Fashion Revolution Day

It has been a year today since Rana Plaza. I urge you to take a moment to see what The Guardian and The New York Times have done to mark the anniversary. Much of it is not easy to watch and yet I feel we must connect as directly as possible with the people who lost their lives, families or livelihoods – the urgency has not faded in the course of a year.

Australia and New Zealand have all but completed their Fashion Revolution Days; here in New York we’re just about to start. I’m wearing almost all American brands today, below. To get involved is simple:

1. Turn your clothes inside out and check the labels

2. Take a selfie

3. Tweet/Instagram/Facebook the brand and ask them, Who made your clothes?

Use #insideout and tag @fash_rev

Calvin Klein briefs, made in EgyptCalvin-Klein-Egypt

Calvin Klein t-shirt, made in HaitiCalvin-Klein-Haiti

Hanes tank top, made in HaitiHanes-Haiti

Levi’s jeans, made in MexicoLevis-Mexico

Usvsu denim jacket, made by Karen Giard in Sydney, Australia, in September 2003Usvsu-Sydney

Call for Papers: The Art of Research V

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From the conference website:

Experience – Materiality – Articulation
26-27 November 2014
Aalto University, School of Arts, Design and Architecture, Helsinki, Finland

Over the past two decades, a continuous dialogue and fruitful convergence between art and design related practices and research has been explored in the academic institutions. Involved in the contemporary discourse of practice-led research, the Art of Research Conference 2014 brings out the interactive and dynamic relationship between experience, materiality and articulation. How are different fields and media shaping these in novel ways through various methods, tools, and skills? How do research and practices operate from these relationships? Through these questions the main aim of the event is to engage in a shared exploration of bold and visionary thinking across different entangling practices.

The Conference aims at sharing an understanding of the ontological, epistemological and methodological issues of practice-led research, and offers an academic framework for discussing notions of experience, materiality and articulation. To facilitate inquiries on the themes of the Conference, we invite original proposals on various forms of art that significantly contribute to practices and research in art and design. Rather than suggesting that the themes of experience, materiality and articulation are fixed, we encourage broad contextual thinking and perspectives.

How is experience articulated through artifacts and their making?
How does awareness of environments, discourses and cultures affect practice?
How does material agency and affordance affect the making of an artifact?
What stories lie behind artifacts and how do narratives support creative activities?
What is the role of the body in research through practice?
How does an exploratory approach towards creative processes and materials contribute to the production of new knowledge?

Notwithstanding the above, it is appreciated that these questions might stimulate other questions that potential contributors could see as productively challenging or could lead to expanding these concerns. Such responses are most welcome.

This is the fifth in the Art of Research event series, the first of which took place in Helsinki 2005, and the second to be hosted by EMPIRICA, a research group based in the Department of Design, School of Arts, Design and Architecture, Aalto University. The event is organized in collaboration with the University’s Department of Film, Television and Scenography, Handling Mind research project and the Finnish Association of Designers (ORNAMO) together with Association of Finnish Sculptors.

Call for Papers:

The conference is interested in proposals drawing from the full spectrum of practice-led research today. Additionally, we invite papers suitable for the following special strands which link to and highlight the conference themes:

• Embodiment and Reflection in Making Process
Chairs: Pirita Seitamaa-Hakkarainen & Henna Lahti

• Performativity and Narrative in Artistic Practice
Chairs: Susanna Helke & Sofia Pantouvaki

• Material Experimentation and Personalization
Chairs: Nithikul Nimkulrat & Kärt Summatavet

The conference will not be restricted to conventional paper presentations, and each conference session will be designed to facilitate diverse modes of exchange; e.g. between oral presentations and works of art and design. This conference format is expected to encourage and facilitate discussions concerning the relationship between art and design practices and knowledge, in terms of both content and modes of knowledge production and exchange.

We invite full papers (5000 words max.) from doctoral students, post-doctoral researchers and academics, keeping with the following two constraints:

(1) Explorative papers

This type of papers must be submitted together with creative artifacts and must contribute to the understanding of how the visual and the textual are unified in research. Each submission must also include a separate description of the artifacts (80 words max.) and visual material such as photographs or video (digital formats only, up to 10MB in total). The submission should also include an explanation of the equipment required to display this material. Please note that the transportation of the artwork(s) is the author’s responsibility. The exhibition will be curated by the organizers.

