Call for papers, reviews and interviews for the Journal's free-themed continuous publication

Issue 47:

Dossier dObra[s] 47 

Work and gender relations in textile and fashion design

Organizers:

Dr. Ana Julia Melo Almeida (Post-doctoral researcher - IEB-USP)

Dr. Francisca Nogueira Mendes (Professor and researcher - UFC)

Deadline for submissions: October 31, 2025

Publication due to August and/or December 2026

The aim of this dossier is to compile articles, interviews, reviews and translations that address work and gender relations, as well as the narratives and memories present in textile practices. Through understanding textile production as a historically constituted social and cultural practice, it is interesting to think about how these artifacts are connected to the individuals who produce them, as well as reflecting on the uses and meanings that the objects acquire as they circulate through different spaces.

From this perspective, we invite studies that are dedicated to analysis and approaches that consider textile production in an expanded scope: in the context of objects designed for bodies and wearing; artifacts that have a relation to the domestic space; pieces that participate in exhibition practices, or that carry memories about making and knowledge, among others. Our aim in this issue is to discuss textile objects through work and gender relations, and as a place of memory and narratives, understanding the skills, knowledges, locations and work processes that cross the elaboration of these artifacts. We are also interested in the hierarchies that are part of textile practices, relating the production of these artifacts to a variety of social factors - class, race, ethnicity, gender, geographical location etc.

The following are some of the topics suggested for this edition, but not only them:

- Critical approaches to design historiography through textile artifacts;

- Spaces of professionalization and work dedicated to textile practices, either artisanal or industrial;

- Critical analysis of the hierarchies that constitute the production, circulation and documentation of textile artifacts in the field of design;

- Memories and narratives of textile production, considering the documentation of work processes and gender dynamics;

- Material culture studies that consider the gender dimension related to textile artifacts;

- The correlation between the constitution of localities and areas associated with textile production and the dynamics of work and gender;

- Migratory movements, work relations and textile-producing localities;

- Analysis of work relations in textile production processes based on gender studies, feminist theories and decolonial perspectives;

- Intersectional approaches that consider the different social factors present in the production of textile artifacts - class, race, ethnicity, gender, geographical location etc.

References

ALMEIDA, Ana Julia Melo. Mulheres e profissionalização no design: trajetórias e artefatos têxteis nos museus-escolas MASP e MAM Rio. Tese (doutorado) Programa de Pós-Graduação em Design - Faculdade de Arquitetura e Urbanismo da Universidade de São Paulo, 2022. Disponível em: [https://www.teses.usp.br/teses/disponiveis/16/16140/tde-16012023-175956/pt-br.php].

BUCKLEY, Cheryl. Made in Patriarchy: Toward a Feminist Analysis of Women and

Design. Design Issues, v. 3, n. 2, 1986, p. 3-14.

BUCKLEY, Cheryl. Made in Patriarchy II: Researching (or Re-Searching) Women and

Design. Design Issues, v. 36, n. 1, 2020, p. 19-29.

CARVALHO, Vânia Carneiro de. Gênero e Artefato. O sistema doméstico na perspectiva da cultura material - São Paulo, 1870-1920. São Paulo: EDUSP/FAPESP, 2008.

COLLINS, Patricia Hill; BILGE, Sirma. Interseccionalidade. São Paulo: Boitempo, 2020.

GONZALEZ, Lélia. Racismo e sexismo na sociedade brasileira. Revista Ciências Sociais Hoje, Anpocs,1984, p. 223–244.

HIRATA, Helena. Gênero, classe e raça Interseccionalidade e consubstancialidade das relações sociais. Revista Tempo Social, v. 26, n.1, 2014, p. 61-73.

MENDES, Francisca R. N. Modelando a vida no Córrego de Areia: tradição, saberes e itinerários. Fortaleza: Expressão Gráfica Editora, 2011.

SANTOS, Marinês Ribeiro dos. Gênero e cultura material: a dimensão política dos artefatos cotidianos. Revista Estudos Feministas, Florianópolis, v. 26, n. 1, 2018, p. 241-282.

