What : Call for Abstracts 

When : Deadline March 29, 2019 > Colloquium in September 10-11, 2019

Who : THE FASHION COLLOQUIA is made up of a core network of 4 institutions (IFM-Paris, Parsons-New York, LCF-London, Domus-Milan) connected by their residence and involvement in the four big ‘Fashion weeks’ across the globe and housed at the London College of Fashion, University of the Arts London.

Introduction
Confucius stated: “Study the past, if you want to define the future”. To disrupt or to innovate is only possible when one masters culture and technologies of the past. The question is no longer “if” but “how” and “why”: How to question the future, how to interpret changes that have already disrupted the concept of fashion worldwide, how technologies will support the continuous development toward a responsible industry, how makers, (the new craftsperson) will drive this change, how designers will interpret social changes and how they will balance their approach within the brand’s requirements, DNA and the general evolution of both distribution and communication.

The Colloquium aims to investigate the roots of disruption, the future relationship between the industry system, heritage, costume and fashion.

Guests and speakers will be welcomed into one of the most fascinating location in Rome, a 1925 building designed by Arch. Vincenzo Fasolo, immersed in beauty and history, having the opportunity to interact with panels made up of renowned international names from Accademia Institutional and Industry network, as well as with international academics. Guests will also have the opportunity to reserve special guided tours of the costume houses in Rome or in Reggio Emilia to visit the unique archives of Modateca Deanna and the impressive work of Ricami Laura.

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.

Subthemes
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 …

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