This is the second call for papers for a Special Issue of Fashion, Style &
Popular Culture Journal entitled Sense of Time and Place. The guest
editors, Noël Palomo-Lovinski and I welcome proposals and suggestions.
We will respond to potential authors by September 15th, and final submissions
will be due on November 1st.
‘Another example of our intellectual difficulty in thinking simultaneously
about continuity and discontinuity, local and global, place and non-place,
emerges in art and artistic creation in general.’ Marc Augé, 2008, XVII.
The Internet has become a ubiquitous window into simultaneous worlds of the
global and the intimate, redefining how we negotiate a sense of place and
the sequence of time. Place is anywhere and everywhere, and time is both
contemporaneous and historical, redefining all aspects of the culture we
live in. In terms of fashion, our understandings of time and place affects
both conceptions of selling seasons and the rate by which we seek to
consume. Our understanding of fashion is itself in flux. Never at a time
has there been so many aesthetic forms simultaneously in fashion at one
time. Global brands seek to uniformly accommodate consumers regardless of
the cultural or physical environment affecting a homogenous mentality.
These new demands of simultaneous time and place require designers to
develop excessive quantities seeking to keep up with aesthetic demands, but
with little chance for innovation and a reliance on obsolescence. The
dominant speed of industry and consumption is fast and short as the average
garment is only worn seven times before disposal. It is locked into a
linear progression of temporality exemplified in the take, make and waste
model of production and one in which the majority of clothing is produced
far from its place of origin, sale or use. We live in a world where we are
simultaneously reminded of the urgency of responding to the imminent
dangers such as climate change and human labour rights violations yet we
continue to produce damaging products at an alarming rate in unsafe
conditions that damage the place and people in which they are made.
*Potential topics may include but are not limited to:*
• What are potential fashion business or retail ideas that take advantage
of place and time as a concept rather than a literal idea?
• What are curricular initiatives, ideas, or projects that help fashion
students negotiate alternative understanding of time and place within the
• How does time and place affect concepts of human connection and communal
affirmation within dress identity?
• How does a sense of place affect the relationship of the fashion designer
to the customer?
• What is the relationship of time and place to the constructs of
sustainable practice, technology applications, global fair trade, or
indigenous craft practice?
• What is the relationship of culture or a sense of place in a world that
is so interdependent and open in the exchange of images and goods?
• In a global economy and/or community, what does it mean to be local? •
What are the correlations of food and clothing as consumables in a
• Examples of designers or apparel manufacturers that take advantage of a
sense of place or alternative conceptions of time.
• How does technology enable a greater sense of time and place?
• Why does the fashion industry have fashion capitals if there is no
necessary limitation to sources of inspiration, labor or cultural energy?
• Why do we categorize selling seasons or have biannual fashion weeks when
all fashion is for any environment at any location?
• In an age of extreme simulacra what meanings are held in homages of the
past? What are the meanings that designers use to convey abstracted
meanings using the past as a reference point?
• How do we define ‘the other’ in terms of proximity of time and place? •
How will fashion designers assume a deeper responsibility for the impacts
of their work in terms of time and place?
• What are the new modes of temporality and methods of becoming active
catalysts of this transition for fashion designers?
• Can fashion designers design for transition or the ‘long now’?
• Where the speed of ‘fast’ seems to dominate the discussion, what are the
other modes of temporality
• What is the true expiry date of ‘fashion’ – when do we no longer need
trend and constant change?
This issue of Fashion, Style & Popular Culture seeks to redefine how we
might use these new conceptions of time and place to answer the needs of
the future of the fashion industry and the resulting product.
The guest editors for this issue are Noël Palomo-Lovinski
<[log in to unmask]" target="_blank">http:[log in to unmask]>, Associate Professor, The Fashion School College
of the Arts, Kent State University, USA and Jennifer Whitty
<[log in to unmask]" target="_blank">http:[log in to unmask]>, Design Researcher and Senior Lecturer,
College of Creative Arts, School of Design, Massey University, New Zealand
The CFP is attached.
Papers will be selected after a double-blind review process.
the deadline date of *November 1, 2019*.
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