SIMIONI, Ana Paula Cavalcanti. “Regina Gomide Graz: modernismo, arte têxtil e relações

de gênero no Brasil”. Revista do Instituto de Estudos Brasileiros, v. 45, 2007, p. 87-106.

SIMIONI, Ana Paula Cavalcanti. Bordado e transgressão: questões de gênero na arte de

Rosana Paulino e Rosana Palazyan. Revista Proa, Campinas, v. 2, 2010, p. 1-19.

SCOTT, Joan W. Gender: A Useful Category of Historical Analysis. The American Historical Review, v. 91, 1986, p. 1053-1075.

SCOTT, Joan W. Gender: Still a useful category of analysis? Diogenes, v. 57, n. 1, 2010, p. 7-14.

SOIHET, Rachel; PEDRO, Joana M. A emergência da pesquisa da História das Mulheres e das Relações de Gênero. Revista Brasileira de História, São Paulo, v. 27, n. 54, 2007, p. 281-300.

SMITH, T’ai. Bauhaus weaving theory: from feminine craft to mode of design. Minneapolis: University of Minnesota Press, 2014.

VERGÈS, Françoise. Um feminismo decolonial. São Paulo: Ubu Editora, 2020.

WELTGE, Sigrid. Women’s work: textile art from the Bauhaus. Londres: Thames and Hudson, 1993.

Issue 46:

Dossier dObra[s] 46 

“Fashion and Social Sciences” 

Organizers:

Dr. Henrique Grimaldi (Programa de Pós-Graduação em Artes, Cultura e Linguagens, Universidade Federal de Juiz de Fora)

Dra. Maria Lucia Bueno (Programa de Pós-Graduação em Ciências Sociais; Programa de Pós-Graduação em Artes, Cultura e Linguagens, Universidade Federal de Juiz de Fora) 

Deadline for full article submission: July 30, 2025

Publication due to April and/or August 2026

At the end of the 19th century and the beginning of the 20th century, the theme of fashion occupied a central place in the reflections of intellectuals interested in unraveling the dynamics of modernity. From Baudelaire's flânerie – the wanderings along the newly opened boulevards, the interest in the newly invented shop windows, etc. – to the tragedy of Flaubert's Emma Bovary, the rampant consumer of her time, fashion emerged as a new way of life inserted into the flow of urban culture and industrial society.

Since then, within a broader framework of the human sciences, the social sciences have established themselves as a theoretical perspective from which the very concept of fashion has been continually rethought and reformulated to encompass the nuances and dialectics of consumer society. Using this tradition and sociological, anthropological and/or social history theories, themes and methods as a reference, this dossier aims to bring together articles, interviews, reviews and translations that help to map and reflect on the cultural, political, economic and social transformations of the fashion worlds from the late 19th century to the present day.

We welcome papers that address, but not only:

• Classical and/or contemporary theories of fashion;
• Fashion as a sociological and anthropological phenomenon;
• Fashion, sociability and cultural distinction;
• The fashion system: historical and sociological perspectives;
• Rituals of consumption in fashion;
• Relationships between culture, consumption and lifestyles;
• Production, circulation and mediation of fashion products and images;
• Fashion and globalization;
• The geopolitics of fashion;
• Fashion, styles and urban youth culture;
• Intersectionality in sociologies and anthropologies of dress;
• Fashion professionals and agents: stylists, photographers, producers, etc.
• Fashion institutions: museums, foundations, certification agents, etc.
• Fashion and its industries: from family businesses to luxury conglomerates;
• Processes and strategies of legitimization in fashion;
• Dialogues between fashion, art and other cultural forms. 

Bibliography

BALDASARRE, María Isabel. Bien vestidos: una historia visual de la moda en Buenos Aires 1870-1914. Buenos Aires: Ampersand, 2021.

BARTHES, Roland. O sistema da moda. São Paulo: Martins Fontes, 2009.

BERGAMO, Alexandre. A experiência do status. São Paulo: Editora da UNESP, 2007.

BLUMER, Herbert. Fashion: From Class Differentiation to Collective Selection. The Sociological Quarterly, 10(3), pp. 275-291, 1969.

