ZoneModa Journal: Announcements https://zmj.unibo.it/ <strong>ZoneModa Journal – ISSN 2611-0563</strong> is the first Italian journal dedicated to fashion research in its complexity: aesthetic, social, cultural, economic, historical. Its aim is to cover an interdisciplinary space intersecting fashion criticism and fashion theory. en-US ZMJ Call For Papers: Fashion and Communication https://zmj.unibo.it/announcement/view/465 <p class="paragraph" style="margin: 0cm; margin-bottom: .0001pt; text-align: justify; vertical-align: baseline;"><span class="normaltextrun">Volume 12 n. 1, 2022</span></p> <p class="paragraph" style="margin: 0cm; margin-bottom: .0001pt; text-align: justify; vertical-align: baseline;"><span class="normaltextrun">Daniela Calanca (University&nbsp;of&nbsp;Bologna)</span></p> <p class="paragraph" style="margin: 0cm; margin-bottom: .0001pt; text-align: justify; vertical-align: baseline;"><span class="normaltextrun">Grazia&nbsp;D’Annunzio (Journalist)</span><span class="eop">&nbsp;</span></p> <p>ZoneModa Journal invites you to present proposal for a monographic issue on Fashion and Communication. The goal is to explore relationships, convergences and possible discrepancies between these two fields.</p> <p>More precisely, the issue’s aim would be to encourage&nbsp;&nbsp;and develop a critical and innovative thinking within the fashion territory, in either a theoretical or practical perspective. Through historical analysis and new developments, fashion communication - along with its spread and awareness - plays more than ever a pivotal role in the varied tapestry of our contemporary society.&nbsp;&nbsp;&nbsp;&nbsp;</p> <p>We&nbsp;therefore&nbsp;invite&nbsp;you&nbsp;to&nbsp;submit&nbsp;contributions&nbsp;on&nbsp;these&nbsp;following&nbsp;topics:&nbsp;&nbsp;&nbsp;</p> <ul> <li class="show">Evolution of fashion journalism and trends analysis&nbsp;</li> <li class="show">Fashion and&nbsp;visual&nbsp;comunication&nbsp;</li> <li class="show">Advertising&nbsp;vocabulary&nbsp;and fashion&nbsp;journalism&nbsp;</li> <li class="show">Fashion&nbsp;&nbsp;comunication&nbsp;through&nbsp;exbibitions&nbsp;</li> <li class="show">Web&nbsp;Journalism&nbsp;</li> <li class="show">Genderless fashion: a new comunication&nbsp;</li> <li class="show">Fashion Journalism: training and practices&nbsp;</li> </ul> <p>Submissions&nbsp;</p> <p>Abstracts of no more than 1000 words + 5 bibliographical references (word*.docx format), written either in Italian or English, must be sent to:&nbsp;<a href="mailto:zmj@unibo.it">zmj@unibo.it</a>&nbsp;</p> <p>Abstract&nbsp;acceptance&nbsp;does&nbsp;not&nbsp;guarantee&nbsp;publication&nbsp;of the&nbsp;article,&nbsp;which&nbsp;will&nbsp;be&nbsp;submitted&nbsp;to a double-blind&nbsp;peer-review&nbsp;process.&nbsp;</p> <p>Key&nbsp;deadlines:</p> <ul> <li class="show">abstract&nbsp;submission:&nbsp;<strong>October&nbsp;30, 2021</strong>.</li> <li class="show">notification&nbsp;of&nbsp;acceptance/rejection:&nbsp;<strong>November 30, 2021 </strong>(notice&nbsp;of&nbsp;acceptance&nbsp;might&nbsp;include&nbsp;comments&nbsp;and&nbsp;requests&nbsp;of&nbsp;explanations).&nbsp;</li> <li class="show">full-length&nbsp;paper&nbsp;(6000/7000&nbsp;words)&nbsp;submission:&nbsp;<strong>February&nbsp;15, 2022</strong>.</li> <li class="show">comments&nbsp;of the&nbsp;reviewers&nbsp;will&nbsp;be&nbsp;conveyed&nbsp;together&nbsp;with the&nbsp;editor’s&nbsp;decision&nbsp;(approval&nbsp;with no&nbsp;changes,&nbsp;approval&nbsp;with major/minor&nbsp;changes&nbsp;and/or&nbsp;rejection):&nbsp;<strong>March 31, 2022</strong>.</li> <li class="show">authors&nbsp;shall&nbsp;send&nbsp;the&nbsp;reviewed&nbsp;article&nbsp;to the&nbsp;editorial&nbsp;staff by&nbsp;<strong>April 30, 2022</strong>.</li> </ul> <p>ZMJ 12.1 2022 is scheduled to be published by July 2022.&nbsp;</p> <p>&nbsp;</p> ZoneModa Journal 2021-09-06 ZMJ Call For Papers: Fashion and Tourism in Transition https://zmj.unibo.it/announcement/view/451 <p>Volume 11 n. 2, 2021</p> <p>Gianluigi Di Giangirolamo, University of Bologna&nbsp;</p> <p>Alessia Mariotti, University of Bologna&nbsp;</p> <p>&nbsp;</p> <p><span data-contrast="none">This call for papers of&nbsp;</span><span data-contrast="none">ZoneModa</span><span data-contrast="none">&nbsp;Journal is devoted to the relationship between fashion and tourism</span><span data-contrast="none">,</span><span data-contrast="none">&nbsp;and it aims to investigate the main similarities, divergences, influences, connections, and interactions between these two sectors.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">From an academic point of view, both the fashion and tourism industries are considered a field of studies. In other words, they are two complex topics of research requiring interpretation and analytical frameworks from different and often quite distinct disciplines.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">What are the interactions between these two sectors</span><span data-contrast="none">,</span><span data-contrast="none">&nbsp;and how can the multidisciplinary approach help read the many different social, economic, and cultural dimensions they intersect? How have these interactions changed in an age of strong dematerialization of experience due to the pandemic?