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Author Guidelines

In order to submit an abstract and/or a paper, authors should register on the website.

Articles should have not been previously published, nor submitted for consideration elsewhere.

Articles should range between 6.000-7.000 words (including abstract, notes and references).

Submission metadata

The submission should include:

  • e-mail address
  • institutional affiliation
  • five keywords
  • biography (50-100 words)
  • abstract (150-200 words)

The metadata must be provided in English.


Submission files must be typed according to the following criteria.

The submission file is in Microsoft Word document file format (.docx).

The text should be 1,5 line-spaced and use the Times New Roman 12-point font.

The article’s title must be highlighted in bold type 14-point font.

Headings should be preferable unnumbered. First level headings are bold, second level headings are italic 12-point font.

Headings are never closed by full stop. The bold type must not be used in other cases.

Short quotations (<40 words) must be enclosed in double quotation marks (“ ”) and run on with the main text. For a quotation within a quotation, single quotation marks should be used (‘ ’). Longer quotations (>40 words) should be separated by a single line break before and a single line break after the quoted text.

Long quotations should be restricted to a paragraph indent of 1 cm from both sides and should not be enclosed within quotation marks.

Any interruption / suspension of the current quotation must be indicated as follows:

Italian → […]

English → …

British and American English are both acceptable, provided that the choice is consistently employed throughout the text and assured that articles are formatted according to the corresponding norms of punctuations, abbreviations, spelling.



The use of italics should be limited to:

  • Italian or English words of uncommon use, like facilities, engagé, ad hoc, deus ex machina;

  • titles of literary works [Il pittore della vita moderna, Philosophie der Mode, but also A Silvia, Dialogo della Moda e della Morte] and of artistic and cinematographic works [Compenetrazioni iridescenti, Flowers, Gruppo di famiglia in un interno]; it must not be used for architecture works [Casa del Fascio di Como; Empire State Building, Tempio Malatestiano].

How to use footnotes (Chicago Manual of Style)

Notes must be typeset as footnotes and should be used for bibliographic references and archival sources.

A note number should be placed at the end of a sentence or at the end of a clause. The number normally follows the punctuation.

For general rules on style, please refer to the Chicago Manual of Style (the most recent edition) online at:



Federica Muzzarelli, Lee Miller and Man Ray. Photography, Fashion, Art (Bologna: Atlante, 2016), 20-4.
Giovanni Matteucci and Stefano Marino, Philosophical Perspectives on Fashion (London: Bloomsbury, 2016), 12.

Shortened citations to be used for a source already mentioned

(use with Cf.| See instead of op. cit.)
Cf. Muzzarelli, Lee Miller, 20–4.
See Matteucci and Marino, Philosophical Perspectives, 12.

Contributions to books


Antonella Mascio, “Virtual Communities,” in Encyclopedia of Information Science and Technology, ed. Mehdi Khosrow-Pour (USA: Hershey Pa, 2015), 5790–97.

Shortened citations to be used for a source already mentioned

(use with Cf.|See instead of op. cit.)
Cf. Mascio, “Virtual Communities,” 5790.

Articles in journals


Bradley Quinn, “The Future of Fashion,” ZoneModa Journal, vol. 6 (December 2016): 13–21.

Marta Martina and Silvia Vacirca, “The Celebrity Factory: New Modes of Fashion Entrepreneurship,” ZoneModa Journal, vol. 7 (December 2017): 37–9,

Claire Bommelaire, “Jean-Paul Claverie, l'homme lige”, Le Figaro, (March 7, 2018),

Shortened citations to be used for a source already mentioned

(use with Cf.|See instead of op. cit.)
Cf. Quinn, “The Future of Fashion,” 13–21.
Martina and Vacirca, “The Celebrity Factory,” 37.

For all other cases, please refer to the Chicago Manual of Style’s Guidelines:

Shortened citations (other uses)


The abbreviation ibid. (from ibidem, “in the same place”) usually refers to a single work cited in the note immediately preceding. In a departure from previous editions, Chicago discourages the use of ibid. in favor of shortened citations; to avoid repetition, the title of a work just cited may be omitted.

