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The Hub

FOCUS ON RESEARCH
LONDON COLLEGE OF FASHION
OCTOBER 2006/ISSUE FOUR

01 Foreword
02 Project Profile – Pain and Injury
03 Staff Profile – Reina Lewis
03 Staff Profile – Eiluned Edwards
04 Staff Profile – Charlotte Hodes
04 Staff Profile – Silvia Sovic
05 Area Profile – Cosmetic science
is a science-based, but
fashion-led discipline
06 Press Release
07 Research Student Profiles
08 Centenary Conference – New
Directions in Fashion Research
09 Reflection on Research Fellows
Lecture Series 2005/06
10 Research Fellows Lecture Series
2006/07
11 EMap Special Collection
13 The Costume Institute: an
evolving idea
14 Research Centre for Fashion,
the Body and Material Cultures
Seminar Series
15 Mapping Motifs: An Explorative
Journey through Fashion, Cities
and Identities
16 UK talent cut from a quality cloth
17 Reconstructing Sixties Fashion
at the V&A
19 Scythia: Sixth International
Symposium and Exhibition of
Textile Art
20 IMB Clothing Technology Fair,
Cologne Germany
21 Design 2 Business Symposium,
Shanghai
23 AHRC Research Centre for Textile
Conservation and Textile Studies
Third Annual Conference
25 American Studies as Media
Studies? – Annual Conference
of the German Association of
American Studies
26 Research Hubs Update
28 RAE 2008 Update
29 Research News and Events
01 02

Foreword Project Profile – Pain and Injury in a Cultural


Welcome to a packed edition of the LCF research newsletter, which is a testament
to the extraordinary range of research activities and networks which colleagues
Context: Dancers’ Embodied Understandings
have been engaged in from May to September in our Centenary year. In this edition,
we have profiles of recently appointed research staff along with our new Artscom and Visual Mapping
Centenary Chair in Fashion Studies, Professor Reina Lewis, who joined us on
September 1st. As well as discussions about current research projects by staff and
Professor Helen Thomas, Research Context of their body. The interviews also address how and
students, we have a number of reviews of conferences, symposia and exhibitions.
Dr Jen Tarr September 2006. This research project (Sept. 2006-April 2007) when dancers decide to seek treatment and how
For example, Christopher Cook, Broadcaster and Music Critic, who chaired our
focuses on dance injuries and is funded by the Arts the nature of dance work, which is usually poorly
Centenary Lecture Series last year, offers his incisive, critical reflections on the
and Humanities Research Council (AHRC). Helen paid and based on temporary contracts, affects
lectures. Amy de la Haye reviews Harold Koda’s lecture on the Costume Institute
Thomas is the Principal Investigator and Jen Tarr is how they see their injuries.
at the Metropolitan Museum of Art, with which he launched the University Centre
the Research Fellow, both of whom are trained in Over 100 dancers have been interviewed and
for Fashion, the Body and Material Cultures and Sonia Ashmore casts her
dance and sociology. Biomedical and psychological scanned. The researchers have given presentations
participant’s eye over the ‘Shopping Routes’ research project, which is coming
research has shown that dancers are injured at at Trinity Laban to the MA Dance Science students
to a close with the ‘Sixties Fashion’ exhibition at the V&A. All this and much more
rates of around 81% per year (Laws 2005), and and staff, to the British Sociological Society’s
too, including an article on the EMap archive, revealing the strength and diversity
that they tend to ignore the warning signs of injury. Sociology of Medicine annual conference, and
of practice-based, applied and theoretical research at LCF, which feeds directly into
As in elite athletics (Curry and Strauss 1994), pain will give another presentation at Roehampton
the curriculum. This, in turn, leads to very marketable, thoughtful students, who
becomes a normalised feature of the dancer’s University in November. Two further abstracts have
stay in the industry long after they have graduated, as Jo Entwistle points out in
experience. This suggests that injury in dance is been submitted for consideration to two other
the reprint of her recent article in the Times Higher Educational Supplement.
something of a ‘social fact’ and as such, worthy refereed conferences in Turkey and in Belgium.
of further exploration from a socio-cultural
Professor Helen Thomas
perspective. The majority of the research in this Dissemination to Potential Users
Research Director
area, and this is slight in comparison with for The AHRC has awarded additional funds to the
example, sports injuries, has been conducted from project to disseminate the findings as they are
bio-medical or psychological perspectives. This beginning to emerge through preliminary analysis
Screenshot from Body Scan 1 research, however, examines the socio-cultural to a range of potential users and beneficiaries and
context of dance injuries, addressing the ways that non-dance research audiences. The dissemination
dancers distinguish between pain and injury and scheme is a new initiative to the AHRC and the
the consequences of this distinction for their project has been chosen as one of five to be
careers and performance. Because the majority evaluated by consultants from Price Waterhouse
of research into dance injuries has focused on ballet Cooper.
dancers, this project targets dancers whose training Part of the dissemination process involves
and work primarily involves modern or contemporary generating a road show to discuss the ways in
dance, whilst at the same time recognising that most which the methods of research could perhaps be
dancers will have encountered a number of dance used with other groups, such as musicians, who are
techniques, including ballet, during their training. also prone to injury through repetitive movement.
The research explores the use of visual The researchers are also keen to work with
representation through body scanning and pain physiotherapists and other health professionals
and injury mapping and its benefits for injury involved with dancers, and to this end a workshop
identification and warning. It also considers the and a conference are planned as part of the
effect of alternative body techniques (eg Pilates, dissemination process. These will focus on the role
Alexander technique) and style of dance technique of body scanning and pain and injury mapping as a
Screenshot from Body Scan 2 on dancers’ bodies and injuries. potentially reflexive and therapeutic tool in assisting
dancers to maximise their performance potential.
Research Process The concern is to explore the potential
The project involves 200 interviews and body scans uses/problems of employing this tool with other
using a three-dimensional body scanner, which was individual or client groups.
used in the national Size UK project to scan 11,000 A website, with two levels of access is currently
people. The researchers, using a variety of strategies, under construction and should be operational
have targeted dancers of all ages, from those who by October. The first ‘public’ level will offer details
are in training in conservatoires, colleges and of the overall project: aims, methods, stage of
universities, to company and independent dancers, development, associated activities and tentative
mixed ability companies, teachers, community outcomes. The second level will be accessed
dancers and older or former dancers. Dance UK, by interviewees and others (teachers and
which has pioneered the Healthy Dancer, for physiotherapists) involved in the research by means
example, sent information on the project to their of an individual password. Preliminary findings
members and to dancers who had assisted with will be posted on the website. Participants will be
Dance UK’s research. encouraged to comment on these. The intention
Prior to the interview process, the 3D body is to a) set up a discussion forum between
Screenshot from Body Scan 3
scanner is used to create surface images of practitioners and b) provide further data for future
dancers’ bodies. The scans and a short questionnaire work in this field. The participants (who are also end
form the basis for the semi-structured interview users) will have an active role in the research as
process where the dancers are asked to map it moves towards its completion.
current and past pain and injury sites and strengths Enquiries and interested dancers, contact
and weaknesses onto the visual representations j.tarr@fashion.arts.ac.uk 0207 514 2288
03 04

Staff Profile – Reina Lewis Staff Profile – Charlotte Hodes


Centenary Chair Senior Research Fellow
ranging research practices fostered by LCF relation to Turkey’s bid for EU accession. This I am delighted to have been recently appointed to embraces Fine Art practice more broadly. Digital
are disseminated to academic, industry, and work focuses, for example, on how the dress the post of Senior Research Fellow in Drawing at Responses 2001-2002 was a ribbon of one person
public audiences and look forward to acts of veiled staff working in fashion retail LCF and look forward to forging new links and shows in a ‘laboratory’ space at the Victoria and
contributing to this. impact on the personal experience of other making new friends. I join LCF from Camberwell Albert Museum in which each artist, using the digital
My current work in feminist postcolonial staff, the retail geographies of consumers, College of Arts where I have recently completed a process within their research, responded to the
studies is concerned with the ways in which and the industrial policies of employers and year as Acting Subject Leader in MA Drawing 2005 collection. My own response was a cabinet of
the figure of the Muslim woman, veiled or brands. Using the hyper-visibility of the veiled –2006. Prior to this, I was teaching at Camberwell ceramic vases collaged profusely with hand drawn
unveiled, is central to changing debates body as a lens through which to view as an Associate Lecturer on both the BA Ceramics and digitally manipulated colour transfers which
about relations between Islam and the west. contemporary postcolonial cultural crises, this and Fine Art Painting courses. echoed the museum’s display of functional ceramic
My first book in this area, Gendering research includes attention to alternative I am deeply committed to the role of drawing works. A more recent project The Digital Surface
Orientalism: Race, Femininity and modes of fashion innovation and mediation within the visual arts and the way in which it cuts supported by the European Union, Culture 2000
Representation (1996), brought to light the such as the new Muslim lifestyle media. across subject specialties. Whilst at LCF, I hope was a collaboration between three colleges, at
contribution to imperial cultures of My other area of work is in sexualities to encourage a dialogue with students, staff and Camberwell, NCAD, Dublin and University
Reina Lewis nineteenth-century western women artists studies. In addition to my co-edited collection researchers as to the contemporary relevance of of Art, Helsinki resulting in a conference at Tate
Photo: Neil Turner © TSL Education
and writers in order to demonstrate the Outlooks: Lesbian and Gay Sexualities and drawing both as a hands on, direct process and one Britain 2003.
I was delighted to take up the Centenary heterogeneity and contested nature of Visual Culture (with Peter Horne, 1996), Charlotte Hodes which embraces new technologies. I believe that For my current research, as the first Associate
Chair in Fashion Studies both for the wider Orientalist discourse. Rethinking Orientalism: I have written on lesbians as readers of drawing is central to visual thinking. It enables the Artist at The Wallace Collection, London, I am using
opportunities offered by the research culture Women, Travel and the Ottoman Harem mainstream fashion magazines, and as Current Exhibitions artist / designer to develop, adapt and respond both their Fine Arts and Decorative Arts collections
of LCF and for the particular ways in which (2004), on the early twentieth century, producers and consumers of queer lifestyle Flow Gallery, London creatively to our fast moving contemporary as a source for new artworks. I am looking at the
the College’s links with the national and revealed how women codified as Oriental publications. My new project involves a 15-28 September 2006 environment. way in which the 18th Century Rococo Sèvres
international fashion industry dovetail with (and stereotyped as silenced and oppressed) reconsideration of performativity – analysing Solo show of ceramics My own research is centered on my practice porcelain with its elaborate ornamentation and
new developments in my personal research. were in fact able to manipulate western the historicised cultural competencies and papercuts as a painter which includes large scale papercuts pictorial imagery can be interpreted and re-
Having trained initially in Fine Art and Art cultural codes and challenge western needed to enact and decode the dressed which have been both digitally collaged and hand presented within a contemporary context. As part of
History and spent the early years of my assumptions about middle eastern life. performance of ethnicised, sexual, and Jerwood Drawing Prize cut as well as ceramic forms which are ornately this research, which has been supported by the Arts
career teaching in art schools I was keen to My new research examines the gender identities. Always keen for a reason Exhibtion decorated. My imagery is concerned with the Council of England and the AHRC, I am creating
return to a practice-based environment, after contemporary commodification of Muslim to dress up, my new work in this field is being Jerwood Space, London representation of the female figure as a motif a visual archive of drawings from which I make the
thirteen years in Cultural Studies at the femininities, including current veiling debates, developed as part of an ongoing performance 20 September – 22 October juxtaposed with elements of pattern, drapery, papercuts and ceramics. This new artwork looks
University of East London. I am inspired by the development of diaspora fashion circuits, piece called ‘Out of the Closet and into the 2006 and tour. contemporary motifs such as computer icons and to working processes that were utilized by the
the innovative ways in which the wide- and the neo-Orientalisms emerging in Wardrobe’. A large papercut selected for domestic elements including cooking pots in an 18th century artist Antoine Watteau, who is well
this important national open ordered cacophony. represented in The Wallace Collection. The Wallace
submission drawing show. In conjunction with Camberwell and Chelsea Collection as a whole emanates a female sensuality
Staff Profile – Dr Eiluned Edwards Colleges of Art I have been involved with the
research project The Integration of Computers
and lushness and so for me, an important question
within the research is how to both acknowledge and
The Drawing Gallery, London
Research Fellow From September 2006
A new sequence of papercuts
and Fine Art Print now entitled Fine Art Digital
Environment (FADE) which initially explored
subvert this so that the new art works address a
contemporary and personal notion of femaleness.
Histoires Naturelles can the relationship between traditional and digital This two year project will culminate in a solo show
I have been researching aspects of textiles periods, I now speak ‘village Gujarati’ and the temple cloth painters at Srikalahasti and technologies in printmaking but which now at The Wallace Collection next year, May 2007.
be viewed as a portfolio.
and dress, and traditions of handicrafts since Kachchhi dialect, and sound like a yokel. printers at Machilipatnam, both in Andhra
I was a student in the 1980s. After I have continued to work in Kachchh and Pradesh; printers at Jaipur, Bagru and
graduating, I was self-employed as a textile Gujarat, but have extended the range of my Sanganer in Rajasthan; and printers at
artist and juggled commissions, workshops research to other parts of India, including Dhamadka and Ajrakhpur in Kachchh, Staff Profile – Dr Silvia Sovic
and part-time lecturing with research trips Rajasthan, Ladakh and south India. Gujarat. Work is also being developed with
abroad - at that time chiefly to Latin America There are two distinct strands to my indigo farmers in Cuddapah district, Andhra CLIP CETL Research Coordinator
(Mexico, Peru, Bolivia, Ecuador, Cuba). current research: the first is directed towards Pradesh and Tindivanam, Tamil Nadu. The
A large commission from the Church of a book on the traditions of textiles and dress project has been developed in collaboration We welcome the appointment of Dr Silvia Sovic to the CLIP CETL team. Silvia will be working on a
England for altar cloths and vestments for in Gujarat. This draws on fieldwork and with artisans at the sites mentioned above, one-year project to investigate the first-year experience of our international students. This project will
St Anne’s Church, Soho, in 1991, funded my archival research in India since 1991 and will with technical advice from Dr Ismail sample key student groups and interview them in their own language. It is hoped the results will add to
first trip to Asia, and I have been going back ally ethnographic material to object-based Mohammad Khatri, a master printer and dyer our understanding of the key issues that affect study and enable international students to succeed and
to India ever since. Subsequent research research at the V&A, where I am presently from Kachchh K Anbalagan, an indigo farmer enjoy their learning in art and design based courses at UAL.
has included a two and half year project working on the collection of Gujarati textiles. from Tindivanam is advising on the processes Silvia took her BA in history and ethnology at the University of Ljubljana, Slovenia, her MA at the
documenting the textiles and dress of the This combined approach will offer a unique of cultivating and manufacturing indigo. Institute of Historical Research, University of London, and her PhD at the University of Essex. She has
farming and herding communities of Kachchh perspective on an aspect of contemporary I will be filming the indigo harvest in worked as Research Training Development Officer at the School of Advanced Study, University of London,
district, Gujarat (sponsored by the dress in India. The focus of the second is the September of this year, unless the monsoon researcher at the Cambridge Group for the History of Population and Social Structure, and Campaigner
Leverhulme Trust) and a three year study use of natural dyes, particularly indigo, by fails… A number of articles are planned and Research Assistant at Amnesty International.
of the material culture of the Rabari nomads artisans in three traditional centres of textile based on this research and also a book on
of Kachchh (funded by the British Academy) printing and painting in India. A two-year the traditions of ajrakh and other blockprints Silvia will be based at John Princes Street and can be contacted through email
which culminated in a PhD in 2000 (The programme of research is currently underway, in Kachchh, to be co-authored with Ismail s.sovic@fashion.arts.ac.uk
Desert and the Sewn: Textiles and Dress of which is funded jointly by the Dallapiccola Khatri.
the Rabari of Kachchh). As a result of living Trust, the Nehru Trust and the British
in Kachchh/rural Gujarat for such extended Academy. This involves deep fieldwork with Dr Silvia Sovic
05 06

One of the fashion related disciplines that Area profile


have found their home at LCF is the continued>
cosmetic science area. It is a small and
specialist, but highly research-active field,
led by Dr Danka Tamburic, Reader in
Cosmetic Science.

