INTERSECTIONS: Collaborations in Textile Design Research
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INTERSECTIONS: Collaborations in Textile Design Research

INTERSECTIONS: Collaborations in Textile Design Research | Conference and Exhibition
13 September 2017 | Loughborough University in London, Queen Elizabeth Olympic Park

INTERSECTIONS is a one-day conference with exhibition of work organised by the Textile Design Research Group at Loughborough University exploring collaborations in textile design research to be held at Loughborough University in London on 13 September 2017.

INTERSECTIONS is interested in case studies which reveal unusual connections and cross- or interdisciplinary collaborations furthering research in the field of textiles and textile design.  How are these initiated? What makes a successful collaboration leading to innovative research? What are the issues? Why collaborate?

Topics may include:

  *   Collaborations with society, industry, institutions
  *   Applied textile thinking
  *   Materials
  *   Processes
  *   Integrated digital practice
  *   Craft, hands-on design, hand processes
  *   Emerging technologies
  *   SMART, functional, wearable, interactive textiles
  *   Well-being
  *   Sustainability

Abstracts will be peer reviewed and accepted authors will be invited to submit full papers (3000-5000 words) by 31 May 2017.  Conference contributors may be invited to submit to a Special Issue of the Journal of Textile Design Research and Practice.

The exhibition will show work which demonstrates textile design research through collaboration and cross/interdisciplinary practice.  This could be practice resulting from collaboration, a collection of research samples illustrating a conference submission or collaborative research.
Key dates:

  *   Deadline for submission of abstracts, 28 February 2017
  *   Notification of acceptance of abstracts, 17 March 2017
  *   Deadline for submission of full papers, 31 May 2017
  *   Deadline for exhibition proposals, 31 May 2017
  *   Deadline for submission of exhibition work, 31 August 2017

For paper presentations: a 200-300 word abstract for a conference contribution with a 100 word author biography no later than 28 February 2017 to<>

For exhibition application: a 200-300 word proposal of work with up to 4 related images (maximum size 1MB) and a 100 word artist biography no later than 31 May 2017 to<>

For enquiries, please contact<>
Conference Website:

Revisiting the Gaze: Feminism, Fashion and the Female Body
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Revisiting the Gaze: Feminism, Fashion and the Female Body

A conference at Chelsea College of Arts, University of the Arts London, 28-29 June 2017

Keynote Speakers: Prof. Reina Lewis, London College of Fashion; Dr. Mo Throp, Chelsea College of Arts; and Dr. Maria Walsh, Chelsea College of Arts.

In 2015 Laura Mulvey’s seminal essay Visual Pleasure and Narrative Cinema (1975) enjoyed its fortieth year. The BFI hosted a panel to mark the occasion, where Mulvey emphasized that her essay was very much a ‘historical document of its time’: emerging from the politics of the women’s movement in the 1970sMulvey used the term the ‘male gaze’ just once in her essay yet the concept has become central to debates on spectatorship. Critique has focused on the psychoanalytic underpinnings of this concept as well as the privileging of gender over other aspects of identity (e.g. hooks 1992). Furthermore, Mulvey herself has acknowledged that elements of the essay have ‘necessarily been rendered archaic by changes in technology’ and has revisited it in her subsequent writing.

The idea of the gaze – whether male or female – has proved incredibly fruitful in making sense of the fashioned body. Yet, with the recent resurgence of feminist activism – being termed ‘fourth wave’ or ‘digital’ feminism – debates on fashion and the gaze have evolved enormously. Blogs such as Man Repeller playfully mock the idea of the ‘male gaze’ whilst other women have explored the empowering potential of self-authored images of the female body (e.g. Petra Collins, #freethenipple, Emily Ratajkowski). Activists on the street have used their own fashioned bodies as a site for articulating protest, through movements such as Femen and Slutwalk, with these protests, in turn, being subject to critique on social media for their privileging of white, heteronormative bodies.

Becoming visible opens up opportunities for empowerment but as Michel Foucault (1975) has noted, ‘visibility is a trap’, as underlined in instances of revenge porn and catcalling on the street. Furthermore, Angela McRobbie (2009) has argued the ‘male gaze’ has been replaced by super-strict regulation of appearance – whether by oneself, one’s peers or the fashionable milieu. The ‘politicized, hypervisibility’ of the veiled body, as well as the different gazes that fall on Muslim bodies in both online and offline spaces, has been noted by Reina Lewis (2015). Such visibility has in some cases proved empowering, but in others led to body shaming, reprisals and even to death – as in the recent killing of the Qandeel Baloch, the Pakistani Twitter celebrity.

These social and digital changes provide the impetus for a re-examination of fashion and the politics of looking. Working from the premise that the gaze is intersectional (Gamman and Marshment 1988), we want to consider what remains fruitful in Mulvey’s essay as well as thinking about new ways of theorising fashion, the female body, and the gaze.

