring to be a Professor or a Professor looking for a new challenge. You will provide academic research and leadership in an established research intensive College. You will play a leading role in shaping the research of Fashion Cultures and Histories at London College of Fashion and ensuring teaching and learning excellence.

You will lead on the development of collaborative links with national and international partners in academia and industry and on the development of external funding applications to research councils, charitable trusts and other relevant agencies. Your duties will also include the supervision and mentoring of research degree students as appropriate.

You will have the ability to inspire the trust and confidence to develop and implement strategy in a complex environment and will have a proven track record of outstanding research, as evidenced by your internationally recognised scholarship and publication. You will demonstrate the ability to lead and mentor innovation and creativity in research and knowledge of current trends in Fashion Cultures and Histories.

You will have significant experience of academic leadership, through your collaborative research and involvement with relevant professional bodies and societies. You will have the ability to ensure the delivery of the Department’s strategic plan in line with the College’s ambitions, leading toward the move to Stratford, and to engender positive relationships with staff across the College and University. You will be expected to make a strong contribution to the teaching, research and REF profile of the College and to provide ongoing leadership of your discipline.

Applications should consist of a CV, accompanied by a brief covering letter addressing the criteria in the Person Specification.

The deadline for applications is Midday on Monday 11th February 2019.

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to Dec 1

Tenure Track Professor Position in Material Practices

From Ryerson University

The School of Fashion in the Faculty of Communication and Design at Ryerson University is pleased to invite applications for a full-time tenure-track position at the level of Assistant or Associate Professor in the areas of material practices and textile design. The appointment shall be effective July 1, 2019, subject to final budgetary approval.

The School of Fashion has a long tradition of nurturing students along their journey to become design and communication leaders in the fashion and creative industries. We offer undergraduate (BDes in Fashion Design and BDes Fashion Communication) and graduate (MA Fashion) programs with a unique focus on diversity, inclusion and sustainability in fashion.

The School is a member of IFFTI (International Foundation of Fashion Technology Institutes), an organization focused on advancing education and research in fashion design, technology, and business and related industries. Our international academic partners include the University of Arts London, Kingston University, University of Westminster, Amsterdam Fashion Academy, Royal Melbourne Institute of Technology, Fu Jen Catholic University, Nottingham Trent University, and Hong Kong Polytechnic University.

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to Dec 15

Job: Collections Management Assistant

From the Metropolitan Museum of Art

The Costume Institute's collection represents over 33,000 examples of fashionable dress and accessories for women, men, and children, from the fifteenth century to the present. The goals of The Costume Institute’s collection are to represent and maintain a comprehensive timeline of costume from the eighteenth century forward, and to be a collection of “masterworks,” examples of dress of the highest technical artistry with an exemplary aesthetic, and, if after 1850, by a designer of lasting significance.

The Collections Management Assistant (CMA) provides essential support in all Collections functions including handling, packing, tracking, storing, and providing preventive care to all collection objects under the direct guidance of the Associate Collections Manager. The CMA’s primary support function will be to support the ongoing assessment project to assess the entire collection. In addition, the CMA will perform regular object pulls, movement, and packing in conjunction with collection organization, loans, and exhibition requests. The CMA’s secondary support functions will include storage mount production as required, and coordinating Collections supply orders.

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to Dec 15

Call for Papers: History of Dress, Textiles, and Accessories: 1819-1901

From the Association of Dress Historians

To commemorate the bicentenary of the birth of Queen Victoria, The Association of Dress Historians will host an international conference that explores academic research into the global history of dress, textiles, and accessories during the lifetime of Queen Victoria, 1819-1901. 

The Association of Dress Historians encourages the submission of conference paper proposals regarding any aspect of dress, textiles, and accessories for womenswear, menswear, and childrenswear of any culture or region of the world. The purpose of this special conference is to gain a contextual understanding of dress, textiles, and accessories around the world during 1819-1901. 

All conference paper presentations will be 20 minutes, followed by a Q&A session. 

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to Dec 1

Job: Costume Mount Maker

From the Chicago History Museum

Custome Mount Maker- Full-Time- Temporary

As Chicago’s oldest cultural institution, the Chicago History Museum is the proud custodian of over 23 million objects ranging from presidential artifacts to 60’s couture. Located in this world-class city at the south end of Lincoln Park, this position offers the right candidate an opportunity to share Chicago’s stories with our audiences and visitors. We invite qualified candidates to apply. This is temporary assignment position with Advance Resources Staffing Agency. 