Area Profile –‘Cosmetic science is a


science-based, but fashion-led discipline’,
Dr Danka Tamburic Research student in cosmetic science laboratory

LCF entered the company of research active conservation experts from Camberwell College of Taking into account the breadth of existing research The emerging research strand of cosmetic
institutions in cosmetic science in 1998, with Dr Arts and printing and digital colour experts from activities, it is possible to identify the following packaging is currently supported by an LCF funded
Tamburic’s publication of a scientific paper in the London College of Communication. research strands within the area: project. With the acquisition of specialist equipment,
well-known international journal – Cosmetics & In terms of external collaboration, the following Exploring the efficacy of cosmetic products which is now completed, this under-researched
Toiletries Magazine. This was two years before the institutions are in different ways involved in the using skin bio-engineering methods field offers great potential to develop to a niche,
first graduate course in the UK in this discipline, on-going projects: (non-invasive in vivo testing) LCF-specific area.
the BSc (Hons) Cosmetic Science, was established Since its humble beginnings in 1998, cosmetic
Evaluating internal structure of semisolid
at LCF. The BSc, which is a four-year sandwich University of London, King’s College science at LCF has produced a respectful number
systems for cosmetic and pharmaceutical
course, has now produced its third cohort of Department of Pharmacy of research outcomes –12 scientific papers, 16
application and its effect on product efficacy
graduate students and is well established within University of Technology Warsaw conference presentations, one book chapter and
the UK cosmetic industry. Exploring the use of novel technology two review papers. With further strengthening
Chemistry Department
Since 1998, the cosmetic science research (especially nanotechnology) in cosmetics of its PhD provision, the planned development of
University of Belgrade, Faculty of Pharmacy
area has grown, especially between 2002 and Biotechnological approach as a method taught postgraduate courses and the enhancement
Institute for Pharmaceutical Technology
2004, when it was supported by HEFCE via for obtaining novel multifunctional cosmetic of its staff base, cosmetic science at LCF has the
and Cosmetology
the Science Research Investment Fund (SRIF). ingredients potential to develop into a unique research unit
This facilitated the acquisition of a range of University of London, Queen Mary College within the UK HE sector.
Exploring the potential of water-soluble
bio-engineering equipment, enabling the Centre for Materials Science
adhesive films as carriers for cosmetic actives
Dr Danka Tamburic measurement of skin hydration, skin pH values, University of Westminster
Packaging aspect of cosmetics & toiletries:
sebum level, trans-epidermal water loss, skin School of Biomedical Sciences
balancing product stability requirements and
elasticity and skin colour, as well as the visualisation
environmental impact of packaging
of skin topography. In addition, the polarising LCF is the only HE institution in the UK offering
microscope, rheometer and texture analyser a PhD in Cosmetic Science. The first PhD of this
provided an insight into the structure and properties kind, entitled “The use of novel technology in
of various product forms used in cosmetics and enhancing the efficacy of cosmetic actives of
toiletries. These instruments are extensively used
in both teaching and research, as well as in the
natural origin” is being undertaken by Mojgan
Moddaresi and is being realised in collaboration
Press Release: Mojgan Moddaresi’s work
laboratory work leading to final year projects.
In 2005, Dr Danka Tamburic was awarded a
with King’s College London. Dealing with the
production, characterisation and testing of the
features in British Pharmaceutical Conference
UAL research sabbatical to assess the application novel nano-suspension cosmetic forms, it is
of some novel encapsulation techniques to naturals. progressing well through its second full-time The work of Mojgan Moddaresi, a cosmetic science PhD student, was recently featured in
The project entitled ‘Exploring the efficacy of year. Mojgan was invited to present a review of the British Pharmaceutical Conference (BPC) held in Manchester in September. Mojgan
natural actives in cosmetics: Does novel technology nanotechnology in cosmetics to the members submitted a poster for the Conference which attracted attention from the pharmaceutical
make a difference?’ resulted in a paper published of Royal Chemical Society at their meeting in world. The poster featured the work she has been researching for her PhD. Mojgan is
in the Journal of Applied Cosmetology, another September. developing ideas to combat the problem of vitamin E and its resistance to being dissolved in
paper in Euro Cosmetics and a poster presentation The second PhD in cosmetic science is in the water. It is currently applied topically using heavy or oily bases that are difficult to apply
(accompanied with a full-paper in the congress application stage, Madhuri Shamanna is due to and release only a small proportion of vitamin E.
proceedings) at the World Congress on Emulsion, start in October 2006. The project proposal entitled
which will took place in October 2006 in Lyon. Using new-age nanotechnology, Mojgan and other researchers at London College of
‘Development of natural multifunctional cosmetic Fashion and King’s College London have come up with an anti-ageing gel that is more
The LCF research group has established ingredients using biotechnological approach’ is
a number of internal and external research links. effective and easier to use than existing products.
planned to take place in collaboration with the
Inside the University, cosmetic science researchers University of Westminster, School of Biomedical
belong to the Materials and the Arts Research Sciences.
Centre (MATAR), University of the Arts, alongside
Mojgan Moddaresi
07 08

Research student Centenary Conference:


profiles New Directions in Fashion Research,
Renate Stauss
27 and 28 September 2006
(un)dressing the self: working with dress
on concepts of self in therapeutic settings
If ‘clothes maketh the man’, can man
maketh himself?
In our late-modern consumerist setting dress is said to play a central
role in the construction and maintenance of identity. Dress has come
to be the most important form of non-verbal communication,
appearance a ‘central element of the reflexive production of the self’.
The following question arises from these claims: if dress plays such
a vital role in identity construction, could it not be used, consciously
and constructively in relation to the self? And indeed, a number of
practices of working with dress exist, which I have divided into two
categories: image work and self-concept work. Image work describes
the way in which the ‘power of appearance’ is being exploited within
the commercial context of image and style consulting. Recent
decades have seen a significant number of style guides, of people
Centenary exhibition sign that doubled as a takeaway box
marketing their advice on (life)style and fashion in different media
(Halbreich, 1997; Kressley, 2005; Levene & Mayfiled; Mather, 1996; The Centenary Conference was a huge success with
Reed, 2005; Woodall & Constantine, 2000, 2002, 2003). Dress is
international delegates from The Costume Society,
being employed, and appearances managed to project a particular
Universities around the UK, The Photographers Gallery,
image, one that promises more success. Some identity aspects of
Victoria and Albert Museum, MoMu – Fashion Museum
image work practices have been discussed by Holdermann (2003).
Antwerp, Fashion Awareness Direct, Museum of London,
Self-concept work on the other hand refers to ways in which dress Hays Davidson, The Hearst Corporation, The British Council,
and cosmetics have been used in a small number of therapeutic
The Design Museum, and Universities in the Netherlands,
settings for the past few years, e.g. soin culturel/vêtothèque,
France, Sweden, and China.
cosmetic therapy, sensory stimulation treatment and phototherapy.
Self-concept work is not only concerned with the way others perceive The lively pace of the Conference was created from the
us, but how we see and understand ourselves. Although the two different types of presentations given by the speakers over
are inherently connected, the vital difference is the emphasis on the two days Valerie Steele gave an exciting powerpoint
concepts of self rather than on self image. In this context dress is presentation illustrating the latest exhibition which she
for instance being used to ‘build a relationship with oneself -
curated ‘Love and War: The Weaponised Woman’, at The
restoring one’s self-esteem by accepting one’s body’ (L’Espace Arthur,
Museum at the Fashion Institute of Technology, New York.
2001). Self-concept work includes different, new and unrelated ways
Robert Violette created an inspiring atmosphere by opening
of applying dress to self, and has hardly been explored let alone Robert Violette’s magazine
analysed. Therefore this project proposes to investigate how dress, up the whole Rootstein Hopkins Space and introducing his
its role, meaning and materiality in relation to the gendered self, magazine production team who had the task of creating a
has been and can be used within self-concept work. magazine in an hour and a half. He took ideas and questions
from the audience who also joined in with the magazine
This thesis aims to investigate current approaches to dress/self-
concept work that use both touch and vision within a small number
production process.
of therapeutic settings and to posit that dress can be applied to Maria Luisa Frisa, Director of the Fashion Design Degree
concepts of self in new ways when used in an intentional, knowing, Programme, IUAV University of Venice talked about her
self-conscious and reflexive way. career and then presented her work with a video. Research
Students from LCF gave some interesting presentations,
showing the research that they were currently developing.
The Pedagogy and Student Learning session proved very
interesting with enlightening presentations from Professor
Lin Norton, Liverpool Hope University and Geraldine Biddle-
Perry. The last session of the conference was as exciting as
anticipated with presentations from Dr Jose Teunissen,
Conservator Mode en Kostuums, Central Museum, Utrecht,
Nilgin Yusuf and one of her reader’s Alan Cannon-Jones, Simon Thorogood and Lucy Orta.
letters at the centenary conference
09 10

