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Call for papers craft+design enquiry Issue 8 (2016)

‘Global Parallels: Production and Craft in 

Fashion and Industrial Design Industries’ 

NOW OPEN

© ellaspede                                            © Briz Vegas – Brisbane  

The craft + design enquiry  Editorial Board welcomes Tiziana Ferrero-Regis, Rafael Gomez and Kathleen Horton, from Queensland University of Technology, as the Guest Editors of c+de#8 with the theme of ‘Global Parallels: Production and Craft in Fashion and Industrial Design Industries’.
Contributors to c+de#8 are invited to submit Expressions of Interest for either the Themed Section or the Open Section by following the Steps to Submitting a Paper outlined below.
Expressions of Interest close on 30 April 2015. For contributors invited to submit papers, the deadline for full papers is 30 June 2015. c+de#8 will be published in mid-2016.

Open Section — call for papers
The Guest Editors and the c+de Editorial Board invite submissions to the Open Section exploring any aspect of contemporary craft and design. Expressions of Interest for the Open Section are assessed by the c+de Editorial Board. All invited submissions to the Open Section are peer reviewed and selected for publication in line with c+de procedures for the Themed Section.
Contributors to the Open Section of c+de#8 should follow the Steps to Submitting a Paper outlined below. Expressions of Interest close on 30 April 2015. For contributors invited to submit papers, the deadline for full papers is 30 June 2015.

Themed Section — call for papers: 
‘Global Parallels: Production and Craft in 
Fashion and Industrial Design Industries’

Guest Edited by Tiziana Ferrero-Regis , Rafael Gomez and Kathleen Horton of Queensland University of Technology, Brisbane. They write: 

This special issue of c+de aims to explore questions of design and craft across fashion and industrial design industries in the current global context. In light of de-localisation of manufacturing practices and increasingly complex supply chains, the alternating place and meaning of ‘skills and craft’ in the context of these vast global industries, and the transformational role and status of the designer in a market that is equally flooded with fast fashion and disposable ‘on trend’ lifestyle products, we seek to examine how the two worlds of fashion and industrial design intersect in terms of production, craft and design.

The Wasteland collection by Maison Briz Vegas, Paris 2011,
 top and shorts made from recycled T-shirt fabric,
with original hand-block prints Photo: Carla van Lunn

The geographical distribution of manufacturing in the fashion industry and in industrial design has changed radically in the past 25 years, with much of the production and jobs shifting to low-income countries. The globalisation of production has generated long supply chains of many mediators that are employed neither to solve problems nor invent new styles. In the fashion industry, mediators ‘translate’ pre-existing trends into products at a pre-identified price point and for a specific market. In this respect the term fashion designer is something of an anachronism. Typically, in both fashion and industrial design, the notion of design is bound to the creative celebrity designer (think Karl Lagerfeld or Steve Jobs) who is synonymous with brand or corporate identity. In both industries, however, teams of ‘invisible’ design mediators, whose roles and responsibilities are defined largely through market and industrial imperatives, are scattered across the supply chain and the globe. 
 

Ellaspede Design Studios 2012, design process, sketching and conceptualisation
Photo: Tammy Law Photography, courtesy of Ellaspede

Design mediator, or product developer, is a rather less romantic term than designer, but one that has far more industry cachet. Industrial changes in both fashion and industrial design have shaped and re-oriented conceptual definitions of ‘design’, and introduced the product developer. Thus we argue that the currency of this term is vital in understanding not only the nature of contemporary fashion and industrial design practice, but also the status, profession and evolution of ‘design’ as it is applied across both fields.
We would also like to explore the rise of independent design practices that have purposefully engaged with a reinvigorated idea of craft and local production in response to globalised design production. In these models, design and manufacture is often reconnected via an engagement with craft practices. Therefore, while design and craft have often been posed as oppositional forces (one representing industrialisation, planning and management, and the other standing for the handmade, the material and the authentic), both the fields of fashion and industrial design are witnessing innovative new models of practice linking artisanal values with post-industrial design processes, thus instigating the rise of a new-age designer, one which indeed embraces a more holistic approach


This issue of c+de invites contributions in the following areas:

•  re-orientation of the definition of ‘design’ in fashion and industrial design

•  the emergence of the ‘product developer’ and ambiguities between design and product development

•  the spectrum of possibilities afforded by craft production

•  the creative process and diffusion of creativity along the supply chain

•  design and innovation in local manufacturing

•  design and/or product development in the future 

Issue #8 Guest Editors:
Dr Tiziana Ferrero-Regis is senior lecturer in fashion history and theory, School of Design, QUT. She has a professional background in advertising and fashion and has published in several journals on a range of topics that include memory and history in cultural representations (Recent Italian Cinema: Spaces, Contexts, Experiences 2009), the politics of fashion, the role of the designer, and fashion and film. From her visits to communities of women workers in the textile and clothing industry in India in the mid-
1980s, she has developed a research focus on the division of international labour and sustainability. 

Dr Rafael Gomez is an industrial designer and design researcher. He is a lecturer in industrial design, School of Design at QUT, and has practiced for over a decade in industrial design, graphic design, branding, high-end visualisation and projection graphics for small, medium and large enterprises. As a founding member of the Design and Emotion Australia Chapter, his research focus is the converging of design, emotions and experiences with health and medical devices in everyday life. He has written extensively on design and emotional experience with portable interactive devices and automotive design and continues to forge national and international collaborations with a view to establish research strength in the Asia-Pacific region. 

Kath Horton is head of fashion in the School of Design at QUT. Her research and teaching focuses on the aesthetics and politics of fashion across both historical and contemporary contexts. In 2010 Kath founded the stitchery collective, a platform for collaborative fashion design projects. Through both her theoretical and practice-based projects Kath explores the possibilities for alternative forms of engagement with fashion in the 21st century.

Steps to submitting a paper for c+de#8
Step 1
Themed Section: Expressions of Interest (one A4 page) are invited to be submitted before 30 April 2015 to jenny.deves@anu.edu.au. The Guest Editors will review abstracts and respond promptly to contributors. 


Open Section: Expressions of Interest (one A4 page) are invited to be submitted before 30 April 2015 to jenny.deves@anu.edu.au. The Editorial Board will review abstracts and respond promptly to contributors. 

Step 2
If invited to submit a paper, contributors to both the Themed Section and the Open Section, are required to complete and submit their final papers by 30 June 2015 to jenny.deves@anu.edu.au. Submitted papers must meet the style requirements outlined in the c+de Author Guidelines and be accompanied by a c+de#8 Lodgement Registration Form (copies available from jenny.deves@anu.edu.au or the c+de blog http://craftdesignenquiry.blogspot.com.au/)

Information for issues 6, 7 and 8

Update for  CDE Readers

Issue 6, 2014: Craft.Material.Memory online from August 2014 on ANU Press website 

Issue 7, 2015: Landscape, Place and Identify in Craft and Design. Call for papers now closed – invited papers are due in by 30 June 2014. To be published mid-2015

Issue 8, 2016: 'Global Parallels: Production and Craft in Fashion and Industrial Design Industries’ Call for Papers  To be published in mid-2016.

In the Spaces of the Archive By Caroline Bartlett

In the Spaces of the Archive
By Caroline Bartlett
 

2002. Bodies of Knowledge Volume V; Arbiters of Taste. (1934 encyclopaedia, embroidery hoops, silk crepeline, pins). 34 x 84 x 5cm. Photographer Michael Wickes. Collection Victoria and Albert Museum

Abstract: In this paper, I offer an explanation of my own working art practices as set within the context of the spaces of the archive and presented as a series of questions arrived at through action, illuminated in turn by anthropological theory. Over the last few years I have examined various museum collections, archives and encyclopedias in relation to the way these knowledge systems both represent and promote the formation of individual and collective identities, memories and value systems.