We invite abstracts that explore the fashioned female body and the gaze in terms of:

The gaze and activism  •  The oppositional gaze  •  The female body as a site of protest  •  Power, authority, control and the gaze  •  Psychoanalytic perspectives on looking  •    Digital platforms and practices of looking  •  Authorship and control of one’s own self-image  •  Muslim  bodies and ‘hyper visibility’  •  Social identity and the gaze  •  The disapproving gaze   •  Curious looking  •  Collaborative or friendly looking  •  The experience of being looked at  •  Voyeurism and catcalling   •  Body shaming  •  Revenge porn  •  The ‘fashion gaze’  •  The haptic gaze  •  Irony and the gaze  •  Ambivalence and looking  • Methodologies for studying the gaze.

We welcome academics, activists, artists, bloggers and journalists to submit proposals for papers at the event. Alternative formats welcome. Please send abstracts of 350 words along with a short bio to Dr. Jacki Willson and Dr. Morna Lain

Deadline for abstracts is Friday 17th March 2017.

 Fashion, Race and "Cultural Appropriation"
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Fashion, Race and "Cultural Appropriation"

A Conference at Central Saint Martins

Yves Saint Laurent’s ‘Chinese inspired’ designs of the late 1970s, Ricardo Tisci’s AW 2015 ‘Chola girl’ runway show; bindis worn at festivals, baby-curls and ‘braid bars’ - fashion has always borrowed from non-western or socially marginalised cultures. These creative strategies have increasingly been criticised, particularly online, for their insensitivity to, and exploitation of, the colonised, the economically underdeveloped, and the geopolitically subaltern. The term ‘cultural appropriation’ is now a popular idiom that describes this act of so-called creative borrowing from the non-west. It is closely associated with the use of exoticism, the ‘Oriental’ Other and varieties of racial stereotyping and micro-aggression in fashion design and image making.

Fashion, Race and ‘Cultural Appropriation’: A Conference at Central Saint Martins will address the representation of race and ethnic identity in fashion design and associated media through the framework of cultural appropriation. This one-day event seeks to locate race, ethnicity, borrowing and appropriation within intellectual debates arising from postcolonial theories, critical race theory, whiteness studies and cultural and historical studies. Design takes inspiration from all things, but how can we understand borrowing and appreciation, the embodied conventions of genre in a globalised economy and digital cultural environment? Is one consumer’s beauty another’s racism and white supremacy? Walter Benjamin talks about the ‘rag-picker’ as a mode of modern creative practice. In our contemporary geopolitical environment, does rag-picking hide more complex dynamics of inequality inherent to fashion consumption? How can we explore these ideas without dictating to creatives and consumers, admonishing them for their choices? Our current media environment holds creativity up to intense scrutiny. Is it the job of design to challenge clichés, stereotypes and white supremacy? Are image making and fashion ever truly separate from geopolitics?

We invite 20 minute academic papers from scholars who work on race and fashion media, particularly with reference to Postcolonial Studies, Critical Race Theory, Literary, Media, Fashion and Cultural Studies, Art and Design History, Cultural Sociology, Anthropology, Geography. We also welcome any practitioners/designers/image-makers who want to reflect critically on their practice. Papers can be on the following themes:

  • Critical/cultural theories and cultural appropriation;
  • representation of raced or marginal bodies in fashion media;
  • beauty and body ideals, race concepts, race as 'lived experience' and fashion media;
  • cultural appropriation and its histories;
  • race and fashion structures: casting, editing and commissioning appropriation;
  • fashion and the colonial encounter;
  • appropriation, identity and privilege/social class;
  • jewellery/gems/precious metals, geopolitics/economics and identity;
  • race, aesthetics and fashion styling, constructions of whiteness, blackness, etc.;
  • forms of racism and white supremacy and the fashion media;
  • appropriation and the everyday (hair-style trends, fancy dress, cosplay, Halloween etc.);
  • ‘rag-picking’, postmodernity and design creativity in a globalised media economy
  • textiles and appropriation;
  • fashion and types of ‘passing’, use of black/yellow face, skin-lightening etc.;
  • race and sexualities and cultural appropriation;
  • configurations of gender construction and cultural appropriation;
  • racial fetishes and fashion imagery/design;
  • design/fashion history, race and cultural appropriation;
  • methodologies for studying cultural appropriation;
  • popular debates: appropriation and digital media;
  • how fashion design/images imagine the Oriental Other and the exotic.

Please send 250 word abstracts plus a 50 word biography to by 5 pm 31 March 2017.

General enquires to Dr Royce Mahawatte, Cultural Studies Programme, Central Saint Martins ( Proceedings will be developed into an essay collection.

Special Issue of Fashion Practice
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Special Issue of Fashion Practice

Fashion Localism

Localism is a growing movement of place, community and nature. This special issue seeks to explore localism in the context of fashion, investigating the dynamic interconnections between specific places, people, ecological contexts, economies and the provision and expression of fashion clothes.

In localism, place matters. Local ecosystems provide both resources and constraints to an area’s activity. People and communities evolve within unique natural and social assets of where they are based. Ecosystem health is preserved through the local adaptation of knowledge, products, cultures and practices. This special issue contends that in fashion, place also matters. It explores fashion localism as a cornerstone principle and practice of sustainability where place-based and community values describe a fashion system reconceptualised by scale, stewardship and sufficiency.