(2) Methodological and theoretical papers related to the conference themes.

Downloads
Call for papers (PDF)

Submission deadline
31 May 2014

Call for papers: Global Fashion 2014

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Rethinking & Reworking Global Fashion
Wednesday, November 19 – Friday, November 21, 2014
University College Ghent Belgium

Rethinking & Reworking: Challenges and solutions for the conjunction of creation and technology

The 2014 Global Fashion Conference will be a global meeting and discussion forum for designers, business representatives, stakeholders and researchers on the topic of fashion as being more than creativity and technological innovation alone.

The world of fashion is marked by an interdependence of different players with specific roles and often divergent motivations and philosophies. At the very heart of the sector’s development is an encounter between art and technology, an encounter that is mirrored in the two University College Ghent faculties that join hands to organize the 2014 edition of the international Global Fashion Conference. At the Science and Technology faculty scientific research is being conducted in many areas, including that of fashion and textile technology, while the designers studying and doing research at the school of arts KASK – Royal Conservatory focus mainly on formal, aesthetic and social innovation.

For some reason these two fields at times seem to fall back on themselves. Is it a perceived incongruity between artistic experiment and established production models, or a reluctance to engage in watered-down compromises that lies behind this tendency? Whatever the fears, motivations, and prejudices may be that are at play here, the organisers of the Global Fashion Conference 2014 unequivocally choose to see the clash between disciplines as an encounter full of potential and wish to devote the 2014 conference to the question how the meeting of a more concrete, functional and market-based product-development approach and an artistic, philosophically inspired design process can be rethought, so as to become more than the sum of its constituent parts.

It is our conviction that the sector can respond to important trends and social evolutions not by merely looking to correct the existing models but by radically rethinking these models and devising new ones. Specifically, we wish to focus on four thematic clusters within which the potentially fruitful tension between the artist and the engineer can arise.

4 themes:

Design & Nature

The natural environment has always been a tremendous source of both inspiration and materials for many designers. But awareness has grown that with this inspiration come responsibilities. New models for responsibly dealing with fashion and design in ecologically and socially sustainable ways are urgently needed, and although many innovations may rightfully inspire hope, there are at least as many new challenges that pop up with them.

Craft, Skills & Technology

How do traditional methods and hi-tech innovation relate in today’s constellation? There appears to be a renewed interest in traditional craftsmanship today, but what are the opportunities and limitations inherent in working with traditional methods and products? And, likewise, what limitations do new technologies impose?

Structures & Materials

In what ways can both old and new materials inspire designers, and how can designers be more actively involved in the technological development of new materials to ensure more effective results?

Business Models & Value Chains

Designers are often hesitant about entering the world of large-scale commercial retail, preferring to operate on a smaller, often more local scale or through alternative channels. What are relevant developments in this respect, and how do larger corporations respond to such a trend? And how can manufacturers attune their production flows to other developments such as human-centred design, or co-creation?

Call for papers,
testimonials and workshops

We are now calling for paper abstracts, testimonials, workshops and demos on the themes of the conference. We would like to encourage you to submit abstracts of conceptually or empirically focused proposals as well as practitioner papers (e.g. case studies). Abstracts will be reviewed by an international scientific and practitioners committee in a double blind review process.

The deadline for submission of abstracts of the proposals is
before the 31th of March, 2014.

Please note that all abstracts must be submitted in the templates for PAPERS, TESTIMONIALS, or WORKSHOPS as provided below.

Call for
papers

For those interested in writing a paper and presenting the paper at the conference
info & instructions

Call for
testimonials

For those who are interested in sharing their experiences (wins and fails) with trying to combine creativity and technology
info & instructions

Call for
workshops

For those who would like to share their experience/technological knowledge in an interactive hands-on session or demonstration
info & instructions

Call for Papers: Fashion Thinking

sushi-couture

From the conference website:
FASHION THINKING – THEORY, HISTORY, PRACTICE
30 October – 1 November 2014
Venue: University of Southern Denmark

Call for abstracts
Over the past 20 years, Fashion Studies has established itself as a significant, trans-disciplinary field of research covering a range of topics and methodologies.

The conference Fashion Thinking wishes to mark this development with an international conference that explores and challenges the theory, history and practice of Fashion Thinking in it widest sense as paradigms of critical thought and creative practice.