Reflection on Research Fellows Lecture Series, The Art of the Impossible: Dance Class being run by Desmond Clarke, a title Aesthetic Labour began with fashion and led
Christopher Cook continued> remarkable Afro-Caribbean who was born in us to labour. As she wrote ‘Fashionable clothing is
Jamaica. And this led to a simple question ‘How did not just about changing styles of clothes, it is also
an early nineteenth century dance from fashionable about changing ideals as to the design and look of
The Art of the Impossible: European ballrooms cross the Atlantic and return
150 years later to be danced by the Afro-Caribbean
clothes.’ So fashion is about aesthetics and we
should pay attention to not just the clothes ‘but the
Research Lectures 2006: Christopher Cook community in South East London?’ And what
precisely did the dance signify? Answers to both
production of aesthetic value around such
garments.’ In this context ‘labour of aesthetics’
questions only came after Thomas and a colleague became a study of the making of fashion and the
A friend once described his research as the ‘art of them ‘deciding, for example, to show a dress that were coaxed onto the dance floor to experience the ‘aesthetics of labour’ the ‘making of the fashionable
the impossible’, by which he meant taking an idea was virtually perished and retaining the lipstick quadrille for themselves. However, judging by what body’. Fashion buyers and agencies, provided
and seeing how far he could stretch it before it traces on a 1925 wedding dress.’ we were told of their Penge Days neither Helen Entwistle with her study model.
snapped. Leaving aside images of string, rubber Becky Conekin too has been rescuing a Thomas nor her collaborator needed much in the Fashion too took Ceri Isaac on a journey
bands or even bubble gum it’s a useful reminder woman’s story, or more accurately inviting us to way of coaxing! Embodied Sensitivities, Dance and through the history of CAD and in a sequence of
that for all the best scholarly practice in the reconsider a celebrated, if not celebrity, life. Lee Difference: from ethnography to History was fine images she explored how digital technology,
academic world, the most exciting research in the Miller’s history behind and in front of the camera as Thomas’s title, but she described it more informally and in particular printing techniques has had an
humanities or the sciences, in art and design is a model, a muse and photographer is a matter of as ‘ethnography meets history meets ethnography’. impact on her own work. Once again a history and
about stretching ideas into new, and maybe public record. What Conekin has been exploring is And like the best ethnographers there were videos theory informed practice. Lots of mental stretching
impossible shapes. Miller’s professional life beyond her time as a staff and images of the work that established a timeline here as with Lucy Orta’s work which began the
The happy band of brothers and sisters who photographer at Vogue; her work as a writer and in between the fashionable classes in Europe in the lecture series. But it was Isaac who tempted me to
met at John Princes Street on Wednesday evenings particular as a war correspondent. This was a latter part of the eighteenth century and slavery in be flip. She called her lecture ‘Rogue Pixels’ and
for the Centenary Research Fellows Lectures were lecture that raised a rush of questions. ‘Why has the West Indies. Shades here of Edward Said’s that encouraged me to try a joke about it sounding
all up for stretching, and the mental gymnastics Miller’s work as a writer been overlooked?’, ‘Is it that great insight that it’s slavery that enables the rather like an Indie band of the kind that used to
began with the extraordinary array of topics under Miller quite deliberately crosses professional culture of Jane Austen’s Mansfield Park. Then there play in pubs along the Goldhawk Road. I laughed
investigation. To name but three - and they are ‘frontiers’ in her work?’ And are these ‘frontiers’ a is the reverse journey, the descendants of slaves when I was preparing my introduction to her lecture,
pulled from my memory at random - there was masculinised version of professional practice?’ bringing the dance back to Europe where they had but the audience in Rootstein Hopkins East Space
Judith Clark meditating on Anna Piaggi as a fashion Here, as was so often the case, it was the general entered into (and this was my own particular gloss sat on their hands. They’d clearly come to be
mediator, Lucy Orta interrogating the idea of discussion as well as the lecture itself that made us on Helen Thomas’s lecture) a kind of economic and serious. And they were amply rewarded on
community in her work and Pamela Church Gibson in the audience think. And think in new ways about perhaps cultural ‘slavery’. Wednesday evenings from October to May when
undressing costume in The Matrix. As an Art and the familiar – it’s the art of the impossible again, The simplest lesson of these lectures was that the ‘art of the impossible’ suddenly seemed
Design outsider, although I was on the staff for a stretching an idea to breaking point. Fashion with a capital letter is the starting point for perfectly possible! As for myself, next time I’ll leave
while at Central School before it was married off to Good research also takes us to places that we as many journeys as a research fellow is willing to the joke at home.
St Martins, these early evening sessions were can never hope to visit, with the researcher blending undertake. Joanne Entwistle’s lecture with the witty
rather like being the small boy who for years has the skills of the travel writer and the anthropologist
pressed his nose up against the window of a sweet with economics and sociology and cultural studies.
shop. Suddenly the door opens and he is invited A heady brew when Eiluned Edwards transported
inside, encouraged to taste everything and told he us to Western India, to Gujerat and the Rabari of
can take anything he likes home with him! Kachchh. She chose a punning title for her lecture.
What I took home most often was the
thoughtful marriage of theory and practice, and
The Social Fabric: The Role of Hand Embroidery
in Western India. Craft and economics had collided
Research Fellows Lecture Series 06/07
above all a sense of how the ‘historical’, as we here to change a pattern of traditional working.
construct it at any given moment impinges on the Historically, said Edwards, it’s been customary The current LCF centenary celebrations have given the college a chance to reflect on the areas and issues
present. Amy de la Haye’s paper grew out of a fine ‘to divide embroidery into two distinct categories: that will play a key role in the future of the College and the fashion industry over the next generations.
exhibition that she co-curated at the Brighton dowry embroidery for home consumption made Areas such as health, textiles, sustainability, ethical design and science, (including nanotechnology,
Museum and Art Gallery, A Family of Fashion – The by women; and trade or commercial embroidery medicine, engineering and cosmetic science) and well–being are presenting fashion with a paradox.
Messels: Six Generations of Dress. This was the made for patrons in India and abroad, which was How do we bring these issues into the mainstream whilst also meeting the fashion industry’s need to be
first time that dress worn and preserved by women traditionally made by men.’ The market for trade ever changing and consuming?
from one family – the Sambornes, Messels and the embroideries flourished from the sixteenth century The Research Office is pleased to be hosting another Research Fellows Lecture Series. The series will
Rosses - had been identified, studied and exhibited, until the early twentieth century when it finally focus, in the Autumn Term, on the theme of ‘Better Lives’ profiling the variety of exciting new research in the
she told us. And her lecture explored ‘how a petered out. ‘In the past thirty to forty years, the area of fashion, health and well-being. They will begin with an introductory lecture by the Head of College,
detailed material culture study of clothes can distinction between the domestic and commercial Dr Frances Corner, on 11 October.
provide insights into the socio-cultural traditions has become blurred; women whose skills We are very happy to announce that the lectures, like last year, will be chaired by Christopher Cook.
circumstances of the women who chose, made, have developed through making dowry, have The lectures will be held in the Rootstein Hopkins East Space, entry is free and all are welcome. The
embellished, wore and subsequently preserved started to establish themselves as professional lectures start at 5.30pm, last for about an hour including questions and discussion and are followed by
them.’ These then were fashion garments to be artisans.’ Edwards traced these new patterns of refreshments.
worn and subsequently studied for what they tell us women’s work and their embroidery patterns too,
about how certain women lived, but they had noting how traditional motifs develop and change. Wednesday 11 October 2006, Dr Frances Corner, Better Lives: Furthering the Influence of Fashion;
another more personal life too. Anne Countess of And there on a table beside the lectern she had Wednesday 1 November 2006, Dr Penelope Watkins, Fit to Feel Good;
Rosse, born a Messel, had kept her clothes arranged samples of the work. Once again practice Wednesday 8 November 2006, Helen Storey, Eye and I;
carefully packed in boxes each with its own and theory were seamlessly stitched together. Wednesday 29 November 2006, Professor Helen Thomas and Dr Jen Tarr, Pain and Injury
descriptive label - what the garment was called, Helen Thomas took us on a journey nearer in a Cultural Context;
when it was worn etc. ‘Items … preserved as home, but no less remarkable. To Penge in South Wednesday 6 December 2006, Professor Christopher Fairburn, Anorexia and Fashion.
triggers of memory’, said de la Haye. Here was East London where in 2000-2001 she directed a
another history and she and her fellow curators held research project Dancing into the Third Age: Social The series recommences in the Spring Term on the following dates; Wednesday 24 January 2007,
faith with the personal histories of these clothes, Dance as Cultural Text. While working on the Wednesday 14 February 2007, Wednesday 14 March 2007, Wednesday 25 April 2007,
often resisting the temptation to restore or repair project she and her colleagues found a Quadrille Wednesday 23 May 2007, Wednesday 13 June 2007.
11 12

The EMap Special Collection is a research archive managed by Library and Learning
Resources (LLR) at the London College of Fashion in co-operation with the
Research Department. This is a collection of British fashion clothing and footwear
trade journals from the late 19th century until the present day published by
EMap Publishing Ltd and given by EMap to the College. The collection is open
to researchers by appointment (details at the end of the article).

EMap Special Collection at the


London College of Fashion, Jane Holt
The journals offer an insight into how clothing, The journals had been housed in very poor materials and accessories produced and sold for Likewise with the shoe and boot industries,
domestic textiles, and footwear were produced, conditions in a damp basement away from the the drapery trade, the trade that provided the means the focus during the 19th and early 20th century
disseminated and consumed from the late 19th EMap head offices and they were covered with for clothing to be produced at home or in small was on production and distribution with style and
century through to the 21st century. The key titles dust and spiders’ webs – all of which Katherine workshops and sold through the independent form secondary. However, what is interesting in
held are Drapers Record from 1887 but with some Baird, Head of LLR at LCF had to tackle before the small clothing shops and department stores which the footwear sector is the predominance of multiple
gaps, Fashion Weekly from 1959, Men’s Wear from collection could be moved to LCF! Some of the dominated the clothing market. By the 1920s and chain stores from much earlier than clothing
1902 to 2001, The Outfitter from 1906 until it journals are fragile, in particular those from the war and 1930s new retail and distribution management stores and the rare appearance of shoes in any
merged with Men’s Wear in 1965, Shoe and periods 1914-1918 and 1940-1945 due to the methods, many pioneered in the United States, quantity in department stores.
Leather News 1916 -1954, and Shoe and Leather poor quality paper that had to be used for publishing were introduced by retailers such as Burton, Marks Researchers have been using the collection
Record 1897-1947. All the journals are in bound then, but generally the volumes are in good & Spencer, C&A and Woolworths into the UK. since it opened in 1999 to investigate topics such
volumes. condition, and are now all usable with care. These companies set up multiple stores across as fashion history, clothing and footwear trends
The collection was the beneficiary of AHRC The collection provides a rich archive of the country selling a wide range of cheap items and developments; department stores, chain stores,
funding over two years, 2003-2005. The funding fashion clothing, domestic textile, and footwear from clothing and shoes to household goods. boutiques and specific retailers; development of
enabled articles in all the journals to be indexed. manufacture and retail information in the UK from They continued to develop into what we now call brands; textile developments, in particular artificial
This was a major project and really opens up the the later part of the 19th century through the 20th ‘chain stores’ and their market share increased fibres and textile innovations; history of sportswear
collection to researchers. Articles by title or subject century. This gives not just an overview of the rapidly throughout the 20th century. especially sports footwear and swimwear; men’s
can be located by searching the library catalogue respective trades but also provides researchers To meet this competition department stores, and women’s underwear; jewellery; window display,
(accessible via the internet and the i page at with detailed information about individual which were pioneering retail sites in the nineteenth visual display and merchandising; advertising and
www.arts.ac.uk/library), under the collection section companies and retailers, their management and century, refocused their stock and services to marketing; clothing and war. The range of subjects
for Emap. Items appear on the library catalogue production methods, and even individuals involved provide an up-market alternative to the chain store. being researched gives an idea of the wealth
Drapers Record, cover,
Shoe & Leather News, p.485, with the shelfmarks EMAP PERIODICALS, EMAP in the production, management, distribution and March 12 1921 Service, exclusivity and novelty became the keys of information and visual material the collection
May 29 1919 ARTICLES or EMAP ARCHIVE. retailing of clothing and footwear. This in turns to the continued success of stores like Selfridges, contains.
However, part of the joy of using the collection offers researchers the opportunity to trace the Harrods, Whitley’s, Debenham & Freebody, Peter Researchers using the collection include
is that even when a specific article is identified the history, development and changes the industries Jones, Fenwicks and many more. research staff and students from the college and
context that article is in within the journal opens up and the relevant markets underwent over the As the century progressed there was a shift, other colleges in the University of the Arts London;
further leads such as the adverts on the same page last century. The collection maps the rapid as clothing increasingly became ‘fashion’. Men’s researchers from other universities and museums;
as the article or in the same issue. Other articles on development of one of Britain’s key industrial clothing is an interesting example of this shift. authors, journalists, and freelance writers;
the same page, or editorials, or letters, all enrich the sectors, that of clothing and footwear. Innovations Journals such as The Outfitter and early issues individuals with personal interest; and students
research process and expand knowledge on the in technology and marketing and the introduction of Men’s Wear focus on tailoring, shirt making and from the college, in particular postgraduate
subject. of mass production methods increased the volume underwear for men and boys. The styles and students looking at clothing and footwear
The AHRC funding also enabled consultation of ready-to-wear clothing for men and women materials are not specifically ‘fashion’ orientated trade history.
on the best ways to preserve and conserve the throughout the twentieth century. Footwear until the late 1960s and 1970s when gradually
collection. Preliminary conservation of the bound manufacture also changed and developed as new a sense of ‘fashion for men’ becomes prevalent. We would be more than happy to introduce you
volumes was carried out and additional materials, production techniques and management The losers in the changing retail landscape to the collection. Appointments need to be made
conservation is being done as funding allows. innovations were introduced. were the small independent shops and increasingly in advance. It is only open during term time, on
This has been an opportunity for us to collaborate Developments in ready-to-wear and mass they turned their focus on niche and specialist Thursdays from 10.00 to 18.00. To make an
with Camberwell College of Art as students on their production clothing and footwear stimulated the markets to adapt and survive. But by the 1960s and appointment to use the EMap Special Collection
conservation course worked on a six day placement growth of what we now consider as ‘high-street’ 1970s independent clothing shops gained in the please contact the EMap Special Collection
doing basic repairs and dealing with red rot which fashion. The trade journals show this development. market as boutiques catering for new young Librarian email: v.buchanan@fashion.arts.ac.uk
Men’s Wear, cover, June 5 1975
some of the bindings had. During the late 19th and early 20th centuries the fashion consumers opened. or telephone: 0207 514 8392. The EMap Special
focus in Drapers Record for example, was on the Collection is located in Room 306, 20 John
Princes Street, London W1G 0BJ.
13 14

A review by Amy de la Haye, Reader in Fashion The Costume Institute: Koda went on to case-study the curatorial historical dress in historical settings: a mid-
Curation and Material Culture. On 24 June 2006, continued> processes undertaken for the Chanel exhibition nineteenth-century gown by Worth is juxtaposed
LCF welcomed influential fashion curator and (2005), explaining its focus on modernity, his and with a design by John Galliano, and Punk styles
author Harold Koda to launch the opening of Bolton’s selection of garments, the installation’s set beside Savile Row suits. By choosing to exhibit
the Research Centre for Fashion, The Body and design (inspired by le Corbusier), and the choice in Anglomania a unique mantua (the term for
Material Cultures with a lecture, followed by drinks of mannequins (based upon those used in the a woman’s gown at the turn of the eighteenth
and further discussion in the Fashion Space. Paris 1925 exhibition). The installation and the century) which, unusually, has not been altered,
mannequins were designed by Creative Consultant Koda highlighted the ongoing museological debate
Olivier Saillard, of the Musée de la Mode et du about care versus access (there were concerns that
‘The Costume Institute: an evolving idea’: Textile in Paris; Karl Lagerfeld at Chanel had
insisted that mannequins would not be used in
the gown would fade), and discussed the possibility
of using virtual effects as a future solution.
the exhibition, but changed his mind when he Harold Koda’s lecture was fascinating and
a lecture by Harold Koda, Curator-in-Charge saw Saillard’s designs. Koda also described the insightful for this audience with a shared interest
Dangerous Liaisons exhibition (2004), which in fashion in its various contexts. To the staff and
of The Costume Institute of the Metropolitan was staged in The Wrightsman’s Galleries, the
museum’s French-period rooms, and which
student cohort involved in LCF’s recent MA in
Fashion Curation, and members of the Fashion
Museum of Art, New York explored the dressed body’s spatial negotiation of
the eighteenth-century interior as a choreography
Curation Research Hub, this event will be especially
memorable.
of seduction and erotic display. Finally, the audience
Harold Koda began his museum career by working loving civic dignitaries who were passionate about was shown images from the recently opened
as an intern with Diana Vreeland at The Costume stylistic accuracy and encouraged scholarship in Anglomania exhibition which locates modern and
Institute (TCI). In 1979 he left to work as Associate what they considered to be a universal art form.
Curator at The Fashion Institute of Technology’s In a lecture illustrated by fantastic slides, Harold
Museum, and was joined there by Richard Martin Koda documented the curatorial shifts that have
in 1981 (their exhibitions included Balenciaga, taken place at TCI over the years, and provided
Fashion and Surrealism and Jocks and Nerds). fascinating insights into the curatorial interventions
In 1993 Koda returned to TCI with Martin, where involved in recent exhibitions.
together they staged many seminal exhibitions, Whilst attendance figures for fashion
including Diana Vreeland: Immoderate Style, exhibitions are at an all-time high, and many new
Orientalism, Haute Couture and Christian Dior. venues are engaging with fashion for the first time
TCI’s gallery space of 5,000 square feet and five
fixed cases stages three impressive exhibitions
(in London, the Imperial War Museum and the Royal
Academy are amongst the institutions to have
Research Centre for Fashion,
each year, displaying fashion from the Institute’s
superlative collection. Koda left TCI once again
staged fashion exhibitions), this popularity is rarely
matched by investment in dress collections and the the Body and Material Cultures Seminar Series
in 1997 to pursue another passion – landscape employment of professional curators. Koda
architecture – while continuing to work on various explained that, unlike the Met’s other curatorial
The Research Centre has now started to hold seminars on a regular basis. The first of the
individual exhibitions, including the blockbuster departments, TCI must seek all of its funding from
Centre’s Research Seminars was held by Clare Rose, a Senior Lecturer in the History of
Armani (which he co-curated with Germano Celant) external sources. As a result, alongside their
at the Guggenheim in New York. In 2000 he curatorial duties, TCI’s staff are unashamedly and Textiles, Chelsea College of Art & Design London. Her PhD, Boyswear and the Formation
became TCI’s Curator-in-Charge, and appointed necessarily “media mongers”. The TCI’s major of Gender and Class Identity in Urban England, 1840-1900 has recently been completed
former LCF and V&A Research Fellow Andrew annual fund-raising event is its glitzy Party of the at the University of Brighton. Designing Little Men, Christopher Breward’s work on the
Bolton to work with him. During the course of his Year, which was first staged in 1948 by socialite `Hidden Consumer’ revealed the importance of clothing in forming and presenting masculine
career, Koda has written and co-written numerous publicist Eleanor Lambert. Since 2003, when TCI identities. Clare’s research and indeed seminar, has shown that the design of clothing was
books (one of my favourites is Goddess: the started to work with Anna Wintour, editor of even more important for boys, and that this formed a catalyst for new developments in
Classical Mode) and exhibition catalogues, in American Vogue, the guest-list of this major social clothing manufacturing, promotion, and consumption.
addition to contributing a number of scholarly event has become even more elite than in previous
articles to Textiles and Text. He has twice (in 1986 years. The photographs of famous attendees are Charlotte Hodes a Senior Research Fellow at LCF held a Research Seminar entitled ‘Cut,
and 1997) won a special award from the Council of used extensively by the press, and bring an Torn and Pasted’. Charlotte introduced her recent practice led research and her current
Fashion Designers of America. LCF was delighted additional source of income to the Institute. Koda project at The Wallace Collection, London.
that the pre-eminent fashion curator travelled from explained that, because of its financial status, it is Wessie Ling presents her work, summarised in an article by Christian Huck later in this
New York to mark this special event. sometimes (mistakenly) assumed that TCI lacks newsletter, at the next Research Seminar which will be held on Wednesday 15 November
In 1946 The Costume Institute of New York’s curatorial autonomy (for a critique of TCI’s
at 5.30pm in Room 105, John Princes Street.
Metropolitan Museum of Art was launched with – programme during Diana Vreeland’s tenure in the
interestingly – the support of the American fashion 1980s, see Deborah Silverman’s book Selling
industry. Since this date, it has exerted a major Culture, Pantheon, 1984). He emphasised that the
influence upon exhibiting modern and historical benefit for the Institute’s sponsors comes not from
fashion and world dress. The nucleus of the dress the exhibition itself, but from the association with a
collection was put together by a group of theatre- grand cultural institution.
15 16

