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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: March 31, 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.

Issue 44:

The Other Side of Fashion: Emotion, Memory, Feeling

Organizers:

Dr. Rafaela Norogrando (CIAUD, ID+, LabCom, University of Beira Interior – Portugal)

Dr. Ana Mónica Pereira Reis de Matos Romãozinho (LabCom, University of Beira Interior – Portugal)

Deadline for submission of articles: November 30, 2024

Expected publication: August/2025

Unlike other areas of Design, Fashion definitively detaches itself from the often-imposing label of functionality and mere utilitarianism, a heritage of modernity. Perhaps because of the closer and more intimate relationship that is established between body and object, we accept more unconditionally the emotions and sensations that fashion gives us.

This is what De Carli (2002) reinforced about the dynamics of the experience of living in the here and now and the play of the senses in this "sensational fashion". Or, as collected by Merlo (2015), the discourses that are constructed and perpetuated from this memory. On the other hand, Fashion faces great challenges due to the state of the world, climate change, and the paradoxical individualism and freedom that characterize the so-called "hypermodernity" analysed by Lipovetsky (2020).

As Silvano (2021) notes, the volatility of images that has characterized the last decades has brought with it a distancing from objects that explains, in part, the poverty of the relationship we establish with them and the consequent ease of their disposal. The search for a response to this situation was reflected in phenomena such as slow fashion through the revision of consumption and awareness of the production chain. This is followed by an appreciation of the acquisition of second-hand clothes, applications for personal styling services or the revaluation of the maintenance of garments, often inherited from the mother or grandmother.

We are progressively stimulated to look at Fashion in greater depth, for the way it awakens emotions and memories, for the fact that it always says something about us and, about the way we position ourselves in the world or as an action of empowerment in it, an affirmation of our cultural vision, activism, and criticism of a dominant socio-economic context.

Fashion Design has always benefited from the ruptures and experimentations operated in the field of Fine Arts, as a possible vehicle for innovative languages that denounce a nonconformist attitude that can be translated into products that carry meanings and emotions, therefore possibly less volatile and disposable (Romãozinho, 2024).

Fashion is a powerful tool of communication, sometimes irreverent and transgressive. Duarte (2017) would reflect in his work on the strength of images in Fashion, bonds for those who prefer to express themselves with their whole body and not only with their voice, articulating speeches without words, always occupying a free space between fiction and reality.

Or, as Benetti and Norogrando (2016) point out, the emotions and feelings linked to the performative areas of Fashion and Music would be related to a dream or delirium in a search for the intangible, in a fantasy, to personal desires. According to Anjos (2020), if we don't create these images, we end up consuming them. And so, this personal relationship of what thrills is also brought by Carvalhal (2020) in the construction of brand image in a "simple" connection between an industry and people.

We invite authors to share the results of their scientific investigations of a more theoretical, experimental, or applied nature, which intersect with this topic, and which may correspond to multidisciplinary and reflective perspectives by different areas.

Reference Bibliography

ANJOS, Nathalia. O Cérebro e a Moda. São Paulo: SENAC, 2020.

BAUDRILLARD, Jean. O Sistema dos objetos. São Paulo: Editora Perspectiva, 2004.

BENETTI, Alfonso; NOROGRANDO, Rafaela. Linguagens, emoções e memórias: relações entre música e moda. In: NOROGRANDO, Rafaela; BENETTI, Alfonso. Moda, Música e Sentimento. São Paulo: Estação das Letras e Cores, 2016.

CARVALHAL, André. A moda imita a vida: Como construir uma marca de moda. Paralela, 2020.

CHAPMAN, Jonathan. Meaningful stuff: Design that lasts. Cambridge: The MIT Press, 2021.

DAMÁSIO, António. A Estranha Ordem das Coisas: A vida, os sentimentos e as culturas humanas. 12 nd ed. Lisboa: Temas e Debates, 2017.

DE CARLI, Ana Mery Sehbe. O sensacional da moda. Caxias do Sul: EDUCS, 2002.