 Performs work associated with the mounting of costumes and costume accessories primarily in preparation for exhibition and documentary and/or catalog photography. Working under the direction and guidance of conservators and in consultation with curators and the costume collection manager, the Costume Mounting Assistant prepares custom mounts for costumes by modifying/altering existing mounts such as mannequins and dress forms, through the use of padding and undergarments, to create appropriate silhouettes and shapes for each ensemble; creates other custom mounts as needed; and dresses/mounts textile/costume materials as appropriate to create an accurate end product. Coordinates with and assists collections and/or exhibitions staff (and other staff as necessary) with installation, deinstallation and maintenance of mounted objects. Coordinates with collections staff for photography.  



  • Design, develop and fabricate custom mounts for historic and contemporary costumes, accessories, and/or textiles, including the modification/alteration of mannequins and/or dress forms, and the use of padding and undergarments/understructures to create appropriate shapes and silhouettes for each costume ensemble. 

  • Mount and dress mannequins and/or mount textiles in consultation with curator(s) and conservator(s).

  • Design and fabricate and/or source historically accurate display accessories (e.g. wigs, gloves, etc.), costume understructures, undergarments, and/or props for historic and contemporary costumes and/or textiles as needed 

  • Assist with tracking the movement of costume collection materials for exhibition, conservation, and photography, and help transport dressed mannequins/forms

  • Assist Costume Collection Manager with tracking the movement of assigned mannequins, mounts, accessories, understructures and/or props 

  • Responsible for creating and maintaining dressing sheets for each ensemble detailing mounting information, dressing/undressing instructions, condition and handling notes, and photographic documentation of dressing procedures.

  • Maintain and update the mannequin database

  • Assist with the examination of objects for condition and prepares written and photographic condition documentation

  • Assist with costume installation, deinstallation and maintenance duties for exhibitions and/or events

  • Assist with preparing/packing costumes for storage as needed

  • Maintain organization, security, and cleanliness of on-site work space and storage facilities. 

  • Photograph and document work.   

  • Contribute to and promote a positive culture at CHM by demonstrating the following values in their interactions with colleagues, external partners, and all audiences and through the products developed and services delivered

  • Create a team spirit and enhance communication within the Collections Department so that staff members will work collaboratively and in a supportive manner across departmental and functional area boundaries



  • BA in Fashion History, Design, Costume Studies, Conservation or related field with knowledge of costume history, both historic and contemporary, and knowledge of the materials and techniques used in conservation and mounting of costumes and textiles. 

  • At least one year of hands-on experience handling and mounting historic and contemporary costume, accessories and/or textiles in a professional situation

  • Proven ability and hands-on experience creating and/or modifying mounts for costumes and/or textiles

  • Proficiency in sewing, patternmaking and garment construction skills

  • Familiarity with museum collection management best practices for costume and textile materials

  • Familiarity with digital photography 

  • Demonstrated ability with computer skills, including Microsoft Word, Access, Excel, Adobe Photoshop Elements, and collections database systems, etc. 

  • Ability to lift and/or move up to 50 lbs. 

  • Ability to use hand tools and artist’s and craft materials

  • Strong organizational skills and interpersonal skills

  •  Ability to meet deadlines, work independently as well as on a team 

  • Good writing skills and speaking skills


This job description is not intended to be an express or implied contract between CHM and any employee. CHM employees are employees at will. CHM reserves the right to change or assign other duties to this position as necessary to meet changing business needs. CHM is an equal opportunity employer.

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to Dec 1

Job: Senior Textile Conservator

From the Victoria and Albert Museum

The V&A Conservation Department has a worldwide reputation for the excellence of its practical work, for innovative ideas, for the teaching of conservation practice and for pioneering the scientific and ethical approach to conservation and for sharing this expertise. The successful applicant will be expected to uphold this reputation.

The Senior Textile Conservator will work to support the delivery of the Museum’s Public Programme and strategic objectives, particularly towards collections care. This will entail assisting with planning and programming of studio work to make best use of resources. The post holder will undertake all aspects of practical preventive and interventive conservation on textiles and fashion from the Museum’s collections, including assessment and technical examination. The work involves preparation of textile and fashion for display in galleries, exhibitions and loans, maintaining and improving their stability to ensure that they are safe to be displayed. This includes advising on the best handling, storage and safe display of textile objects.