The special issue will examine fashion localism from multiple perspectives.  We welcome contributions that investigate (but are not limited to) the following topics:

  • Local or regional activity as part of self-reliant fashion communities;
  • The relationship between ecosystems, soil, watersheds (etc) and fashion production;
  • Explicit normative framework of localism in fashion;
  • Analytical paradigm of localism in the context of clothing and dress;
  • An exploration of the social nature of localism;
  • The role of consumption, consumers and non-market actors in localism in the fashion context;
  • The role of diversity, scale and resilience within fashion systems.
  • The role of legislation and marketing in leveraging a change from globalized to localized fashion systems.

Submission Instructions

Papers of between 6,000 and 8,000 words should be sent by the deadline: 1st June 2017 to the guest co-editors, earlier where possible. The guest editors invite would-be contributors to contact them to discuss potential submissions well in advance of the deadline and also welcome proposals about submissions in other formats.

Authors are advised to consult the Taylor and Francis website for author instructions and style guidelines at

Editorial information

Guest Editor: Kate Fletcher, Centre for Sustainable Fashion, University of the Arts London(

Guest Editor: Ingun Grimstad Klepp, Consumption Research Norway (SIFO)(

BIAS: The Fashion and Celebration Issue
Feb 11

BIAS: The Fashion and Celebration Issue

Extended deadline: February 10, 2017

We welcome submissions from all disciplines and all degree levels, from The New School and beyond. There are no qualifications required for submission – all you need to do is send us your work. We are especially interested in submissions that address the following themes:

  • How does fashion celebrate the body?
  • Is fashion a space for celebration?
  • How do fashion and the celebration of individuality intersect?
  • How can fashion be used to celebrate identities within power structures that sublimate them?

While we are interested in academic, journalistic, and non-fiction writing, we also encourage the submission of multimedia and practice-based work, including (but not limited to):

  • Visual art (illustration, photography, prints)
  • Design projects (garments, accessories, etc.)

Fashion and Celebration will be published online and in print this spring. Fashion practitioners, scholars and enthusiasts around the world will read your submission, so this is an excellent opportunity to gain valuable exposure and publishing experience.

Please contact our editors if you have any questions, or would like to submit your work for publication!

Trending Now: The changing geographies of fashion in the digital age
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Trending Now: The changing geographies of fashion in the digital age

Call for Papers: RGS-IBG August 29 – September 1, 2017

In the report The State of Fashion 2017, written by Business of Fashion and the McKinsey Institute, industry executives used three words to describe the current state of the fashion industry: uncertain, changing, and challenging. Indeed, the fashion industry is undergoing dramatic transformations, from digitalization and the rise of ‘see now, buy now’ fashions to brands redefining the function and timing of fashion weeks. In recent years, economic, social, and cultural geographers have recognized and harnessed fashion’s potential to serve as a valuable lens through which to explore radical and ongoing changes to the production, curation and consumption of goods, services and experiences (Crewe, 2013; Hracs et al., 2013; Brydges et al., 2014; D’Ovidio, 2015; Lavanga, forthcoming).

This session aims to build on and extend this work by bringing together researchers interested in the structures, labour dynamics, spaces, value propositions and practices of the contemporary fashion industry. Key questions to consider may include: are we still in an era defined by the ‘big four’ of New York, London, Milan and Paris, or will the geography of fashion shift to emerging fashion capitals, like Stockholm and Berlin? By extension, as the fashion industry continues to consolidate into a handful of global firms, what are the opportunities for independent and/or slow fashion brands to ‘stand out in the crowd’ and create alternative and/or sustainable business models? More broadly, what is the impact of digitalization on the way fashion is designed, produced, promoted, curated and consumed?

This session seeks to explore these questions and related themes in greater detail and welcomes papers from diverse conceptual, empirical and geographical perspectives.

Papers may wish to address one or more of the following questions:

  • Has digitalization led to increased – or decreased – democratization in the fashion industry? What are the implications for employment opportunities and career trajectories of fashion designers, bloggers, and others working in the industry?
  • How do specific physical and virtual spaces intersect in the world of fashion and what outcomes do they produce? For example, in what ways are permanent and temporary spaces (e.g. pop-up stores, fashion festivals, weeks and trade fairs), as well as online platforms such as Instagram, changing the geographies of retailing and consumption?
  • Is the geography of global fashion capitals expanding or consolidating?
  • Does technology create opportunities for local markets to emerge, or reinforce the dominance of global firms and established centers?
  • What are the dynamics and geographies underpinning the rise of new movements in fashion, like slow fashion? Does increased transparency lead to increased sustainability?
  • To what extent can cities cultivate and support the fashion industry more broadly, and independent fashion designers more specifically? What is the role and impact of policy at the national, regional and local scale?

If you are interested in presenting a paper in this session, please send your abstract (of 250 words) to Taylor Brydges ( by Friday, February 10, 2017.