DUARTE, Cristina. Moda e Feminismos em Portugal: O género como espartilho. Lisboa: Temas & Debates – Círculo de Leitores, 2017.

FETTOLINI, Jose. Principios y procesos éticos en el diseño y la creación de joyas. Barcelona: Promopress, 2018.

FILIPPELO, Roberto; PARKINS, Ilya. Fashion and Feeling. The Affective Politics of Dress. Springer, 2023.

FLUSSER, Vilém. Uma filosofia do design: A forma das coisas. Lisboa: Relógio d’Água Editores, 2010.

JOHNSON, Donald Clay. Dress Sense: Emotional and Sensory Experiences of the Body and Clothes. Oxford: Berg Publishers, 2007.

LIPOVETSKY, Gilles. A sociedade da sedução: democracia e narcisismo na hipermodernidade liberal. São Paulo: Editora Manole, 2020.

MERLO, Márcia. Memórias e Museus. São Paulo: Estação das Letras e Cores, 2015.

NORMAN, Donald A. Design emocional: por que adoramos (ou detestamos) os objetos do dia-a-dia. Rio de Janeiro: Rocco, 2008.

PEZZOLO, Dinah. Por Dentro da Moda. São Paulo: Editora Senac, 2019.

ROMÃOZINHO, Mónica. 2024. Assemblage+ Waste+ Memory = Jewel. In: CUNHA, J., BROEGA, A., CARVALHO, H., PROVIDÊNCIA, B. (eds). Advances in Fashion and Design Research II. 6th International Fashion and Design Congress, CIMODE 2023, 497-506. Cham: Springer Nature Switzerland AG.

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

STALLYBRASS, Peter. O Casaco de Marx: roupas, memórias, dor. – 4 ed. Belo Horizonte: Autêntica Editora, 2012.

WALKER, Stuart. Design for resilience: Making the future we leave behind. Massachusetts: The MIT Press, 2023.

Issue 43:

Fashion and Costume: Transversalities in Process and Research

Organization:

Dra. Ana Cleia Christovam Hoffmann (Universidade Feevale)
Dra. Desirée Bastos de Almeida (UFRJ)
Dra. Rosane Muniz Rocha (Universidade FEBASP)

Deadline for submission: July 30, 2024
Expected publication: april, 2025

In everyday discursive practices and in the arts of representation, clothing becomes an extension of the body. Like a metamorphosis, of forms and colors representative of a body that is in motion, it moves in a three-dimensional space and in a rhythm that, properly regulated, can have the rigor and unity of a musical movement. In this way, the costume ceases to be a disguise and becomes an essential element of dramatic movement, also acting as a scenographic field. In Brazil, the (de)signs for this area are many: "costume," "scene attire," "actor's second skin," "actor’s appearance design," "sensitive object," "flowing wearables," among many concepts that are created to designate what is worn on stage and that "are elaborated in a way that is implied by the body and movement, producing images, corporealities, and appearances" (Diniz, 2012, p. 87).

What covers the actor's skin on stage, and which can also be named according to the functions they perform from the conception of the staging: costumemask, costume-envelope, skin-costume, costume-body-space, costume-prosthesis, penetrating costume... (Silva, 2005), the zero degree of costume (Hoffmann, 2021). What can also be analyzed not as "clothing," but as "ways of the body" (Sousa, 2015) from what the costume constructs for the scene in its expanded field.

By understanding this area as an empirical and experimental field, therefore, creative, we are also interested in creating space for the processes of creation and methodologies that value creativity, inventiveness, and the artistic work of the costume designer/fashion designer and how this professional moves through the sectors of the creative industry.

This dossier aims to bring together and propagate research that approximates the field of fashion to that of costume in various means of artistic manifestation, such as theater, dance, television, cinema, performance, artistic interventions, etc., opening doors to theories and reflections on the garments that compose the practices of spatial, visual, and sound poetics of the scene. It also aims to bring together researchers who approach the relationships of this artistic and scenic element with its sensorialities, identities, technologies, methodologies, among other interconnections, and to provide opportunities for perspectives that challenge and break paradigms, historiographical aspects, and contemporary elements that interconnect the discussion. The dossier is open to multidisciplinary research and cartographies that dialogue with other fields of knowledge, including fashion, performing and visual arts, and transversal thinking with the humanities in general (philosophy, psychology, sociology, anthropology, semiotics...), expanding academically as a field of expanded and interdisciplinar culture.