Closing date for receipt of applications is the 28 October 2018.

Interviews to be held week commencing 5 November 2018

Applicants invited for interview will be asked to submit an electronic portfolio in advance.

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to Dec 11

Call for Papers: Fibres in Early Textiles from Prehistory to AD 1600

From Knitting History Forum

Fibres are the primary material of textiles and define the qualities of the textiles they create.Originating from plants and animals, they have been used worldwide from very early times. In archaeological and historical contexts they occur as textiles and yarns and as processed or unprocessed raw materials. Visual representations throw light on the work required to prepare different fibres and the importance of this work in social life. Documents and texts record the value of fibres and their part in the wider economy The conference aims to bring together experienced and early-career researchers.

  • new results which contribute to the chronology of fibre use at a local or global level

  • developments in the identification and analysis of early textile fibres

  • fibre procurement and use within specific historical or archaeological contexts

  • the qualities of fibres and their contribution to finished textiles

The timeframe is prehistory to AD 1600; the geography is worldwide. Papers outside the timeframe will be considered where they are relevant to the conference themes

Papers to last 15 minutes, posters welcome Please send abstracts to Margarita Gleba: mg704@cam.ac.uk by 11 January 2019

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to Nov 30

Call for Papers: The Eighties

From ZoneModa Journal

Among the decades of the last century, the Eighties probably represent the most popular period, vividly transgenerational, the most imitated in the nostalgic commemorations of teenagers at the time now grown up as adults, the most extravagant and colorful. Recognizable for style, innovations, creativity, for all the features that have characterized their rich physiognomy, wrongly or rightly the Eighties have earned themselves the title of most excessive and superficial decade of the Twentieth Century. Yet, after a certain time, the Eighties have never been truly and systematically approached: they’re certainly talked about, but no unitary research exists to focus on the cultural offer of this decade.

ZoneModa Journal aims at gathering a historical and interpretational anthology of the Eighties phenomenon concentrating on its multiple faces. By nature, this decade embodies the guidelines of the so called “postmodernism”, overused and often misunderstood as a notion, nevertheless still very useful in framing the most evident dynamics of the Eighties. These rotate mostly around the recycle and pastiche of pre-existing materials, like a sort of “eternal return” ruled by the filter of irony and quotation. Among contemporary disciplines, fashion is one of the most suitable channels of observation to identify the spirit of the Eighties, that thanks to the creativity of Versace, Moschino, Alberta Ferretti and other protagonists of the revivalist-quotationist line, in Italy distinguishes for the backward look on the history and on the clothing codes of Greek-roman world and Baroque. Something similar happens in France, where Jean Paul Gaultier, Christian Lacroix, Thierry Mugler etc. are very skillful in remixing styles inspired by Versailles and pop culture. Indeed, pop culture is another focus point to zoom on, starting from music, above all the “new romantic” bands such as Duran Duran and Spandau Ballet, rivaled by the New Age of the Cure or Simple Minds, all supported by the diffusion of music videos through the frequencies of newborn Mtv.

Beside scholars specialized in pop culture, in its overview of the decade ZoneModa Journal addresses to design experts, a field that in those years is characterized by the playful and colorful style of Alessandro Mendini, Ettore Sottsass, echoed in visual arts by the “return to painting” of Transavanguardia, of Nuovi Nuovi, of Anacronisti, then by the Bad Painters, by the American Graffiti art and so on. Of course, equally desirable would be contributions on literature, enriched in Italy by the presence of the “new novelists”, among which Pier Vittorio Tondelli, Aldo Busi, Andrea De Carlo stand out, without forgetting the philosophical debate created by the “weak thought”, or the loss of “grand narratives” theorized by Jean François Lyotard in his famous The Postmodern Condition. Deeply stimulating are also the historical events of the period, through the years of Reaganism and the influence of the “Iron Lady” Margaret Thatcher, culminated in the end of the Cold War and the Fall of the Berlin wall. And it would be likewise interesting to understand how the Eighties have penetrated the collective imaginary of nowadays, becoming by now a subject to put inside the proverbial inverted commas by “millennials” scholars.