Christian Huck, Visiting Research Fellow, reviews


Wessie Ling’s recent exhibition ‘Mapping Motifs’ UK talent cut from a quality cloth
which was open to the public from April 26 to May
06, in the AVA Gallery, School of Architecture and
Fashion graduates are far from June is the month in which final-year fashion focused less on creating outlandish garments that
the Visual Arts, University of East London. Wessie is
fluffy. They are one of this students face their biggest test. Up and down the propel them to mega-stardom than they are on
a Senior Lecturer at LCF.
country’s unsung creative and country, the culmination of their studies is on learning their craft.
commercial success stories, display. With Graduate Fashion Week at the Two graduates of Westminster University at

Mapping Motifs: An Explorative Journey as Jo Entwistle explains.


Published: 23 June 2006
beginning of the month and the New Designers
show at the end, it is a good time to reflect on the
this year’s fashion week provide an example of how
aware students are of the business side. Emma
nature of UK fashion education. Downing and Nicola Stewart both chose to rework
through Fashion, Cities and Identities, Fashion students tend not to have a good the classic trenchcoat, Downing by customising
image. They are seen as superficial or trivial. Even second-hand coats, with stains and marks included.
An Exhibition by Dr Wessie Ling in comparison with those on other art and design
courses, they come off badly: it’s hard to imagine
The reworking could be described as conceptual,
but both students are clear that they want to learn
architecture students being treated as fluffy. If their craft by working their way through the industry
fashion gets any sort of serious treatment in the from the bottom up.
press, the focus is all too frequently on the UK’s For Caroline Evans, Professor of Fashion at
lack of a proper fashion infrastructure and on how Central Saint Martins College of Art and Design,
students will, at the first opportunity, flee to jobs the most interesting thing about contemporary
overseas, with the obvious examples being British fashion students is the incredible diversity
designers such as Julien Macdonald, Stella and range of talent they show and, in particular,
McCartney and John Galliano. the exciting ways in which students are cutting
But below the surface of this stereotype the and draping cloth. What also strikes her is how
reality is very different. Fashion education is an hard working they tend to be and the significant
unsung British success story. British fashion is held economic impact they make. Many courses have
in high esteem abroad: that exodus of UK-trained strong industry links and offer sandwich courses
designers is itself a sign of the high value placed on and resource centres, such as the Fashion
our students, many of whom are snapped up by Business Resource Studio at the LCF, that
companies in New York, Milan and Paris. The embed business and entrepreneurial skills in the
courses are well thought of and attract large curriculum. They run competitions for students
numbers of international students, who see a to gain experience in the fashion industry.
degree from a UK institution as globally recognised But the real success of British fashion design
gold standard. – and perhaps what sets the UK apart – is the
‘Art and design education in the UK is the best way that students are encouraged to think.
in the world,’ claims Audrey Cresswell, academic Renfrew says that students graduating from US
chair of Graduate Fashion Week. institutions are trained to go straight into industry,
Since 1996-97, there has been a seven-and but UK students are taught to ‘push at boundaries
-a-half fold increase in the number of international of aesthetic and business practices and question
students enrolling on the womenswear design them’.
Wessie Ling, Mapping Motifs images © Paul Burroughs course at the London College of Fashion, and Ursula Hudson of the LCF agrees. UK fashion
the increase is fivefold on menswear. education ‘does not set out to merely train students
‘Mapping Motifs’ is Wessie Ling’s most recent of cotton and satin specially designed to facilitate This is repeated across the country, although, but (to teach them) how to think and reflect on their
exhibition. It was accompanied by two talks she the modern printing technique. according to Colin Renfrew, associate dean of the practice’, she says, which means that students
held at the UAL Centre for Transnational Art, The installation opens a number of questions honours degree at LCF, London is the centre of develop the ability to combine creativity with
Identity and Nation (TrAIN) and the Discourse, about the cultural identity of fashionable goods: gravity because it is the hub of Britain’s art and strategic design. The result may be, for example,
Power & Resistance 5 conference at Manchester How, and where, are cultural stereotypes creative industries. a dress made of hair that is uncommercial but
Metropolitan University, where she also showed produced? How much is the wearer involved in Graduate Fashion Week, which celebrated demonstrates a designer’s ability, Hudson says,
part of her exhibits. such a process, and how much the spectator? its15th birthday this year, is itself a success story. to ‘challenge conventions and work with new
Wessie’s installation consists of six dresses. What is the relationship between the fashionable The event, once a small operation promoting the materials - skills demanded by fashion’.
Otherwise identical, each dress has the fashionable and the exotic, between fashion and the city? work of fashion students by consolidating all the The kind of conceptual approach associated
streets of a different fashion metropolis printed on By turning the exhibition into an interactive event, college shows under one umbrella event, is now with UK fashion students is essential to the
the textile: Paris, London, New York, Milan, Hong eg through the introduction of coloured lenses that an important fixture in the fashion calendar that lifeblood of the fashion industry, which is constantly
Kong, Shanghai. The topography of each of the have to be employed to decipher hidden writings is attended by international buyers and press and in search of new ideas and lateral thinkers. It is,
cities is customized according to the fashionable on the dresses, Wessie also calls into question the industry insiders scouting for talent. Roy Peach, Renfrew says, all about contexts: a grass suit may
mind; in London, for example, Savile Row leads role of institutional cultural sites in the production Dean of Postgraduate Portfolio at LCF and a not appeal to Esprit or Gap, but it may excite a high
straight to Notting Hill. The bespoke tailored of such stereotypes, and presents ways to founder of Graduate Fashion Week, credits fashion house. Alexander McQueen’s departure to
dresses are presented hanging from two ready deconstruct traditional forms of museal presentations. companies such as BHS, Topshop and River France is evidence that even the big fashion houses
made, albeit modified, clotheshorses. The show Wessie will further develop some of these themes Island, which sponsor the event, for making it such as Givenchy value conceptual and challenging
room itself is covered in wallpaper which converges in two upcoming exhibitions, a group show during so successful. work. This may explain why, according to Cresswell,
the six maps displayed on the dresses. The dresses the London Design Festival in September, and The traditional view of British design education most UK fashion graduates are still working in the
themselves are tailored in the style of a cheongsam, a later solo show at the Empty Space Gallery. is that it turns out people who are creative and can industry five years after graduating. The same
the Chinese-women’s dress that first emerged in Look out for details, and don’t miss it! think conceptually about fashion but who lack a cannot be said of those graduating with other
Shanghai in the1920s. The dresses have been commercial edge. Times are changing, however. vocational degrees. Maybe fashion students are
made in traditional form and method by a Chinese For more information on her latest as well as While it is true that British design is famed for its not so fluffy after all.
Qipao tailor from ink-printed fabric, itself a mixture upcoming exhibitions, please contact Wessie Ling creative edginess, it is also the case that many
at: w.w.ling@fashion.arts.ac.uk. students graduating with fashion degrees today are THES Editorial (c)2006 TSL Education Ltd.
17 18

Lister, whose previous experience was primarily Not least of these tasks was training and organizing
Reconstructing Sixties Fashion at the V&A with eighteenth and nineteenth-century dress. ten volunteers, a crucial hidden part of the
In terms of display, an early decision was to use museum’s economy, who came to the museum
This is the story of an In 2002, a research team led by Professor outside London and abroad was also part of the original sixties mannequins as far as possible. to help prepare and dress the 71 mannequins over
exhibition about the innovative Christopher Breward, then Research Co-ordinator original concept, but space limitations, and the As the V&A did not have any, Adele Rootstein, six months. This was enormously time consuming.
fashion cultures of 1960s at LCF, and Professor David Gilbert of Royal restricted size of the fixed museum cases pioneer makers of mannequins, were approached ‘They had to make soft arms, petticoats and so on
London, which some readers Holloway University of London, was awarded a effectively reduced the scope of these sections. early on, and renovated and loaned thirteen period in conservation approved materials’, Jenny noted.
may remember. As many grant by the ESRC and AHRC through their Perhaps more fundamental were the constraints mannequins. Modelled on contemporary fashion ‘It is like custom-making the garments from the
research projects start out ‘Cultures of Consumption’ programme. ‘Shopping of the V&A collections themselves; 1960s youth celebrities, they range from ‘Audrey Hepburn’ inside.’ Despite the casual, flung-together look of
with an exhibition in mind, Routes: Networks of Fashion Consumption in fashion was not their strongest point. As Jenny (1961) to ‘Marie Helvin’ (1975). The rest are some of the sixties clothes, their display required
how this one materialized London’s West End, 1945-1979’ brought together Lister, the V&A curator chosen to organise the Stockman calico stands which are easier to pad attention to detail; some of the simplest looking
may be of interest to other historians of fashion, design, architecture and exhibition, notes, the collection of contemporary out to fit the garments than fibreglass ones. ones, such as the Paco Rabanne shift made of
researchers and curators. cinema with a historical geographer to examine dress was generally only just starting in the 1960s. Matching original mannequins with the dresses was plastic paillettes with metal links, were actually
By Sonia Ashmore how the consumption and distribution of fashion The Bath Museum of Costume started its ‘Dress of a problem however, as neither the period fibreglass the hardest to dress.
evolved in London during the post war period, and the Year’ scheme in 1963, while the Museum of bodies nor the dresses could be altered. Despite constraints of time, money and the
the implications for the social and material fabric London continued to take a social history approach Contemporary fashion shot The exhibition designers were involved from the limitations imposed by the gallery space, ‘Sixties
of the capital (see The Hub Issue 3). to collecting dress as it was worn, rather than (a version of this dress is in the start, discussing many possibilities such as the use Fashion’ remained fundamentally consistent with
It was always intended that the project should couture garments. Even when less elite fashions exhibition). Patti Boyd in crepe of photographic montage and contemporary its original aims, although some plans, such as
‘Alice’ dress by Mary Quant (Ginger
produce an exhibition of interest to the general began to be acquired by the V&A, the immediate patterns as background to the clothes. Eventually, interactive features – listening posts, message
Group), pictured with the Rolling
public, as well as more academic publications, past was naturally not seen as being of special Stones. April 1964. Photograph: the least expensive and least visually confusing boards, proved either technically problematic or
but an exhibition, like a book, is not always easy interest; Cecil Beaton’s ‘Fashion Anthology’ John French (V&A) solution was adopted: strong background colours beyond the limits of the budget. The interest of
to achieve. Chris Breward’s move from LCF to the exhibition of 1971-72 marked a shift in focus. based on 1960s posters. The display of disposable the visiting public has been apparent however, and
V&A as Deputy Director of Research, in 2004, When the ‘Sixties Fashion’ exhibition began to paper dresses had special supports – custom-made even the critics tended to fall back on their own
allowed him to present an idea for a book on sixties be planned in detail, it became clear that a number Perspex coat hangers - made in the Museum’s sixties memories, which may or may not be a sign
fashion to the V&A Publications Committee in the of key designers such as Foale and Tuffin were not workshops. Lighting, always problematic in a of success.
autumn. This was at first turned down. A proposal well represented with pieces of appropriate date; costume gallery where the levels have to be kept ‘Sixties Fashion’ is at the V&A until 25 February
for a fashion exhibition drawn from the museum’s nor were clothes from influential boutiques such as low, and always irritating to the viewing public, was 2007. The exhibition website is at
collections, to coincide with the fortieth anniversary Countdown and Top Gear. At this point Jenny Lister nonetheless the final transforming feature. http://www.vam.ac.uk/collections/fashion/1960s/
of Time magazine’s depiction of ‘Swinging London’, made contact with Sylvia Ayton, an innovative Jenny Lister managed all these aspects of the sixtiesfashion. Swinging Sixties, edited by
was eventually approved by the museum’s Panel designer in the 1960s in partnership with Zandra exhibition, and was also responsible for the physical Christopher Breward, David Gilbert and Jenny
for Public Programmes early in 2005. The book Rhodes, and through her involvement with the production of the final show, including organising Lister is published by V&A Publications (London,
then became a viable prospect. This left a relatively Costume Society a link between museums and the external loans, the photography of about sixty 2006).
short time in which to prepare both the exhibition academic world. Ayton lent pieces of her own and garments for the book and website, and arranging Other ‘Shopping Routes’ publications include a
and associated publication, Swinging Sixties, also provided the key to a network of other lenders. for technicians and contractors. Besides special edition of the London Journal (31:1, 2006)
published in May 2006. Although the book was One of these was Marit Allen, now a successful contributing to the book, she and Chris Breward and a book, Fashion’s World Cities, edited by
written to a tight deadline, the intensive research film costume designer. As a fashion editor at both also wrote more than 85 labels and text panels in Christopher Breward and David Gilbert (Oxford
involved, and other work already done on the Queen and Vogue in the 1960s, Allen had helped conjunction with the museum’s text editor Lucy Berg, 2006), based on an international conference
project, proved invaluable in informing the to establish many young designers, and as super- Trench. Jenny also co-ordinated information for the held at LCF and the Museum of London in 2005.
development of the exhibition. The emphasis was fashionable young woman herself, had built up her exhibition website which includes ten interviews by Other members of the ‘Shopping Routes’
Detail: Paco Rabanne, dress.
to be on the innovative and influential designs of own cutting edge, and still intact collection of Plastic and metal. French, 1967. members of the research team with key individuals research project were Dr Sonia Ashmore, LCF
a new, mostly art school-trained, generation setting contemporary clothes, from which she lent items V&A: T.165 - 198 © V&A associated with sixties fashion. Other tasks Research Fellow, Dr Bronwen Edwards, Lecturer
a new ‘London’ style, rather than on Paris-led to the exhibition. Other garments were lent by the included collaboration with the museum’s in Geography, University of Hull and Pamela Church
couture or popular high street fashions of the Bath Museum of Costume and the Museum of marketing and development departments, publicity Gibson, Reader in Cultural and Historical Studies at
period. From the start, the exhibition was conceived London and by individuals who responded to a call and sponsorship - from Miss Selfridge, and advising LCF. Dr Rob Lutton was the Project Administrator.
spatially as well as chronologically, reflecting the put out on the museum website. Being sensitive on the guest list for the private view that also ERSC/AHRC ‘Cultures of Consumption’
subtle alterations in the fashion character of to the reputations of living designers was a included the Che Guevara: Revolutionary and Icon project RES-143-25-0038
different London districts, sometimes only a street constant preoccupation. ‘It is very different from and Sixties Graphics exhibitions.
or two apart. Recording the ‘ripple’ effect spreading dealing with historical subjects’, remarked Jenny