It is understood with this, that the scientific, artistic, technological, and economic dimensions will be contemplated when seeking, in this discussion that approximates the fields of fashion and costume, a broad possibility of updating new knowledge and deepening, serving as a stimulus for the construction of specific theoretical material in the area.

Therefore, the following research approaches are of interest for this dossier:

• Fashion and Costume Dialogue: their relationship and fields of action;
• The costume and the costume designer;
• Creative processes and development methodologies;
• Costume, costume designer, and the creative industry sector;
• Costume, performing and visual arts;
• Spatial, visual, and sound poetics of the scene and its garments;
• Scenic experiments with costumes, beyond any boundary;
• Costume in performances and installations.

References

BARI, V.; VELOZ, P. Descubrir el vestuario: en las artes espetaculares. Ciudad Autónoma de Buenos Aires: Eudeba, 2021.

DINIZ, C. Vestíveis em fluxo: a relação implicada entre corpo, movimento e o que se veste na cena contemporânea. 2012. 105 f. Dissertação (Mestrado em Dança) - Escola de Dança, Universidade Federal da Bahia, Salvador, 2012.

HOFFMANN, A. Fiapos, retalhos e (sobras) para possíveis entrelaçamentos entre figurino e moda na construção dos corpos performáticos contemporâneos. In: VIANA, F.; MUNIZ, R. (Org.). Diário de pesquisadores: traje de cena. São Paulo: Estação das Letras e Cores, 2012, p. 169-183.

HOFFMANN, A. O grau zero do figurino: aprender na d’obra. Tese (Doutorado em Educação). Universidade Federal do Rio Grande do Sul: Porto Alegre, 2021.

HOFFMANN, A. Performance Sulcos: corpo, traje de cena e criação. In: VIANA, F.; MOURA, C. (Org.). Dos bastidores eu vejo o mundo: cenografia, figurino, maquiagem e mais. São Paulo: ECA/USP, 2017, v. 2, p. 232-243.

MUNIZ, R. Vestindo os nus: o figurino em cena. Rio de Janeiro: Editora Senac Rio, 2004.

MUNIZ, R. Terminologias. In: ROCHA, R. M. Um panorama do traje teatral brasileiro na Quadrienal de Praga. Tese (Doutorado em Artes Cênicas). Escola de Comunicações e Artes, USP. São Paulo, 2016.

PANTOUVAKI, S.; MCNEIL, P. (org.). Performance costume: new perspectives and methods. 1. ed. Great Britain: Bloomsbury Visual Arts, 2021.

PIRES, B. O corpo como suporte da arte. São Paulo: Editora Senac, 2019.

RAMOS, A. O designer de aparência de atores e a comunicação em cena. São Paulo: Editora Senac São Paulo, 2013.

SILVA, A. J. Para acabar com o “costume”: figurino-dramaturgia. 2005. Dissertação (Mestrado em Teatro). Centro de Artes, Universidade Estadual de Santa Catarina. Florianópolis: 2005.

SILVA, A. J. Figurino-penetrante: um estudo sobre a desestabilização das hierarquias em cena. Tese (Doutorado em Artes Cênicas). Escola de Teatro, Escola de Dança, Universidade Federal da Bahia. Salvador: 2010.

SOUSA, H. H. P. Vestimentas em performance: composições em modos do corpo. Dissertação (Mestrado em Artes Cênicas). Centro de Ciências Humanas, Letras e Artes, Universidade Federal do Rio Grande do Norte, Natal, 2015.

VIANA, F.; VELLOSO, I. Roland Barthes e o traje de cena. São Paulo: ECA/USP, 2018.