Fashion is here understood both as material objects and the process involved in producing and consuming fashion including logics of gender, age, culture, status and sexuality within a historical and contemporary context.

Abstracts may describe completed or proposed research. Possible topics within the overall theme of Fashion Thinking, include:

Fashion thinking, everyday practices and material culture
Fashion thinking and design history
Fashion thinking and creative practice
Fashion thinking, identity and politics
Fashion thinking and the fashion industry
Fashion thinking and sustainability
Fashion thinking before modernity

The conference is organized by: University of Southern Denmark in collaboration with the Royal Academy of Fine Arts, School of Design, Designmuseum Danmark and Kolding School of Design.

Confirmed keynote speakers:
Dr. Caroline Evans, Professor of Fashion History and Theory at Central Saint Martins (UK). Her research interests include Twentieth century and contemporary fashion, modernism, visual culture and the history of the fashion shows.

Dr. Joanne Entwistle, Senior Lecturer at King’s College, Culture Media and Creative Industries (UK). Her research interests include the sociology of fashion, dress and embodiment, aesthetic labour and gender.

Dr. Beverly Lemire, Professor of History at the University of Alberta (Canada). Her research interests include economic, social and gender perspectives in relation to material life and cultural practice from 1600 to 1850.

Dr. Cecilia Fredriksson, Professor Lund University, The Department of Service Management (Sweden). Her research interests include the interplay between consumption, production and experience in relation to retail and cultural processes.

Conference language:
The main language of the conference will be English. Submissions in Scandinavian languages are also welcome when papers are accompanied by an English summary. As far as possible, all papers written and presented in Scandinavian languages will be presented in separate sessions.

Submission with abstract:
Abstracts should be no more than 500 words, in Word document format, and the file name should be the submitter’s name only. Abstracts must be received by 1 May 2014 and should be submitted to the following e-mail address: NN
Contributors will be informed of the acceptance of their abstracts in June 2014.

All participants with an accepted abstract must submit full paper of 4.000-8.000 words to the above e-mail for pre-circulation by 20 September 2014. At the conference, 20 minutes will be allocated for the presentation of each paper, followed by 10 minutes of open discussion.

Submission for PhD candidates:
In addition to the key speakers’ presentations and paper presentation sessions, the conference also comprises master classes commented by the key speakers, who will have read all participating papers beforehand. The master classes are primarily dedicated to paper presentations by PhD candidates. However, PhD candidates are also welcome to present in the regular sessions. In the master classes, each oral presentation will last no longer than 15 minutes and will be followed by 15 minutes for commenting by the relevant key speaker and open discussion.

Submissions should be made as described above.
PhD candidates will be credited by 3 ECTS points for contributing a paper to the Master Class. Participation without a paper will be credited by 0 ECTS points.

General registration (for participants without abstract):
Please send your name, address, academic background or occupation to pdk@sdu.dk no later than 1 July 2014.

Conference Fee
1250 DKK (approx. €166) for participants, 1000 DKK (approx. €133) for Ph.D. students and 625 DKK (approx. €83) for students. This includes lunch and coffee. The conference fee is due no later than 1 July, 2014.

Payment
Please visit payment site

Accommodation
We have made arrangements with First Hotel Kolding (special price for conference guests) – http://www.firsthotels.com/Our-hotels/Hotels-in-Denmark/Kolding/First-Hotel-Kolding/

But if you want to stay at another hotel please visit http://www.visitkolding.dk/ln-int/kolding/gb-tourist-kolding or contact us for help.

Inquiries
For questions regarding accommodation, transportation, venue etc. please contact secretary Pernille Dahl Kragh, pdk@sdu.dk

For questions regarding submission, papers etc. please contact Trine Brun Petersen, tbpe@sdu.dk

Organizing Committee
Trine Brun Petersen, PhD, Assistant Professor, University of Southern Denmark. E-mail tbpe@sdu.dk
Maria Mackinney-Valentin, Associate Professor, Royal Danish Academy of Fine Arts, School of Design. E-mail mmk@kadk.dk
Marie Riegels Melchior, PhD, Assisting Curator, Designmuseum Danmark. E-mail mrm@designmuseum.dk
Ulla Ræbild, Ph.D. Scholar, Kolding School of Design. E-mail ur@dskd.dk