Knightsbridge 1961 – 1967, Garments from left to right: Out of London: Paris to New York 1965 – 1968, The Heart of Swinging London: Carnaby Street Behind the Scenes, Chris Breward and Jenny Lister
Foale and Tuffin, Gerald McCann, Young Jaeger, John Garments from left to right: Paco Rabanne, 1964 – 1972. Shop Sign: I was Lord Kitchener’s Valet. preparing mannequins at the V&A
Bates, Caroline Charles © V&A Yves St Laurent, Pierre Cardin © V&A Garments left to right: I was Lord Kitchener’s Valet,
Lord John, Pussy Galore © V&A
19 20

silhouettes were distinctly Ukrainian with little knit, crochet and unstructured shapes. On the
Scythia: Scythia continued >
evidence of current ‘western’ trend influence – a whole though, Catharina Schmeer’s collection
result perhaps of the county’s relative isolation and stood out as contemporary and youthful and, above
Sixth International Symposium history. The choice of venue - a small provincial
town some distance from the capital – no doubt
all, wearable.
The symposium closed with a final address from
and Exhibition of Textile Art contributed to this impression, though Elizabeth and
Helen Lavrik were to some extent an exception,
Ludmila Egorova, who thanked participants,
contributors and fellow organizers who had helped
with their linen-based collection involving chunky to make the event a success
The Sixth Symposium and Despite previous collaborations and support from the organizers followed by series of key speakers.
Biennial Exhibition of Textile the European Textile Network, as well as the Forum Andrejeva Anna, Senior Researcher from the
Art recently took place in the of Cultural Networks for the Council of Europe, this Museum’s ethnography department gave a visual
town of Kherson, situated just
north of the Dnepr delta in the
event was a private initiative, organized by one of
Ukraine’s foremost textile practitioners Andrew
presentation on the traditional textile crafts of the
Kherson region, featuring hand woven and
IMB Clothing Technology Fair, Cologne Germany
Black Sea region of the Ukraine.
By Jennifer Shellard
Schneider and his partner, critic and curator
Ludmila Egorova.
embroidered garments, early examples of textile
footwear and simple constructions of felted
May 2006, by Alan Cannon-Jones
The symposium opened on the evening of outerwear. Olena Tryhub, lecturer and researcher
Wednesday June 14 with the exhibition’s private from Kiev’s National University of Art and Culture
view, attended by national press, television and local showed examples of 9th and 10th century The IMB Cologne fair is the major international Sewing
dignitaries. There were 38 participants from Bulgarian costume and silver jewellery. event for Clothing Technology and as such covers The new developments for sewing and garment
13 countries including the UK, USA, Japan and Brett Alexander from Newcastle University in the complete spectrum of technology and production/manufacturing included, automatic
Australia. Many textiles artists from the host country Australia showed images and described his own machinery available to the fashion and clothing long seamers, buttonhole equipment,
showed work, so it was interesting to witness the practice and development as a textile artist. Brett’s industries. programmable decorative stitching, feed transport
distinct approaches, materials and techniques that work deals wittily and at times poignantly with It is held every three years and at the last systems, flexible twin needle and zig zag machines,
were characteristic of this part of Ukraine, an area issues of gender and sexuality and is intensely event in 2003 there were 692 Exhibitors, from 39 automatic hemming on underwear, ultrasonic
that considers itself for the most part fiercely personal. He has exhibited widely, and took part in Countries, which drew 24,369 visitors from 114 seaming, workplace engineering for tailoring
European and loyal to the ‘Orange Revolution.’ Like the exhibition Men Who Sew at the Crafts Council countries. production, flexible short sewing sequence
much of Eastern Europe, a strong tradition of felted in 2004. Despite the metaphoric and coded use Digiflash’ Powerpoint slide from The web site: www.imb2006.com gives access machines, electronic programmable short cycle
work was in evidence – a number of examples of textiles and objets trouves in his installations, IMB Clothing Technology Fair to a full range of information regarding statistics, machines, sleeve setting, tailored lapel padding,
given a more noticeably contemporary feel with his presentation at the Symposium was open, innovations, awards, newsletters, fair guides, pocket creasing, direct drive equipment, pocket
experimental and painterly approaches now made lighthearted and courageous in a country where forums, speakers, and a complete contact list for preparation and insertion.
possible there through newly emerging needle the gay are still oppressed. all companies exhibiting at the event.
punch and digital technologies. Figurative and Fashion designer Catharina Schmeer from If you require detailed information regarding Finishing
abstract tapestries were also familiar, with a Copenhagen talked about her creative relationship any contacts and products then the web site is the Further developments in both semi and fully
distinctly decorative and symbolic vocabulary, with digital print. Her textiles combine an eclectic easiest method for researching. automatic pressing machines, improvements in
developed during Soviet times when combining mix of photographic imagery, the product of The LCF team attending this event were able three dimensional pressing shapes/bucks and
traditional folk art imagery and coded political and extensive travel and visual kleptomania. to represent and research across the range of improvements in fusing technology.
religious themes provided valid means of Compositions are dynamic; cleverly manipulated technologies to keep the College updated and
expression. More recent departures such as batik elements of saturated colour, mirrored image and informed: Software
and silk painting relied generally on high levels of repeat. These bold, graphic and colourful prints are Alan Cannon Jones: Garment Manufacturing Demonstration of new 3D simulation programmes,
technical skill and decorative overload rather than contained within simple, elegant and contemporary Technology smart pattern systems for mass customisation,
Scythia: Sixth International sensibility or subtlety. garment shapes, reflecting a strongly European Pauline Kenny: Surface Textiles automatic size grading, 3D to 2D software,
Symposium and Exhibition of Previous conferences and exhibitions in the urban feel. Her prints cleverly combine elements Sharon Blackford: CAD/CAM PDM/PLM (Product Lifestyle Management) fabric
Textile Art, Jennifer Shellard ‘Maier’ Powerpoint slide from IMB
capital Kiev and in the Kherson region have, it of iconic industrial landscape – architecture, Clothing Technology Fair, Cologne Georgina Carr: Technical Development scanning to virtual models, digital input direct form
seems, gone some way to stimulating and reviving construction, machinery – together with symbols Germany May 2006 Stephen Honeyball: Technical Development digital cameras and software for management
interest and practice in traditional textile work of popular culture – music posters, slogans, graffiti. and Maintenance systems.
around the Black Sea and Mediterranean and it was These she contrasts with subversive socio political
evident from the exhibition that a textile community references to sustainability and globalisation. The report includes highlights of the new Innovation Awards
is now burgeoning within the region and beginning Compositions are constructed within developments seen and will provide the strategy N-hega – digital scanning input
to network effectively outside it. uncomplicated and well cut garments in natural for future investment and staff development in Smart Textiles – ITA textile matrix tester
On Thursday the 15th, there followed fabrics; parka style jackets, shirts and trousers the subject area of Fashion Design Technology Optitex – software for surface textiles
presentations, workshops, and a tour of the for both men and women. and Realisation. Audaces – Digi-flash
museum and town. Included in the tour was a visit Two of the pieces were displayed in the The team would welcome further discussion Ardmel – ultrasonic welding
to an extraordinary gallery dedicated to the art work exhibition, where they fitted well alongside art and are prepared to give advice and share opinion Human Solutions – X-Fit software
of local children aged between five and sixteen – textiles. However, Catharina’s full collection was in regard to this visit to IMB 2006. Pfaff – Hot Edge ultrasonic welding and seaming
impressive evidence of the importance placed on also included at the Scythia fashion show, the final Kessler – electronic adjustable machine stands
art, creativity and culture within Ukrainian society. event of the symposium which took place on Highlights of the new developments Durkopp – M-type machine for very thick fabrics
The symposium also coincided with the town’s Saturday 17th July at Kherson’s Art Museum, Ctex – programmable reinforcing machines
annual cultural festival, where dance, performance, a short walk from the main venue. One of the Cutting Infor Run Time – advanced p.o.s. planning software
costume and music events were staged in parks museum’s recently refurbished galleries was set Various companies were demonstrating new Juki – active tension systems – stitching
and plaza’s around the centre, presided over by up with seating and runway for the occasion and developments in tension free fabric spreading, EPFL – adaptable system for bra wire insertion
Ukraine’s Minister of Culture and attended, it many of Ukraine’s established fashion designers more flexible check fabric cutting, robotic spreading E-Tape – electronic tape measure
seemed, by Kherson’s entire population. showed alongside a showcase for recent and roll changing (10 seconds change over of a roll
The symposium lectures, workshops and graduates. In keeping with the theme of the of fabric – Setec), software for robotic handing,
presentations took place over three days at the symposium, there was an emphasis on surface flexible cutting systems for leather/hides/skins,
town’s Local Lore Museum, alongside the pattern and embellishment, with many examples and fabric inspection.
exhibition, and consisted of an opening address by of knit, print and surface effects. Looks and
21 22