BONADIO, Maria Claudia. Moda e Publicidade no Brasil nos Anos 1960. São Paulo: nVersos, 2014. 

BOURDIEU, Pierre; DELSAUT, Yvette. O costureiro e sua grife: contribuição para uma teoria da magia. In: BOURDIEU, Pierre. A produção da crença. Porto Alegre, Zouk, pp 113- 190, 2004.

BUENO, Maria Lucia (Org); CRANE, Diana. Ensaios sobre moda, arte e globalização cultural. São Paulo: Senac, 2001.

BUENO, Maria Lucia; CAMARGO, Luiz Octavio de Lima. Cultura e Consumo: Estilos de Vida na Contemporaneidade. São Paulo: Editora Senac, 2008.

BUENO, Maria Lucia; CRANE, Diana. Dossiê: Moda e Teoria Social. Iara: Revista de Moda, Cultura e Arte, 1(1), 364 p., 2008.

CORRÊA, Clecius Campos. Moda no museu: os vestidos-objeto de Olly Reinheimer no MAM-RJ (1969). dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda, 12(27), p. 165–192, 2019.

CRANE, Diana. A moda e seu papel social: classe, gênero e identidade das roupas. São Paulo: Senac, 2006.

DURAND, José Carlos. Moda, luxo e economia. São Paulo: Babel cultural, 1988.

ENTWISTLE, Joanne. The aesthetic economy of fashion: market and values in clothing and modelling. Oxford: Berg, 2009.

ERNER, Guillaume. Vítimas da Moda? Como a criamos, por que a seguimos. São Paulo: Senac, 2005.

FIGUEREDO, Henrique Grimaldi; ÁBILE, Bárbara Venturini. Celine Art Project: notas sobre arte, luxo e a maioridade do capitalismo artista. ARS (USP), 21(47), pp. 1-58, 2023.

KAWAMURA, Yuniya. The Japanese Revolution in Paris Fashion. Londres: Berg, 2004.

KONTIC, Branislav. Inovação e redes sociais: a indústria da moda em São Paulo. Doutorado em Sociologia. Universidade de São Paulo, 2007.

LIPOVETSKY, Gilles. O império do efêmero. São Paulo: Cia das Letras, 2006.

MICHETTI, Miqueli. Moda brasileira e mundialização. São Paulo: Annablume, 2014.

MONNEYRON, Frédéric. La sociologie de la mode. Paris: PUF, 2017.

MORA, Emanuela. Fare moda: Esperienze di produzione e consumo. Milão: Bruno Mondadori, 2009.

ORTIZ, Renato. O Universo do Luxo. São Paulo: Alameda, 2019

PERROT, Philippe. Les Dessus et les dessous de la bourgeoisie: Une histoire du vêtement au xixe siècle. Paris: Éditions Complexe, 1992.

RAINHO, Maria do Carmo Teixeira. Moda e revolução nos anos 1960. Rio de Janeiro: Contra Capa, 2014.

ROCHE, Daniel. A cultura das aparências. São Paulo: Senac, 2007.

SANT´ANNA, Mara Rúbia. Teoria de moda: sociedade, imagem e consumo. São Paulo: Estação das Letras e Cores, 2007.

SANT’ANNA, Patrícia. Coleção Rhodia: arte e design de moda nos anos sessenta no Brasil. Doutorado em História. Universidade Estadual de Campinas, 2010.

SILVANO, Filomena. Antropologia da Moda. Lisboa: Documenta, 2021.

SIMMEL, Georg. Filosofia da moda. São Paulo: Edições Texto & Grafia, 2014.

SOUZA, Gilda de Mello e. O espírito das roupas: a moda no século XIX. São Paulo: Companhia das Letras, 1987.

WILSON, Elizabeth. Enfeitada de sonhos: moda e modernidade. Rio de Janeiro: Edições 70, 1989.

ZUKIN, Sharon. Point of Purchase: How Shopping Changed American Culture. Nova York: Routledge, 2004.