Every discipline, from sociology to history, from fashion to design, from photography to economics, can participate to set the outlines of a beloved decade and yet not investigated from a wide range perspective, finally capable of offering a no boundaries theoretical instrument of the vast horizon of the Eighties.

Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to: zonemodajournal@unibo.it

Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process.

Key deadlines

  • abstract submission: November 30th 2018

  • notification of acceptance/rejection: December 20th 2018 (notice of acceptance might include comments and requests of explanations).

  • full-length paper (6000/7000 words) submission: March 15th 2019.

  • comments of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection) : April 15th 2019.

  • authors shall send the reviewed article to the editorial staff by May 15th 2019.

ZMJ10 is scheduled to be published in June 2019.

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to Dec 1

Job: Junior Apprentice Weaver

From Colonial Williamsburg

Job Description:

The Junior Apprentice is a High School aged student working in a Trades Shop for school credit.  While in the shop, they carry on the typical work of an apprentice in an eighteenth century workshop, demonstrating common work and learning process for teenage children of the time period.  The work is done as a public program and includes responsibility for verbal interpretation.


Under the guidance of journeymen in the workshop, a Junior Apprentice will learn fundamental skills of working with various fibers for spinning, equipment for making fabric, and dyes for coloring fabric and yarn.,    Skills to attain include starting a fire for dye applications, mixing and preparing dyes and dye aids; learn to manipulate fibers to create yarn on two types of spinning wheels, build fabric on a loom using equipment to warp, wind bobbins, troubleshoot and maintain equipment and tools of the trade.   Learning the names and uses of the various tools used in the shop. The junior apprentice within the first year should be able to make consistent yarn suitable for knitting or weaving.  Additionally the Jr. Apprentice will have the opportunity to weave various structures and assist in the dye process. The junior apprentice will be taught fundamental interpretive information and techniques and will be able interpret the history of the weaving, dyeing and spinning trade as it relates to the local and global contribution on the eve of the Revolution.. The junior apprentice within the first year should have gained the knowledge and confidence to answer guests’ questions and deliver basic information of the trade to engage our guests.

Job Requirements:

  • Presently working as a student at the level of a high school junior.

  • Ability to work with fundamental hand tools

  • Ability to receive instruction from an experienced shop member and to follow those instructions to produce functional yarn and cloth.  

  • Ability to learn safe practice of the trade especially using dye ingredients that may be caustic.  

  • Ability to learn fundamental interpretive content and to make verbal presentations to guests of the shop.

Preferred Qualifications: 

Any previous hand tool experience is a plus


  • Ability to stand for extended periods of time

  • Ability to safely perform repetitive work with traditional hand tools

  • Ability to work under extreme weather conditions with temperatures below freezing and above 100 degrees F

  • Ability to work in dusty and smoky environment

  • Ability to perform physical activities including standing, sitting, kneeling/squatting, lifting up to 75 pounds 

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to Jan 15

Call for Papers: Issue 2 of Fashion Studies

From Fashion Studies

After a successful launch, we are looking forward to continuing to publish innovative, forward-thinking research in the field of fashion studies. Our second issue will be published this May 2019, and we encourage you to submit your work. All submissions for Issue 2 are due January 15, 2019.

Thus far, we have seen many of our dreams for Fashion Studies realized: as the first open access journal in fashion academia, our inaugural issue has set the bar for submissions that are published at no cost to contributors or readers. Annually showcasing engaging and evocative work that grapples with the tough issues, works that refuse to back down from the undeniably complicated nature of fashion studies, helps to guarantee that fashion research will remain accessible and disruptive, and will continue to inspire social change.

Without your help, this vision would not be possible. For its second issue, Fashion Studies is in search of scholarly and creative research that analyzes fashion in an interdisciplinary manner in a wide range formats. Our journal is mixed media focused: academic papers or creative work, as well as combinations of the two, are always welcome. We also invite interviews and reviews in traditional or mixed media formats.

To jump start your creative juices, we include this list of sample topics:

1. Fashion Inclusion & Representation

2. Fashion, Identity, & The Body

3. Fashion & Equality

4. Fashion & the Environment

5. Fashion & Political Change

Please see our submission guidelines for more details and information. For questions, please reach out to fashionstudies@ryerson.ca. We look forward to receiving your work!

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