Design 2 Business Symposium Shanghai 2006 Design 2 Business Symposium


continued >

by Frances Ross
The D2B (Design to Business) 1st International The contributors comprised a mixture of PhD to me by a young Chinese male designer. ‘How ancient architectural buildings for modernist forms
Design Management Symposium took place on students, academics and design practitioners and could the Chinese design style become more and the marginalising of traditional decorative
16 -19 March 2006 in the four star Galaxy Hotel were truly international, representing Europe, popular with western consumers?’ As an example Chinese arts and fashion in favour of western
situated in the Hongqiao Business district of America, the Far East and Australasia. he cited how the Japanese have a paired- down styles. Skyscraper luxury hotels go up almost
Shanghai. This was the culmination of two years Given the cultural mix and diverse design style that translates well into western art and overnight in preference to the previously existing
planning following the formulation of the Design management topics delegates were looking popular culture. This style was developed after Chinese 18th and 19th-century homes. American-
Management Forum by Dr Philipa Ashton, Bath forward to some stimulating debates. Representing world war two by Japanese industry exchange trips style shopping malls replace existing individually
School of Art & Design; Frances Ross, LCF, LCF I delivered two papers the first ‘Defining and to the USA and American investment in Japanese owned shops and markets. And even the infamous
University of the Arts, London and Dr David Hands, determining the 21st century menswear luxury business which placed value on design as a ‘fake brand’ market of Shanghai is threatened with
University of Salford with other key personnel from consumer’ in the ‘Emergent Design’ track and the strategy for staying ahead of the competition. closure in 2007 to give a more sophisticated
academic design schools. Design management is second entitled ‘Eastern symbolism meets western However the Japanese and Chinese art and design western ambience to visitors. Change is rapid, in
a new discipline, first recognised in the early 1980s styling in ‘Oriental’ lingerie’ in ‘Design & the style had been popular in Europe since the 18th many cases without due consideration for the
and considered as a hybrid research field because Business Dimension’ track . and 19th centuries and was ‘...used to sell historical cultural and aesthetic consequences.
of the diversity of topics covered in many aspects The second paper discusses both western and everything from cigarettes to candy...’ (Oshinsky, The Chinese style that I observed while in
of business and design. eastern respondents’ knowledge and perceptions 2005 cited by Ross, F., 2006) Shanghai at museums, galleries and markets is
The main objectives set out by the forum were of different sets of Oriental images and style His concern and that of the rest of the Chinese masterfully crafted, colourful and decorative. In
to establish a contemporary research agenda and descriptors. For example the colour yellow has audience was not how the west should respect and some cases it is undoubtedly what the west might
to be inclusive and accessible to students, industry perceived associations with the Emperor of China; value the origins of Chinese design or even if it consider ‘over-worked’. Their technically brilliant
and academics. Additional aims were to make while lanterns and wall-coverings in red and black could receive a contemporary twist; but how an craftsmanship and design-styles of weaving, dying
design management information and news easily can give connotations of a Chinese bordello in a aesthetic could be created as a commodity that and painting are generally ornate but – new
available on current research, practice, working class district for those respondents that would be accessible to a wider consumer market. aesthetics do not evolve overnight, any more than
conferences, new publications and emerging have been educated in a design/art history China is a vast culturally-mixed country with many design management can expect to become an
trends. News is communicated via a regular background or those that are simply well travelled. people and design styles; to develop a stereotypical established, respected academic discipline in just
newsletter and website to all members for a small The different levels of recognition and set of motifs that represents this diverse country in thirty years. However it is expected that with more
subscription fee. contextualisation of these motifs and symbols were a ‘mono’ way would be difficult and reductive. cultural exchange between China and Europe, this
The D2B logo has been designed and patented attributed to each nationality interviewed. China is currently on the verge of reinventing will help both the east and west’s understanding of
specifically for use on all future newsletters, papers, Additionally ten sets of photographs that illustrated itself in what is known as the economic ‘third way’ contemporary design with historical context and its
proceedings and research articles. For a new oriental-style lingerie and retail environmental a mixture of the communist state-owned and value in a global business environment. Clearly
conference only recently added to the already busy design were shown in turn to each respondent and collective ethic and western capitalist privatisation extensive further research is needed and with the
academic design calendar a very good response of their responses were also recorded. Analysis of the for the consumption orientated lifestyle increasing pace of change in China this should be
over 100 abstracts was received from the initial call findings were visualised in bar charts. (www.oycf.org/perspectives/5_043000/china conducted in the near future. It is intended that the
for papers. Eventually the reviewers selected 55 The second paper caused an unusual ripple 18/08/2006 Wu, Jinglian). The higher education new MA Design Management for the Fashion
research papers to be presented and published in from the normally polite but silent substantially systems are also in a constant state of flux and Industries which starts at LCF in October 06 will be
a semi-hardback proceedings book. This book was Oriental audience and I took five questions from change. In particular social-economic change one of the platforms contributing to this and other
sent to interested libraries, universities (including the floor (mostly translated from Chinese.) I was caused by the impact of globalisation has created related research initiatives at the next D2B
LCF) and industrial design managers. The aim also kept busy during the coffee break with further new needs in technology and design. conference in 2008.
was not only to provide a reference text of the questions and exchange of numerous business Manufacturing is being updated to state of the art
symposium but also to act as an ambassador for cards. I had half expected that the re-appropriation standards and a new Chinese design aesthetic is
this new discipline and stimulate further design of eastern symbols and motifs by western under review. An extreme example of this was
management research activities. designers would be considered controversial at a presented by Cathy Treadaway an English textile
The themes of the symposium were divided Shanghai symposium, especially as this city typifies and ceramics designer at the symposium who
into four categories: the meeting of eastern and western styles and the explained how she had been commissioned by the
1 Design Education & Research; merging of ideologies. However, at the time neither British Design Council to go to China and redesign
2 Strategic Design – Achieving Competitive the chair-person nor I expected the important the ‘Chinese Willow Pattern’ for a contemporary
Advantage; design discourse that emerged. western market as they did not have the expertise
3 Design & the Business Dimension The discussion that the paper triggered can nationally. Other cases of devaluing the traditional
4 Emergent Design. best be understood by the following question posed Chinese aesthetic include the total destruction of
23 24

AHRC Research Centre for Textile Conservation AHRC Research Centre


continued >

and Textile Studies Third Annual Conference,


11-13 July 2006, University of Southampton
by Dr Sarah Cheang
When I look back on my doctoral student days, domestic textile display that still exists today. It is (independent scholar) also presented a fascinating for an exhibition of twentieth-century floral fashions
I can recall enthusing wildly at conferences on now part of the Powell-Cotton Museum of Zoology paper on representations of the anti-macassar, that will be held at the Museum of Costume in Bath
my subject of enquiry, the domestic ownership of and Ethnography at Quex House in Kent. Using the an ordinary item of interior decoration that assumed in 2007, together with an interactive website. Her
Chinese material culture in late-nineteenth and diaries of the museum’s founder, Major Percy a highly derogatory status by the end of the investigation into the fashionable wearing of floral
early-twentieth century Britain. My fellow Powell-Cotton, I was able to establish that the nineteenth century as a cloying item of feminine prints highlighted the unofficial histories that oral
conference delegates would listen politely, but quite embroidery panels were designed and executed by invention, threatening to masculine authority records of fashion consumption may provide in
frequently ask: ‘And how are you doing that, then?’ Powell-Cotton himself as the finishing touch to his in the domestic interior. McEwan’s argument comparison to textual representations in the media.
Such questions are sometimes borne from genuine Oriental-style drawing room, an exotic interior, thus focussed on the cultural power of the anti- A session on collaborative approaches yielded
and mutual interest, and sometimes from more redolent of personal souvenir and expressions of macassar at the level of textual representation. some interesting examples of how conservators,
sceptical positions, but in truth, we are probably not cultural standing. My second example was of the Of the wealth of material presented, there were curators and dress historians can work together.
directly challenged often enough on the way that Chinese embroidered textiles used by Queen Mary, other papers that were also mainly concerned Hilary Davidson (freelance) and Anna Hodson
we carry out our research. Therefore, the prospect consort of George V, as cushion covers, curtain with representation rather than materiality, including (Smithsonian Institute) showed how a replica
of a three-day conference devoted to the decorations, and even as an evening coat, in the the keynote speech provided by Penny Sparke of a late sixteenth-century bodice, and an early
processes of research should offer a welcome 1910s and 1920s. In these interactions with (Kingston University). Sparke spoke about how seventeenth-century jacket, transformed their
oasis of scholarly introspection as well as a gallant Chinese textiles, the body of the Queen formed she had researched an early-twentieth century understanding of how each piece functioned when
communication of ideas and experiences. a powerful site for the articulation of a British, American interior designer, Elsie de Wolfe, who the bodice and the jacket were put together.
The AHRC Research Centre for Textile feminine imperial identity, and a queenship that was known as ‘The Chintz Lady’. Elizabeth Kramer A fascinating demonstration of methods of
Conservation and Textile Studies held its third included the manipulation of a range of Chinese (AHRC Research Centre for Textile Conservation dressing in the 1540s was given by Ninya Mikhaila
annual conference in July at the Textile textiles. and Textile Studies) explored the way that Scottish and Jane Malcolm-Davies, the authors of a new
Conservation Centre, Winchester School of Art. The two collections considered in my paper painter E. A. Hornel (1864-1933) visited Japan book, The Tudor Tailor: Reconstructing Sixteenth-
The conference theme was Textiles and Text: were thus almost contemporary, but differed and depicted women and girls wearing kimono. Century Dress. Researching, reproducing and
Re-establishing the Links Between Archival and considerably in terms of accessibility and cultural The relationships between texts and textiles were wearing period costume thus provided an evening
Object-Based Research. Thus, the intention was status. The private and domestic forms of evidence considered more directly by Lee Clatworthy session that was both entertaining and
to stimulate discussion around the use of archival at Quex house were personal souvenirs of family (Textile Conservation Centre) in the evidence enlightening, reflecting the rich variety of
resources when doing object-based research, new life. Queen Mary’s embroideries, on the other hand, of eighteenth-century domestic account books, approaches that were embraced by this very
or unusual approaches to the study of dress history, were not available for me to study in their physical and by Philip Sykas (Manchester Metropolitan successful conference. A range of posters was
and the interactions between conservators, form, and neither had I consulted royal diaries or University) who provided a valuable study of the also exhibited, including the work of Carol Circuit
curators and scholars. Twenty-five papers were photograph albums. In a sense, they were objects ways that textile manufacturers’ pattern books (furniture conservator) who had opened the
presented, and the overall thrust of the conference of study that had only existed as text – as images can be read and analysed. In contrast, papers upholstery of a Victorian chaise longue to discover
was to share the different research strategies that mediated by the press and by official biographers with a more material focus included the use of a strange and tantalising collection of nineteenth-
may be employed in the study of textiles. The – belonging to communal, national memory. archaeological evidence by Fiona Handley (AHRC century clothing and rags. Indeed, one of the most
papers will be published as post-prints in summer However, the element that united both these Research Centre for Textile Conservation and poignant moments in the researching of textile and
2007, and copies can be ordered from the collections was the position of China within an Textile Studies) in reconstructing everyday dress history must surely be the way in which
Conference Secretariat by emailing imperialistic British world-view, and the collected garments from discarded fragments of textiles clothing relates so strongly to the body and hence
contex@soton.ac.uk. embroideries themselves functioned within the preserved in first to third-century Roman sites and to highly embodied and ritualistic subjectivities, an
The methodological emphasis of this imperial project as repositories of knowledge eleventh to fourteenth-century Islamic sites in aspect that was not forgotten in this three-day
conference provided me with a valuable opportunity about China. Egypt. Jane Malcolm-Davies (AHRC Research investigation into text and textile.
to think about my postdoctoral work on the history At the conference, I also had the pleasure Centre for Textile Conservation and Textile Studies)
of Chinese textiles in Britain and the articulation of chairing a session on historical research into explained how she had used sixteenth-century
of class, gender and empire. My paper, ‘Chasing everyday domestic objects, in which Barbara church funereal monuments to add a more three-
the dragon: researching Chinese textiles in early- Burman (University of Southampton) spoke about dimensional understanding of Tudor dress to a
twentieth century domestic interiors’, not only an AHRC-funded project, Pockets of History, that costume research image library.
reflected on how I had used archival material, but centres on the use of tie-on pockets (à la Lucy Two papers on printed fabrics made a thought-
also on the way that textual evidence can intersect Locket) during the seventeenth to nineteenth provoking pair, one being focussed on production,
with an archive of empire. Thus, I was able to centuries. Burman outlined a variety of methods and the other on consumption. Sue Kerry
engage with the very concept of the archive itself that had been used to investigate the pocket (freelance) discussed how her archival research
within colonial and postcolonial contexts, in a and its contents, from texts such as paintings into the Calyx pattern designed by Lucienne Day
consideration of two contrasting early-twentieth and diaries, to the material evidence of museum was greatly assisted by a closer understanding of
century displays of Chinese embroidery. The first collections, and even the wearing of a tie-on the printing processes involved in its creation. Jo
was a rare example of an Edwardian and interwar pocket by a researcher for a day. Alice McEwan Turney (Bath Spa University) spoke on her research
25 26
An exciting review of a conference The hub co-ordinators provide Pedagogy Hub Update Collaborations
which took place in Göttingen, Germany an overview of fashion research hubs The LCF Centenary Exhibition is being
by Pamela Church Gibson Hub Co-ordinator, Alison James,
jointly curated by the 3 members of the
Learning and Teaching Co-ordinator
Hub, working closely with Katherine Baird.
American Studies as Media Studies? The fashion Members of the Hub have been very active
this year with meetings, diverse conference
It is an archive-based exhibition highlighting
the role of the 3 women custodians who have
– Annual Conference of the German research hubs papers, presentations and journal articles.
Examples of their work include Alison
collected and cared for the objects.
Colleague Daniella Hatfield has been
Shreeve’s paper on assessment as a
Association of American Studies 2006 community of practice which was published
unable to attend our meetings and so Amy
and Alistair have met regularly with her
Fashion Mediation Hub Update in the proceedings of the 13th ISL
individually to discuss her forthcoming
Symposium. In addition she gave diverse
When I was asked to give a keynote address at this ‘Dismantling the Public Sphere: the Politics Hub Co-ordinator: Alistair O’Neill, Fashion Space exhibition ‘Mother,
papers in Bath, Manchester, Canada and
conference, I welcomed this opportunity to see, of Apathy’ – disturbing and all too relevant for those Research Fellow Daughter, Curator’.
Portugal. Geraldine Biddle Perry and Polly
from within, the current state of ‘American Studies’. of us who live in a decaying Welfare State. Members in attendance: Maggie Norden, Kenny gave papers in Lisbon and at the UAL Judith and Amy presented their recent work
I assumed that the delegates would still be, in the Also running in opposition were a series Agnès Rocamora, Nilgin Yusuf, Brenda Learning and Teaching Conference in May at at the Centenary Conference which explored
main, those working within literature and history, of papers on US Politics and the media – a theme Polan, Antony Price and Alistair O’Neill Chelsea; Geraldine’s on ways in which theory various curatorial interventions that can be
though I believed, too, that Cultural Studies would picked up on the following day in the session might inform practice and stimulate critical made working with one object (a Land Army
The hub has been busy organising the
also be represented in force. The arrival of the ‘Representation of Crisis: Crisis of Representation’ thinking in the theoretically timid, Polly’s overall from the 1940s). Amy is working
forthcoming conference The Death of Taste:
conference programme gave me a clearer idea which contained papers on Michael Moore’s on her research into embroidery and blended on developing this into an exhibition about
Unpicking the Fashion Cycle at the ICA,
of the new, radical, interdisciplinary cast of documentary Fahrenheit 9/11, the new raft of learning. In September Diana Aronstam the Women’s Land Army, which would
London. This is in association with the
contemporary American Studies. The President of Hollywood disaster movies – and an extraordinary delivered a paper at Bath Spa on research feature one section called ‘Exploding an
Historical & Cultural Studies hub and the
the DGfA, Rüdiger Kunow, made this quite explicit account of the various responses to Hurricane into a transition model for entrants to HE. Object’ which would be a material culture
University of Applied Arts, Vienna.
in his Introduction: Katrina in different segments of the media, In addition to diverse papers on her Phd, analysis of Land Army breeches, with one
‘ In the wake of changes in the field of American Annette Trefzer’s ‘Framing the Poor: Race, The Death of Taste examines the work of
Alison James presented her research on non pair taken apart.
Studies during the last decade, the media have Class and Katrina’. making, styling and fashioning taste within
textual reflection in student learning and
become a central venue for the (re)formation of Literature did indeed figure significantly but the context of increasingly speeded-up trends Judith and Amy have also revised their book
will give three papers this Autumn in
a discipline no longer principally concerned with there were not just papers on individual authors, and the constant plundering of the recent proposal on Curating Fashion for Yale and it
London, Oxford and Sweden (keynote) on
policing the geo-cultural borders of the signifier there was a symposium too on the book itself as past for styles in metropolitan centres of has received positive reviews from readers.
different themes in pedagogic research.
‘America’ but with locating that signifier inside medium, one of the contributions being Jana creativity, such as London or Vienna. They are waiting for a contract, but will
Hub members have also been enthusiastic
a virtual reality presumed to be without boundaries Fedtke’s description of what she called ‘the Taking the 1980s as its point of reference, approach another publisher before
participants in the new UAL Pedagogic
but not without differences. American Studies has Oprahfication of US-American book culture’. these symposia – one at the ICA and one at Christmas if this is not forthcoming.
Research Group.
thus energised new interdisciplinary projects And the future painted in the symposia was not the University of Arts, Vienna - explore the Judith Clark has been working with LCF
concerning, among other issues, the role of the always the benign vision of the IBM executive – sensory and temporal phenomenon of taste Research Fellow Dai Rees on his exhibition to
media for subject formation, the interrelations though scope for resistance, too, was posited in and style. The first symposium in London Curating Hub Update be launched at the Guanajuato Festival in
between the media and the public domain, or papers such as ‘Creative Resistance to the Net’ questions how tastes and trends are forged Mexico. The festival is the largest ever
Hub Co-ordinator, Amy de la Haye,
between individual imaginations and corporate and ‘Approaching the Myth of Cyberterrorism’. through the combined work of designers, British/Mexican cultural partnership. Judith
Senoir Research Fellow
imaginaries.’ The three days were not only a fascinating models and model agents, photographers, Clark travelled to Mexico in July to promote
The first keynote speaker, interestingly, spoke insight into a flourishing discipline, they were stylists, re-touchers, while the second Regular members: Amy de la Haye, the exhibition and to secure a venue in
of ‘corporate imaginaries ‘ from a position of insider also conducive to reflection on possible future symposium in Vienna focuses attention on Alistair O’Neill and Judith Clark Mexico City. A London College of Fashion
privilege – for James Cortada, once an academic, work within the English academy, particularly in the ways in which cities, as creative hubs and Dates of Meetings: 19 October 2006, research grant supported the small
is now Head of IBM Global Services. His address, the field of Cultural Studies. centres of taste-making industries, establish 22 February 2007, 25 April 2007 + catalogue that accompanies the exhibition.
‘From PCs to bipods and Beyond’, conjured up Lastly, the venue itself – and the timing of and maintain their identities. Here, London, Katherine Baird 8 May 2007, 12 June 2007, Contacts made
his own particular ‘imaginary ‘ – a roseate future the conference – deserve a mention. Göttingen as the home of ‘streetstyle’ and ‘edgy’ chic 17 August 2007 We have had 3 colleagues in Australia make
benevolently shaped by the Internet, which is for is a charming town, the size of the average will be set in sharp contrast to Vienna,
Curated outcomes and collaborations contact with us about the Hub: Robyn Healy
him the ‘Information Superhighway’ of our own English village, built around the oldest university which, while attempting to develop its own
Each member has curated exhibitions (who is writing a PhD on fashion curation at
Prime Minister’s rhetoric. Predictably, there were in Germany. The buildings of both town and taste identity and now promoting its own
which have opened this year: the University of Melbourne and was
questions about the present uses – and abuses – academy survived the Allied bombing campaign, ‘fashion week’ is, according to trend-
formerly Senior Curator of Fashion &
of cyberspace; there were, too, concerns about the since Churchill chose to spare this ancient home forecasting industries, situated in a country Amy – (Co-curator) Fashion and Fancy
Textiles at the National Gallery of Victoria)
divisive potential of a future predicated upon the of scholarship, just as Hitler demanded that no that is least likely to embrace style change Dress: The Messel Family Dress Collection
Amy Silver (curator at Melbourne Museum)
individual acquisition and use of new technology, bombs be dropped on either Oxford or Cambridge. or product innovation. 1865-2005 at Brighton Museum
and Vishna Collins (freelance curator).
and some discussion of what place there might be Germany, of course, was hosting the World Cup Speakers will range across various areas (22 October 2005 – 16 July 2006 and
for the ‘third world’ in this promised Utopia. and the conference coincided with the opening of the fashion industry working at different touring to Sheffield in 2007) They have been advised of the Fashion
The next morning saw the beginning of the ceremonies; while, as I discovered on my arrival, intersections in the taste-making process:
Theory special issue on Curation that Alistair
Alistair – Fashion Lives at the British
parallel workshops, which ran for two days. The Göttingen was hosting not only this international designers and photographers, stylists and
is editing for 2008 and we will continue
Library (10 November 2005- 06 February
‘Intermedial Crossing’ workshop offered papers conference but the Mexican football team. No model agents will discuss the ways in which
to update them with developments.
2006)
on computer games, ‘musico-textual Intermediality’ wives or girlfriends in evidence, no shopping, they help create, develop and kill off new and The Fashion Curation special issue will be
and different aspects of ethnic identity, while the no ostentatious parades of toned, honed bodies Judith – Anna Piaggi Fashion-ology Victoria
old tastes. issued as one part of a double issue: the first
parallel session had equally thought-provoking or brandishing of designer handbags. Again, and Albert Museum (2 February – 8 April
is edited by Valerie Steele and is a record of
papers. Here,’ Eventing 9/11; the Transmedial scope for future work on the national specificities 2006); Dai Rees Carapace exhibition, British
the Museum Quality conference staged at the
Construction of an American Nightmare’ was of celebrity consumption? Council, Mexico (October – November 2006)
FIT this year, that included a paper given by
followed by possibly the most compelling address Judith Clark. The second issue will focus on
of the conference, Astrid Franck’s paper examples of fashion curation that are
informed by museological practice, but
extend into new territories of display.
27 28