Artifacts located within museological and archival systems can be powerful sensory and social forms in which different meanings and memories are embedded, but their significance can be obscured rather than revealed by the systems which control them. How we experience these objects within the physical, material, social, and political spaces of the archive leads to questions about how these sets of relations interact and what can be understood from this. In this vein then, and in the context of the tactile and sensory orientation of my own textile art practice, I look at four of my site-specific works produced in relation to the spaces of the archive: Overwritings (1999), Storeys of Memory (2001), Bodies of Knowledge (2002) and Conversation Piece (2003), focusing in particular on the latter, and show how investigation into different collections has prompted the making of new aesthetic objects which comment on and attempt to draw out these relations. Read full paper

 

 

Abstract from: In the Spaces of the Archive

Full paper published in craft+design enquiry: issue 1 Migratory Practices

Crafting relations: Aspects of materiality and interactivity in exhibition environments, Sandra Karina Löschke

 Crafting relations: Aspects of materiality and interactivity in exhibition environments
 By Sandra Karina Lösch

 

1968 Reconstruction of the Abstract Cabinet at the Sprengel Museum Hannover/Germany, 2009.

Abstract: The past decades have seen the early avant-garde’s laboratory paradigm and associated exhibition practices re-appropriated by relational art. Both art movements re-evaluate our relationship to the world and to one another and exhibition environments play an important role in the crafting of these relations.

Against this background, the paper investigates two aspects of avant-garde practice that touch upon relational aspects in exhibitions: first, the Constructivists’ radical re-evaluation of materiality as relations of energies between the physical world and human beings that has been summarised under the heading of faktura; and, secondly, the practical and directed application of faktura in the design of exhibition environments with the objective of producing new relations between audience, art institution and the world.

Using Lissitzky’s Hannover and Dresden demonstration rooms as case studies, the paper identifies an inventory of techniques and materials deployed for the construction of what has been considered the first relational environment. It intends to establish a platform for the discussion of trans-historical correspondences that can be detected in contemporary approaches to interactivity and materiality — particularly in art practices associated with relational aesthetics and postproduction art. Does Lissitzky’s precedent anticipate, challenge, or offer expansions on current thinking? Read full Paper

 
Abstract from: Crafting relations: Aspects of materiality and interactivity in exhibition environments
Full paper published in craft+design enquiry: issue 4 Relational Craft and Design

Ecology and the aesthetics of imperfect balance

Ecology and the aesthetics of imperfect balance

By Roderick Bamford

 Malin Lundmark, Tea-cup-lamp, 2003, porcelain.

Photo: Stephan Lundberg, courtesy of Malin Lundmark.

Roderick Bamford’s practice traverses art, craft and design, with a specialization in ceramics. He works from a studio north of Sydney and lectures at the College of Fine Arts, University of NSW.

Abstract: Historically, craft values have provided a pivotal argument in the conflict between industrial and natural worldviews, concerning both the artefacts and social conditions of their creation. Today, the implications of carbon both as a fuel and a toxin demand a better understanding of the ‘sign’ values embedded in such dialogue, and inform responses to the dangers posed by dominant anthropocentric perspectives. Amidst the logic of a number of ‘design for sustainability’ arguments, craft emerges as an antidotal signifier to the combined impacts of hyper efficient production and rampant ‘throw away’ consumerism. Yet, in the carbon context, notions of benign impact and enduring value associated with craft can elicit contradictions. Drawing on literary arguments and examples in practice, this paper surveys relationships between craft and design as instruments of sustainability theory. Whilst recognizing the importance of qualitative factors in this context, and the increasing attention given to them in research, the critique emerges largely from a more established quantitative, or measured perspective. The relevance of this approach is attributed to the primacy of material outputs in both craft and design practice. In this context the writing aims to address a comparative gap in the discussion of practices in craft and design, and to contribute to a deeper understanding of their relationship. In seeking possibilities for craft within a discipline of sustainable culture, it explores a role for aesthetics in the context of what may be considered unnecessary artifacts. Read full paper 

Abstract from: Ecology and the aesthetics of imperfect balance
Full paper published in craft+design enquiry: issue 3 Sustainability in craft and design

Abstracts closing tomorrow

NOW CLOSED
Abstracts for Issue number 7 “Landscape, Place and Identity in Craft and Design” Guest Edited by Kay Lawrence are due 30 April 2014. Please contact Editor Jenny Deves for information on submitting abstracts or visit the blog
jenny.deves@anu.edu.au