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WSQ (Women's Studies Quarterly) Call for Papers: Fashion

Guest Editors: Eugenia Paulicelli & Betsy Wissinger



Fashion is an economic and social force, a culture industry, a global  
powerhouse, a political statement.  Fashion can simultaneously express  
freedom and constriction, be both democratic and totalitarian; both  
repress and liberate the body and gender roles. Transformation and  
affect are at its heart. Fashion is a universal form of human  
expression that transgresses boundaries of gender/race/class/ 
embodiment/culture/nation. Fashion ignites passions, produces colossal  
waste, demands ruthless exclusion, inspires hysterical devotion.  
Bubbling up and filtering down, fashion mixes high and low, sultry and  
strong, ancient ritual and cutting edge technology.



A thorough study of the history of fashion in its symbolic, creative  
and coercive faces shows how it has been crucial in the construction  
of national identities in fascist regimes or in processes of  
decolonization, such as in India, or in the remapping of the world  
economy, including China, India and Brazil. Fashion is closely tied to  
industrial, technological and economic developments and is at the  
center of cultural activity and change. In today’s globalized world,  
the fashion and textile industry are key factors to understand the  
profound transformations occurring in cities, nations and regions the  
world over.



Underling all the recent scholarly attention that has been given to  
fashion is the intent of stripping it of its apparent light and  
frivolous reputation, and replacing it with a serious scholarly  
investigation that seeks to uncover the many complex layers that its  
surface conceals. The study of fashion, costume and dress has involved  
a series of disciplines, and has expanded their boundaries.



Is fashion a women’s issue? Inherently gendered, based on female  
bodily display, taking fashion seriously demands exploring the limits  
of gender and embodiment. Pushing that envelope reveals how fashion  
can question pre-established notions of gender, aesthetics and  
behavior. How do we understand masculinity in relation to dress and  
fashion? We invite exploration of fashion, clothing and adornment  
through plays of androgyny, from dandyism to lesbian chic. Seeing  
through clothes to the politics of power they materialize draws  
fashion into debates concerning identity, selfhood, sustainability,  
subjectivity, representation, and virtuality. How does the fashioned  
body trouble the boundaries between lived and represented, driving  
toward new phenomenological conceptions? How do the globe spanning  
trends of fashion reshape experiences of self and locale, and bring  
new relations of time and space? How has fashion in the blogosphere  
affected technologies of self, and produced new relations between  
bodies and city-scapes all over the world?  How does fashion mediate  
the body? How do these mediations feed through text, film, the  
Internet and beyond?



Always in flux, never static, fashion’s fast pace often defies and  
disrupts the discipline-bound analytics of traditional scholarship. In  
this special issue of WSQ we seek scholarship that pushes the  
boundaries between dyadic conceptions of art and commerce, technology  
and the body, nature and culture, aesthetics and politics, reality and  
representation.



We invite a rethinking of the traditional organization of disciplines  
within the social sciences and the humanities to include the impact of  
fashion within their contexts and welcome academic papers from a wide  
range of approaches, including theory, empirical research, literature,  
art, history, design, media and film studies, cultural studies,  
performance studies, women’s and gender studies, psychology,  
sociology, semiotics, and anthropology, as well as creative prose,  
poetry, artwork, memoir and biography. Suggested topics include, but  
are not limited to:

  Fashion cities in literature, cinema, the arts

Fashion and digital technology

Sustainability and ecofashion: how can we make sustainability a  
fashionable choice?

Fashion shows, models, and the work of producing fashion

Fashion Capitals

Fashion and philosophy

Fashion, policy, and gentrification

Fashion tourism

Fashion and religion

Fashion and feminism

Fashion and masculinity

Fashion and fat

Cross-dressing

Drag Queens

The closet

The street

The runway

Stars

Shopping

Fast Fashion

Luxury Brands

Fashion designers/Fashion Design

Fashion and museums

New York Garment District, Yesterday, today and tomorrow

Fashion and Migration

Fashion and sweatshops

Fashion East/West

Blogs and their effect on fashion

Clothing as a second skin

Anti-fashion

Transgression/transgender/ transformation/ transcendence

Department Stores

Fashion Photography

Fashion Films



If submitting academic work, please send articles by March 15, 2012 to  
the guest editors, Eugenia Paulicelli and Betsy Wissinger at [log in to unmask] 
. Please send complete articles, not abstracts.  Submission should not  
exceed 20 double spaced, 12 point font pages and should comply with  
the formatting guidelines at http://www.feministpress.org/wsq/submission-guidelines 
.



Poetry submissions should be sent to WSQ's poetry editor, Kathleen  
Ossip, at [log in to unmask] by March 15, 2012.  Please review  
previous issues of WSQ to see what type of submissions we prefer  
before submitting poems. Please note that poetry submissions may be  
held for six months or longer. Simultaneous submissions are acceptable  
if the poetry editor is notified immediately of acceptance elsewhere.  
We do not accept work that has been previously published. Please paste  
poetry submissions into the body of the e-mail along with all contact  
information.

Fiction, essay, and memoir submissions should be sent to WSQ's fiction/ 
nonfiction editor, Nicole Cooley, at [log in to unmask] by  
March 15, 2012. Please review previous issues of WSQ to see what type  
of submissions we prefer before submitting prose. Please note that  
prose submissions may be held for six months or longer. Simultaneous  
submissions are acceptable if the prose editor is notified immediately  
of acceptance elsewhere. We do not accept work that has been  
previously published. Please provide all contact information in the  
body of the e-mail.

Art submissions should be sent to Margot Bouman at [log in to unmask] by  
March 15, 2012. After art is reviewed and accepted, accepted art must  
be sent to the journal's managing editor on a CD that includes all  
artwork of 300 DPI or greater, saved as 4.25 inches wide or larger.  
These files should be saved as individual JPEGS or TIFFS.



Amy Herzog
Associate Professor of Media Studies
Coordinator of the Film Studies Program
Queens College, CUNY
Faculty of Theater and Film Studies
The Graduate Center, CUNY








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http://www.ScreenSite.org