Judith Clark invited Maria Luisa Frisa from hub, from different standpoints. ‘Living Philip Delamore (Research Fellow) design for the possibility of working in collaboration Conference. The exhibition, curated and technology). The implication of the
Pitti Immagine in Florence to speak at the Colour’ is a project area incorporating 3D printing and rapid prototyping with peers to develop research that focuses by MA Fashion Curation students, featured viewer in playing out the work is a fabricated
Centenary Conference as the key note concepts for colour change in textiles on the interpretation of nano medical work. the work of Hub members Dai Rees, Lucy condition that further enhances the
Dr Frances Geesin (Senior Research Fellow)
speaker. She is Pitti Immagine’s creative through material science and micro and Orta, Paul Bevan, Wessie Ling, Alan Cannon- relationship between artist and audience,
Innovative textiles using electro-deposition Wessie Ling – Research Fellow
consultant and Director of Studies of the nanotechnology. A collaborative large Jones and Simon Thorogood. where the work is co-opted by individual
From April – May 2006 Wessie had a
Fashion Design course at Venice research bid in this area with Queen Mary Steve Harkin (Senior Lecturer) designer/ enactment with each one becoming a unique
solo exhibition Mapping Cities in AVA Gallery
Architecture Faculty. Judith will be working University of London (QM) Department of practitioner bespoke bags spectacle for a wider audience.
at the University of East London. The work
closely with Maria Luisa Frisa on her Materials has been developed over a year with Ceri Isaac (Research Fellow) 2D digital focused on an explorative journey through
forthcoming ‘Donna Simonetta’ exhibition several hub members, co-ordinated by Jeni printing design and colour management fashion, cities and identities.
at Palazzo Pitti in 2007. Bougourd and submitted to EPSRC, with
Polly Kenny (Senior Lecturer) Surface Ceri Isaac – Research Fellow, LCF
QM’s Dr Natalie Stingelin-Stutzmann as PI
Judith Clark’s contact details have textile design
and Philip Delamore as Co-investigator. As Research involves exploration of the new
changed to: info@judithclarkcostume.com
yet, none of these bids has been successful, Prof Helen Storey (Senior Research Fellow) image styles for surface design made possible
but further avenues are being pursued. Art/Science projects and exhibitions through the use of digital photography, video
and inkjet textile printing.
Fashion Science Hub Update Through colleagues’ involvement over the Dr Danka Tamburic (Reader)
last two years with Queen Mary, the college Cosmetic science product formulation Inspired by the photographer Muybridge,
Hub Coordinator Sandy Black, Reader
is now organising a joint conference on Isaac has investigated patterns of movement Paul Bevan, snap of his performative,
in Fashion Design and Technology Dr Penelope Watkins (Research Fellow)
through the use of stills taken from video photo-based installations
Nanotechnologies for Fashion and Textiles Pattern making for stretch and movement Lucy Orta, Working Drawing Fallujah, 2006
Between January and December 2005, footage and put into a sequence capturing a
in collaboration with hub members in April
many hub members took part in activities Janet Wilson (Associate Lecturer) textile pattern of movement for the human figure. Exhibitions/events
2007.
promoting collaborative research technologist Alan Cannon-Jones – Senior Lecturer,
The advent of Organic Light Emitting
Also through the Queen Mary link, over two specialist in Bespoke Tailoring London College of Fashion Centenary
development within the EPSRC/AHRC Polymers and flexible screen technology is
days in April several Fashion Science hub Alan Cannon-Jones is currently developing Conference LCF, London 27-28
Interrogating Fashion research cluster, also an area of interest as the flexible screens
members presented their research to Historical and Cultural Studies research into the 3D Realisation of the September/Dai Rees Carapace Oaxaca
led by Sandy Black, part of which is now of the future will also be applied to fabrics
colleagues from the Institute of Material Research Hub update Parametric Pattern Software. Cannon-Jones Biennale, Mexico Autumn 2006
incorporated into the Fashion Science Hub. and decorative surfaces.
Digital Fashion was a key theme, including Research and Engineering, Singapore who is working with TPC Hong Kong who have Lucy Orta This is America! Group
Hub Co-ordinator: Joanne Entwistle,
facilitating customisation through digital are researching collaboration in areas developed software for Three Dimensional Exhibition Centraal Museum, Utrecht
Senior Research Fellow
printing in 2D and 3D. This name has now complementary to their scientific research, Pattern Cutting, having succeeded in 23 June – 7 October 2006
been adopted for the new College Digital specifically cosmetic science and product Under new full economic costs, a team from developing the first realisation of a Tailored
within the Historical and Research hub has Wessie Ling Empty Space Project London
Fashion Studios research and bureau development. There is clearly great potential Garment. The generation of the garment
submitted ‘Fashion and the City: how Design Festival September 2006
facilities which were opened in April 2006. for exciting new research in these areas, commenced with a body scan that has
Philip Delamore is responsible for the 3D as fashion continues to delve deeper into fashion week sells the city’ to the Economic driven the process through to the pattern Wessie Ling Solo Exhibition Empty Space
design and rapid forming unit, and Ceri Isaac aspects of science to achieve new products and Social Research Council under their generation. The 3D outcome is the final Gallery November – December 2006
is responsible for the digital printing bureau. which are more intelligent, multifunctional, Research Grants scheme. Ceri Isaac, Arial realisation and the only part that involves Lucy Orta Solo Exhibition Motive Gallery,
Links have been established with the colour fit for purpose, and are aesthetically highly The project sets out a cross-cultural ‘human hands on’. Amsterdam 9 September –10 October 2006
researchers at London College of pleasing. comparative study of fashion week in four
The Hub are currently building networks to
Communication, and with the University of Finally, new work is being prepared for the fashion capitals – London, Paris, Shanghai
cross-disciplinary practitioners in the areas
Philadelphia (USA) Centre for Excellence in Centenary conference by four hub members and Sydney/Melbourne. If funded it will be the
of fashion, body, identity, textile, 2D/3D, and
Digital printing, via the Interrogating to integrate scanning for fit of jeans with first comprehensive study of fashion week
seeking critical debate and collaborations
Fashion research cluster. pattern preparation and engineered surface and the way in which it promotes or ‘brands’
with curators and theorists; reflecting on
Several research bids have been submitted decoration to create bespoke male and female the city. The amount bid for is about
coordination of college technical support,
during the year. A proposal was submitted jeans. £305,000. Dr Joanne Entwistle will act
Ceri Isaac, Treeline use of facilities for research fellows and staff;
to the EPSRC/AHRC Designing for the 21st as Principal Investigator, working with
The context for work in the area of Fashion establishing cohesive links between the MA
Century scheme arising from the Digital Dr Wessie Ling, Dr Agnès Rocamora and
Science is constantly developing, as studios (practice-based) and fellows; and
Fashion discussions of Interrogating Frances Ross. Lucy Orta – artist, Rootstein
evidenced by the increasing number of generating interaction and fluid transfer
Fashion. This was led by Sandy Black as PI, external events, networks and conferences, Hopkins Chair of fashion of knowledge to student body.
in collaboration with Dr Claudia Eckert from A new sculptural installation entitled Alan Cannon-Jones, Screen shot of his working
and greater awareness of the interfaces of Artefact Hub Update
Cambridge as co-investigator, and was a ‘Fallujah’ which reflects upon the social, project ‘3D Realisation of the Parametric Pattern
design with technology. With a large number Software’
portfolio bid with 3 sub-projects including of active leads and projects, and new Hub Co-ordinator: Lucy Orta, Rootstein political and ethical consequences of the
different areas of the hub and colleagues collaborative initiatives emerging all the Hopkins Chair of fashion Iraq war, to be exhibited in London and
within Interrogating Fashion: project 1 is
personalised knitwear with Sandy Black and
time, this is an increasingly important area
of the College’s work. The project workload
Hub Members: Dai Rees, Helen Storey,
Simon Thoroughgood, Paul Bevan, Alan
internationally in 2007. The work is being
developed in collaboration with writer and
Paul Bevan – Photographer, Course
Director of Foundation Degree Specialist
RAE 2008 Update
Penelope Watkins; project 2 is bespoke bags now needs further rationalisation, and Cannon-Jones, Peter Cox, Dr Wessie Ling, director Jonathan Holmes whose text, taken Make Up and Photography The Research Fellows were given advice to
with Steve Harkin and Frances Geesin; an increase in active members as certain Dr Frances Geesin, Prof Lucy Orta, Ceri from eyewitness accounts, describes the Paul Bevan’s performative, help them with their 300 word statements.
project 3 is design for rapid manufacturing individuals may become over-committed. Isaac, Donatella Barbieri, Jane Elson, Jane appalling atmosphere in ‘Fallujah’ during photo-based installations explore Research Fellows then advised other
for quasi-textiles from Philip Delamore A drive to recruit doctoral students in these McGrath, Polly Kenny, Mark Lebon the American invasion. The series of photography not only as a documentary tool, researchers within their Research Hub on
and Freedom of Creation. This has been areas would also be highly beneficial to the artworks will transform the ‘surplus’ that but also draw on the photograph as an the 300 word statements, talking through
successful and the team have secured We welcomed to the 4th Hub discussion this and other wars have left behind into artefact containing both a history and
research culture. examples and important points to consider.
£230,000 funding for the project. group students from the MA Fashion visual metaphors. physical presence. In previous work he has
Hub members include: Curation course led by Alistair O’Neill at The deadline for the 300 word statements
explored lenticular photography and he is has now been set and the Research Office is
Individual collaborative research bids have London College of Fashion, as well The group discussed plans for the upcoming
Sandy Black (Reader) 3D knitwear design currently developing research surrounding gathering the information and logging it on
also been submitted by Frances Geesin as new member Polly Kenny. Hub members Artefact Hub exhibition ‘New Directions in
and technology photographs which can be worn to relate to the database. The Research Office will soon
(Wellcome) and Philip Delamore (EPSRC) discussed upcoming research projects Research’ which took place in the Fashion
body posture and movement and developed be asking research staff to provide Evidence
with scientists from other institutions. Jeni Bougourd (Senior Research Fellow) 3D including Frances Geesin who brought in Space Gallery at John Princes Street from
into patterns. His research practice seeks for each of their outputs described in
Colour is a growing research focus for the Bodyscanning applications (Size UK) prototypes of her current work and discussed 14 September – 28 September, 2006
to explore various relationships in process, their 300 word statement.
in conjunction with the Centenary
method and presentation (including fashion
29 Research news 30