Federica Muzzarelli, Lee Miller and Man Ray. Photography, Fashion, Art (Bologna: Atlante, 2016), 24
turns into
Muzzarelli, 24.

“Op. cit.” and “loc. cit.”

The abbreviation Op. cit. (“in the work cited”) and loc. cit. (“in the place cited”), used with an author’s last name and standing in place of a previously cited title, have rightly fallen into disuse. Chicago disallows both op. cit. and loc. cit. and instead uses the short-title form (cf. Shortened citations).

“See” and “cf.”

Notes are often used to invite readers to consult further resources. When doing so, authors should keep in mind the distinction between see and cf., using cf. only to mean “compare” or “see, by way of comparison.”

For further discussion of this problem → see Muzzarelli, Lee Miller, 22.
Others disagree with my position → cf. Matteucci and Marino, Philosophical Perspectives, 12–4.

Unless otherwise specified (spelling, abbreviations, punctuation, etc.) please follow the Chicago-Style Citation Quick Guide:

Transliteration rules and citation of works in other than Latin alphabet

Please use only the accredited standards. In particular:


Standard ISO 9:1995


Pinyin (ISO 7098:2015)





- consonants: ʾ - b - t - ṯ - ǧ - ḥ - ḫ - d - ḏ - r - z - s - š - ṣ - ḍ - ẓ - ʿ - ġ - f - q - k - l - m - n - h - w - y.
- vowels: a - i - u - ā - ī - ū .
- diphthongs: aw, - ay.
- Tāʾ marbūṭa : a, - at
- Hamza: omitted (es. al-amr), except of in poetry.
- article: al-; in case of hamzat al-waṣl : l (walī l-ʿahd, fī l-bayt, Abū l-Faraǧ al-Iṣfahānī).
- dash separates elements written together (wa-l-šams, bi-l-khayr).
- female Nisba -iyya, male -ī (non -īy o -iyy).

How to write bibliography (alphabetical order)

Use the following template for bibliography.

Artnews. “2017 Top 200 Collectors.” (December 12, 2017),

Bommelaire, Claire. “Jean-Paul Claverie, l'homme lige.” Le Figaro, (March 7, 2018).

Martina, Marta and Silvia Vacirca. “The Celebrity Factory: New Modes of Fashion Entrepreneurship.” ZoneModa Journal, vol. 7 (December 2017): 37–9,

Mascio, Antonella. “Virtual Communities.” In Encyclopedia of Information Science and Technology, edited by Mehdi Khosrow-Pour, 5790–97. USA: Hershey Pa, 2015.

Matteucci, Giovanni and Stefano Marino. Philosophical Perspectives on Fashion. London: Bloomsbury, 2016.

Muzzarelli, Federica. Lee Miller and Man Ray. Photography, Fashion, Art. Bologna: Atlante, 2016.

Quinn, Bradley. “The Future of Fashion.” ZoneModa Journal, vol. 6 (December 2016): 13–21.

All the links and URL addresses in footnotes or bibliography have to be activated and ready to click and edited in full extended version.


Illustrations and photos, should be submitted in .tiff or .jpg format, scaled at 100%, resolution at least 300 dpi. For each essay are allowed 8/10 images at most.

Charts and diagrams should be in .png format.

Number the files and clearly mark the spot where the photo should be inserted (Fig.01).

The figures must be sent as additional files packed in a separate folder (zip, rar, …) and named with two-digit numbers in order of appearance (01.jpg, 02.png, 03.tiff, …).

Provide the captions in a separated word document.

All information concerning images, graphics and tables (author, title, date, source or image location, copyright) must be sent in a separated word document, marked with Arabic numerals corresponding to the name of the relative files.

The authors must guarantee for the copyright of the images sent.


  • Images can not be placed side by side unless they are already merged into a single image with a single caption.

  • The layout placement within the PDF file depends strictly on the space available on each page, so in articles with many images it is likely that some of them are arranged on a single page.


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The copyrights of all the texts on this journal belong to the respective authors without restrictions.

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See also our Open Access Policy.


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