Issue 45:

TEXTILE ARTS: WEAVES OF STORIES, LIVES AND MEMORIES

Organizers:

Dr. Ronaldo de Oliveira Corrêa (Universidade Federal do Paraná)
Dra. Marilda Lopes Pinheiro Queluz (Universidade Tecnológica Federal do Paraná)

Deadline for submitting of articles: April 30, 2025
Expected publication: December/2025

The dossier aims to combine texts that problematize textile arts, their practices, authors and networks of agents, circulation circuits and artifacts, senses, and meanings. This complex weave, which contests aesthetic and social hierarchies (Simioni, 2020), delineates the universe of expressive production that involves threads, fabrics, machines, knowledge, people, institutions, meanings, and stories.

Just as Barthes (2002) and his mythology, we perceive textile arts as visual and tactile narratives, that is, expressive, that tell us about how we organize the meanings of the world and social life. Put differently, as one of the ways of giving sensitive legibility to the events, sociability, and actions that constitute people, groups, and, in some dimension, imaginations, imaginaries, and cultures. The mythical narrative, through its plastic, literary, visual, and cinematographic interpretation, informs the possible versions that allow us to escape from a unique story of and about sensitive and human experiences. In this movement, we agree with Adichie (2009) on the need to produce, get to know, and circulate multiple versions of the events that mark human experiences, as a tactic to resist processes of homogenization and stereotyping, common to consumer cultures. In this way, we open space for the dissent necessary to maintain the disputes that produce aesthetics and ethics, marked by race and gender, class and generation, in the present time.

Paying attention to textile arts, to some extent, means focusing attention on social subjects historically left on the margins, or called anonymous, in narratives about art, design, architecture, and fashion, more specifically, the social history of Western societies, in general. With this, we intend to problematize the lack of reflection on individual and collective memories, knowledge, techniques and technologies, aesthetics and ethics, which these social subjects and their practices produce or inscribe in everyday life from the gestures of embroidery, weaving, tying, suturing, tearing, dressing and even undressing.

On the other hand, the textile arts challenge us with their materialities, memories, stories, and versions produced from outside an institutionalized cultural circuit, in other words, decentralized versions of how art, design, architecture, and fashion materialize artifacts, spaces, narratives and images as repositories of subjectivities, memories, and experiences with and from bodies (Reiman, 2020). These versions formulate arguments, inscribe narrative styles, and configure associations between materials and experiences that claim participation in the artistic arena, broadening central debates for contemporary times, namelythe relationship between art and politics, art and activism, art and the body, art and the city, art, and life.

From this perspective, it is also possible to think about the historical processes and the dialogues that today's textile arts establish by reconnecting knots with the production made between the 1970s and 1990s, for example. Some of the issues proposed at that time have been updated, reinvented, and remain, in a desire for insistence, remembrance, or non-forgetfulness. Themes such as bodies, violence, dwelling, difference, and nature, among others, accumulate when we revisit the expressive production of the second half of the 20th century concerning what is being presented in this time we are living in.

Finally, from a tangle of possibilities, little legibility, and many fragments, we propose to bring together texts about textile arts that, as a floating archipelago, provoke the cartography of circuits and circulations of things, people, meanings, and knowledge. This dossier presentes itself as an effort to approach the reflections that textile practices incorporate and convert into visible, tactile, and sensitive things.

References

ADICHIE, Chimamandra Ngozi. O perigo da história única. TEDGlobal 2009, July 2009. Disponível em: https://www.ted.com/talks/chimamanda_ngozi_adichie_the_ danger_ of_a_ single_ storytranscript?language=pt

BARTHES, Roland. Mitologias. 7a. Ed. São Paulo: Bertrand Brasil, 2002.

REIMAN, Karen Cordero. Intervenções suaves: cumplicidades entre arte e mídia têxtil. IN: SESC

Pinheiros. Transgressões do Bordado na Arte. São Paulo, 2020. Catálogo de Exposição.

SIMIONI, Ana Paula Cavalcanti. Transgressões do Bordado na Arte. IN: SESC Pinheiros.

Transgressões do Bordado na Arte. São Paulo, 2020. Catálogo de Exposição.