The Vilcek Foundation

Vilcek_Foundation_2015

Vilcek Prizes for Creative Promise in Fashion

The Vilcek Foundation will award three prizes of $50,000 each to young fashion professionals who demonstrate outstanding early achievement. Details here, and below:

Professionals in the following fields are encouraged to apply:

Designer — including but not exclusive to womenswear, menswear, textile design, accessories, and other artifacts
Stylist — including editorials, advertising campaigns, and fashion presentations
Makeup/hair artist — truly experimental pushing the breadth of materials used to communicate their narrative of makeup or hair
Image Maker — including fashion photography, film, animation, and illustration
Curator — including exhibitions, presentations, and display through real and/or virtual environment
Writer — fashion writing, including curatorial, journalistic, critical, editorial, and historical

Eligibility Requirements

To be eligible for the Vilcek Prize for Creative Promise in Fashion, applicants must meet all of the criteria listed below:
1. Applicant must have been born outside the United States.
2. Applicant must not be more than 38 years old as of December 31, 2013 (born on or after January 1, 1976).
3. Applicant must be a naturalized citizen or permanent resident (green card holder) of the United States.
4. Applicant must intend to pursue a professional career in the United States.
5. Applicant must not be a past winner or finalist of the Vilcek Prize for Creative Promise.

Further details here.

Indigenous New Media Symposium

Indigenous_New_Media_2014

On Friday evening I resisted my urge to go home and gorge on chocolate in front of Netflix, and instead went to the Indigenous New Media Symposium at The New School. The speakers were Dr Jessica Metcalfe of Beyond Buckskin, Adrienne Keene of Native Appropriations, Chase Iron Eyes and Jarrett Martineau. Clayton Thomas-Muller’s flight had trouble landing; he came in right at the end, after having sent us a video from the plane.

The evening was nothing short of incredible. I’ve not often experienced being present to the world literally shifting in front of my eyes, yet this was my experience of the symposium. I don’t want to erode the significance of the event by sentimentalizing it; nonetheless, more than once I was reminded that 50 years earlier Rev. Martin Luther King, Jr. was on the very same stage as part of an extraordinary lecture series. My thanks to the organizers and particularly the School of Media Studies at The New School for Public Engagement, and Thelma Young for giving me the heads up. Check out Young’s Runway in the Factory project, too.

These conversations are not comfortable and they are inevitable. Unimaginable possibilities for new ways of being, collaborating and existence become available through them. When I moved to the US four years ago, the first book I read was Dee Brown’s Bury My Heart at Wounded Knee. These conversations are more present in Australia, where I lived for 14 years, and coming here I wanted to understand the state of things. As was noted more than once on Friday, we are living extraordinary times; from my short time here I’m clear on that. I’ve posted on cultural appropriation in fashion before, and the response has been mixed. Raising these issues makes some angry. Perhaps that alone highlights the necessity of the discussion.

You can watch the symposium here. The presentations by Metcalfe and Keene are a must for anybody working in American fashion. All of the presentations are a must for a global citizen. Chase Iron Eyes spoke of connecting with, being one with the natural world. It is no accident that I spend most of each summer in a Finnish forest. That recharging allows me to spend the rest of the year in New York City. It allows me to do the work I do. And you can do that connecting and recharging right here in the city, by breathing in Central Park, by composting your food scraps (use this resource), by growing your own herbs, through guerrilla gardening. While the symposium was necessarily focused, we must recognize the global language it spoke, and the global themes it interrogated. Thank you once again to the speakers and organizers.

Shaw, on purpose

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On days where there are not enough hours to complete what is there to complete and get the rest that one’s body is demanding, it helps to take a moment to re-ground oneself in what one is committed to and up to causing in the world. The following aids in that:

This is the true joy in life, the being used for a purpose recognized by yourself as a mighty one. Being a force of nature instead of a feverish, selfish little clod of ailments and grievances complaining that the world will not devote itself to making you happy. I am of the opinion that my life belongs to the whole community and as I live it is my privilege – my privilege to do for it whatever I can. I want to be thoroughly used up when I die, for the harder I work the more I love. I rejoice in life for its own sake. Life is no brief candle to me; it is a sort of splendid torch which I’ve got a hold of for the moment and I want to make it burn as brightly as possible before handing it on to future generations.
George Bernard Shaw