“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
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 email@example.com not later than March the 29th, 2019.
Selected proposals will be notified by May the 15th, 2019