Chapters in book Sonia Ashmore 2006: ‘Extinction and Pamela Church Gibson, Introduction: Pamela Church Gibson Paper at the British External lectures/talks Performances
Evolution: department stores in London’s Analysing Fashion – in The Fashion Screens conference in Manchester 12-14
Sonia Ashmore 2006: ‘I Think They’re All Alison James ‘Is it all about me?’: The first Christopher Stevens has made the men’s
West End, 1945-1982, London Journal Handbook ed. Tim Jackson & David Shaw, September.
Mad’; Shopping in Swinging London’, in C. international residential seminar on costumes for the new stage production of
special edition (31:1) Routledge, May 2006, Book Chapter
Breward, D. Gilbert and J. Lister eds., Sixties Pamela Church Gibson German Association Researching and Evaluating PDP and e- Evita at the Adelphi Theatre which opened
Fashion (London: V&A Publications). Sonia Ashmore 2006: ‘Cosmopolitan of American Studies – Annual Conference portfolios, Oxford Belfry 9-11October 2006 on the 21 June 2006. Christopher worked
Shopping: Marketing the National and August 2006, Göttingen, Keynote Paper. on the project from April to June 2006.
Becky E. Conekin to appear in a book Conference papers Alison James Keynote address on teaching
Transnational in London’s West End’, in C.
entitled Fashion as Photograph, edited by Wessie Ling, ‘Towards a diasporic aesthetic: methodology and pedagogic research at LCF: Playwright Jim Grover 2006,
Breward and D. Gilbert (eds.), Fashion’s Bill Webb 11 May : ‘A Proposed Classification
Eugenie Shinkle, with I. B. Tauris, 2007. Modes of style of foreign fashion ateurs in Swedish School of Textiles. Boras, Sweden, ww.nakedtheatre.co.uk/chandler.htm
World Cities (Oxford, Berg). of Flagship Outlets in the Fashion Sector’
‘Lee Miller Simultaneity: Photographer? Paris’, Paratre et Apparences en Europe 13-14 November 2006. Chandler
Published paper at LCC Flagship Symposium,
Model in the Pages of Inter-War Vogue’ Sonia Ashmore 2006: ‘Red House and Asia: occidentale du Moyen nos jours, Universite
Elephant & Castle. Sonia Ashmore Organising/
A House and its Heritage’, co authored with de Lille 3, France, September 2006 (invited
Pamela Church Gibson ‘Myths of the participating in symposium on Charles
Yasuko Suga, Journal of William Morris Bill Webb 28 June: ‘Premium Retailing speaker) Grants Awarded
Swinging City: The Media in the Sixties’ (In Holme, Tsuda Women’s College, Tokyo,
Studies (Winter issue). in the UK’, published paper from ‘Premium
The Swinging Sixties, ed. Chris Breward, Sandy Black April 2006, IFFTI conference, November 2006 Ane Lynge-Jorlén AHRC studentship
Laden 2006’. Conference held in Baden-
David Gilbert & Jenny Lister – V&A Sonia Ashmore 2006: Review of NCSU, USA. Two papers presented: 1) ‘Digital awarded for her Research Degree studies
Baden, Germany. Amy de la Haye Lecture about the Messel
Publications, June 2006, Book Chapter Sarah Elvins, Sales and Celebrations: Knitting Design:comparison of seamless in ‘Reading Fashion Magazines: Critical
exhibition at Nyman’s House, East Sussex,
Retailing and Regional Identity in Western Danka Tamburic S. Savic, G. Vuleta, knitwear development for weft knitting’; research on the reading of fashion
Sandy Black June 2006, Fashioning 9 November 2006.
New York State, 1920-1940 (Athens, Ohio, C.C. Muller-Goyman, ‘Effect of vehicle 2)’ Interrogating Fashion: Is the Future of magazines’
Fabrics: contemporary textiles in fashion.
2004), Journal of Consumer Culture. composition on in vitro/ in vivo Fashion Digital?’ Sandy Black ‘Contemporary Knitting:
Book published June 2006 by Black Dog Geraldine Biddle-Perry UAL studentship
hydrocortisone penetration’, European Intersections of Fashion, Craft, Art and
Publishers London. Sandy Black is overall Pamela Church Gibson ‘From Up North to Sandy Black April 2006, AATCC/CITDA awarded for Research Degree studies in
Academy of Dermato-Venearology (EADV) Technology’. University of Wisconsin -
editor and author of introductory essay Up West? London on Screen 1964-1967’, in conference, Philadelphia USA, presentation ‘Productive leisure, style identity and social
14th Congress, London, October 2005, Madison, USA. I was invited to give the
plus several profiles. The London Journal (special edition) pub. ‘An overview of seamless knitting mobility in post-war Britain 1945-1970’.
JEADV, Vol. 19, Supplement 2, October annual lecture for the Helen Louise Allen
July 2006 technology’ Madhuri Shamanna UAL studentship
Sandy Black ‘Textiles: A Futuristic view’. 2005, pages 04-36 Textile Collection, 6 April 2006.
Introductory chapter in book Smart Textiles Danka Tamburic Review: Nanotechnology/ Sandy Black 11-12 October awarded for Research Degree studies in
Danka Tamburic I. Arsic, G.Vuleta, S. Savic, Steven Harkin ‘Where to Next’, An Essential
for Medical and Healthcare, Woodhead lipid nanoparticles – Realising hope in a jar? ‘Nanotechnologies and Smart Textiles for ‘Development of natural multifunctional
‘In vivo skin performance of a cationic Bag Masterclass Workshop, ISS Institute,
Publishing, Cambridge SPC Magazine, October 2005, pp. 55-56. Industry and Fashion’ Royal Society, London, cosmetic ingredients using biotechnological
emulsion base in comparison with an anionic May 2006.
(review article with Mojgan Moddaresi) organised by the Institute of Nanotechnology approach’
Reina Lewis Introductory chapter from co- system’, World Congress on Emulsion, Lyon,
Steven Harkin Public Lecture at the ISS
edited volume (with Nancy Micklewright) Sarah Cheang ‘The Dogs of Fo: Gender, 3-6 October 2006 Sandy Black March 2006, ‘Interrogating
Institute, Melbourne Australia, May 2006
‘Gender, Modernity and Liberty: Middle Identity and Collecting,’ Collectors: Fashion: Practice, Process and Presentation’ Fellowships
Mojgan Moddaresi, Danka Tamburic
Eastern and Western Women’s Writings: A Expressions of Self and Other. in Design Dialogues: Proceedings of Steven Harkin Public Lecture at the
S. Jones, M. Brown, ‘Vitamin E Becky E Conekin was a fellow at the Centre
Critical Sourcebook’ (London: I.B. Tauris, London/Coimbra: Horniman Museum/Museu Designing for the 21st Century EPSRC/AHRC International Textiles Institute, London,
nanoparticles for dermal application’, British for Research in the Arts, Social Sciences and
2006), has been extracted in Writing Turkey: Antropologicao da Universidade de Coimbra, symposium, London. March 2006
Pharmaceutical Conference, Manchester, Humanities, University of Cambridge for the
Explorations in Turkish History, Politics, 2001, 55-72.
4-6 September 2006 Sandy Black IFFTI conference Proceedings , summer term 2005/06
and Cultural Identity edited by Gerard
Sarah Cheang ‘Dragons in the Drawing NCSU, USA. ‘Digital Knitting Design: Exhibitions and Curation
MacLean, Middlesex University Press Sarah Cheang ‘Chasing the Dragon:
Room: Chinese Textiles in British Homes.’ comparison of seamless knitwear
Researching Chinese Textiles in Early- Charlotte Hodes Figures and Patterns:
Textiles in the Home Colloquium, V&A, development for weft knitting’ Consultancy
Twentieth Century Domestic Interiors.’ Papercutouts and Ceramics 15 September -
6 May 2006. Amy de la Haye is the Curatorial Consultant
Journal articles Textiles and Text: AHRC Research Centre Reina Lewis ‘Negotiating Modernity: Spaces 30 October, Flow Gallery, 1- 5 Needham
Sandy Black May 2006 ‘Asian Fusion’ Article for Textile Conservation and Textile Studies of Religiosity, Fashion and Gender in Late Road, W11 on London couture for a forthcoming major
Bill Webb April 2006: ‘Fashion Retailing’ in
published in Selvedge Magazine on textile led Third Annual Conference. University of Ottoman Society’, Modernist Studies exhibition at the V&A called ‘Haute Couture:
The Fashion Handbook (T. Jackson & I. Hodes’s work is concerned with images
fashions from Asia. Southampton. 11-13 July 2006. Association, Tulsa, Oklahoma, October 2006 Paris and London 1947-1957’ which will
Shaw) published by Routledge constructed from collage and the motif
run at the V&A from 27 September 2007
Sandy Black Ceremony Exhibition catalogue, Sarah Cheang ‘Picturing the Pekingese Dog Reina Lewis ‘Opening the Closet: Lesbians, of the female figure.
Danka Tamburic Arsic I., Vuleta G., to 6 January 2008 and will then tour
The Pump House Gallery, Battersea, London. in Early-Twentieth-Century Britain.’ Dress, and Identity’ York Lesbian Arts
‘Exploring moisturising potential of Curated by Amy de la Haye, Alistair O’Neill internationally.
Essay on ‘The Knitted Wedding’ Conception /Reception: Association of Art Festival, October 2006
naturals: the cases of St.John’s wort, and Judith Clarke, Fashioning The Future
Historians Annual Conference. University
chamomile and blackthorn’, Euro Cosmetics, Jo Entwistle and Agnes Rocamora ‘The Reina Lewis Public talk at Tate Britain in For 100 Years, A Centenary Exhibition,
of Bristol. 31 March-2 April 2005. Workshops
vol. 13, issue 3 (2005) 14-21 field of fashion realized: a case study of September as part of a panel to mark the Monday 9 October - Friday 24 November
London Fashion Week,’ Sociology 40 (4) Becky E. Conekin Conference paper for opening of a display called ‘ East/West: 2006. Sandy Black ‘Interrogating the New Textiles’
Danka Tamburic Savic, S., Daniels,
2006 pp 735-750 North American Conference in British Objects Between Cultures’ Presentation at the ‘New Fabric of Life’
R., Muller-Goymann, C. ‘Structural This exhibition charts the 100 years of
Studies, Boston, MA, USA, 16-19 November, workshop at the Horniman Museum,
characterization of multiphase emulsion Jo Entwistle ‘The cultural economy Danka Tamburic S. Savic, G. Vuleta. London College of Fashion through a variety
2006: ‘Vita Sackville-West, the traditional organised by anthropologists at UCL, funded
systems based on an alkylpolyglucosode non- of fashion buying’ Special Issue, Encounters ‘Alkylpolyglycoside based self-tanning cream: of archive material and personal accounts
Cottage Garden and notions of tasteful by the Pasold 23 September 2006
ionic emulsifier’, La Ravista Italiana delle in the Global Fashion Industry Current, stability and efficacy studies’, APGI Skin and and contributions. Venue: Fashion Space
Englishness in the 20th Century’. This for
Sostanze Grasse, Vol 82, Settembre/Ottobre Sociology 54 (5) 2006 pp 704-724 Formulation, 2nd Symposium, Versailles, Gallery , Rootstein Hopkins Space.
part of a panel discussion with Professor
2005, pp. 236-244. 9-10 October 2006
Jo Entwistle ‘Keeping up Appearances: Michael Saler, Dept of History, University Wessie Ling ‘Game On: The fashion world
Danka Tamburic ‘Effects of polymer aesthetic labour and identity in the fashion of California, Davis and Professor Stuart Danka Tamburic S. Savic, Milic, G. Vuleta, conquest’, Solo exhibition, Exhibit, London,
entrapment of Prunus spinosa fruit extract modelling industries of London and New Semmel, Dept. of History, University of ‘Sugar surfactants-based hydrous and November-December 2006.
on its cosmetic efficacy’, Journal of Approved York’ (with Elizabeth Wissinger) Sociological Delaware, currently a Fellow at the National anhydrous emulsion vehicles: physico-
Wessie Ling ‘Golden Link’, Group show of
Cosmetology, Vol 24, No 2 (2006) 63-76 Review 54 (4) 2006 pp 773-793. Humanities Centre, N. Carolina, entitled chemical characterisation and skin
‘Golden Lane Celebration’, Exhibit at London
“Little Englands/Larger Worlds”. The panel performance test’, APGI Skin and
Sarah Cheang ‘Women, Pets and Nilgin Yusuf ‘The Iconography of the Design Festival, September 2006.
Formulation, 2nd Symposium, Versailles,

Designed by Crescent Lodge, London


Imperialism: The British Pekingese Dog and Outsider in Contemporary Fashion’, will be chaired by Assistant Professor
Deborah Cohen, Brown University and 9-10 October 2006 Steven Harkin 2 Materials, Craft ACT
Nostalgia for Old China,’ Journal of British Dialogues section, Textile, June 2006.
commented upon by Prof Sonya Rose, Accredited members exhibition, Canberra,
Studies, 45.2 (April 2006): 359-387
History, University of Michigan, Ann Arbor. Australia, March 2006.
We hope that this Research Newsletter
will act as a catalyst to inform and
enhance our burgeoning research
culture and encourage colleagues and
students to tell us about their research
interests and up and coming activities
and events.

Please contact Rachel Jillions


Telephone 0207 514 2286
Email r.jillions@fashion.arts.ac.uk
London College of Fashion
20 John Princes Street
London W1G 0BJ