</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">In&nbsp;</span><span data-contrast="none">"</span><span data-contrast="none">tourism studies</span><span data-contrast="none">"</span><span data-contrast="none">, fashion has been mainly investigated from an urban perspective,&nbsp;</span><span data-contrast="none">i.e.</span><span data-contrast="none">&nbsp;in the relationship between the tourist attractiveness of cities and their market characterization as fashion capitals. In other words, fashion becomes a tool through which the tourism product can be diversified</span><span data-contrast="none">,</span><span data-contrast="none">&nbsp;or it can be a relevant topic for its contribution to the events system as a multiplier of visitor</span><span data-contrast="none">'</span><span data-contrast="none">s flows. More recently, the relevance of the role of cultural and creative industries within the social sciences, both in the process of acknowledging and developing intangible heritage and of enhancing the value of artistic and craft products, has&nbsp;</span><span data-contrast="none">opened up</span><span data-contrast="none">&nbsp;new scenarios for an interdisciplinary and intersectoral debate between tourism and fashion. In creative tourism, fashion practices broaden the concept of culture itself, allowing further analysis of the relationship between these two sectors.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">In the case of fashion studies, the interest of researchers in interactions with the world of tourism has been much more restricted: studies are mainly focused on the area of marketing and management, for instance, the collaborative strategies between some high fashion brands and the hotel world.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">Yet the fashion system with its creators, fashion houses, events, communication networks, and consumers ha</span><span data-contrast="none">s</span><span data-contrast="none">&nbsp;contributed and continue</span><span data-contrast="none">s</span><span data-contrast="none">&nbsp;to contribute to the creation and definition of places, spaces, and cities; a well-defined and relevant link between fashion and the territory, which generates value in tourism practices and therefore allows an expansion of the supply. The tourism industry is itself a relevant element in the field of fashion. Since the late nineteenth century, the&nbsp;</span><span data-contrast="none">interaction</span><span data-contrast="none">&nbsp;and hybridizations in the exchanges between hosts and guests contribute (also thanks to guides, itineraries, and "must-see") to the creation of images and imaginaries of fashion places and capitals.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">This issue of&nbsp;</span><span data-contrast="none">ZoneModa</span><span data-contrast="none">&nbsp;Journal aims to encourage an innovative debate within fashion studies on the interactions between the worlds of fashion and tourism with a perspective, both theoretical and empirical, on the current transitions and in particular:</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <ul> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="1" data-aria-level="1"><span data-contrast="none">The fashion system and the attractiveness of&nbsp;</span><span data-contrast="none">destinations;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="2" data-aria-level="1"><span data-contrast="none">The evolution of the relationship between fashion and&nbsp;</span><span data-contrast="none">tourism;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="3" data-aria-level="1"><span data-contrast="none">The creation of new facilities and tourism&nbsp;</span><span data-contrast="none">practices;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="4" data-aria-level="1"><span data-contrast="none">The possible synergies between fashion and tourism in the creation of new&nbsp;</span><span data-contrast="none">products;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">The role of fashion cultural heritage as a tourist&nbsp;</span><span data-contrast="none">attractor;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">The relationship between fashion events and urban&nbsp;</span><span data-contrast="none">tourism;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Cultural and creative tourism: new relationships between the fashion and tourism&nbsp;</span><span data-contrast="none">industry;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Fashion tourism practices: travelers, consumers, and&nbsp;</span><span data-contrast="none">producers;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Public policies to support the interaction between the two&nbsp;</span><span data-contrast="none">sectors;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Corporate museums as tourist&nbsp;</span><span data-contrast="none">attractors;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Fashion in museums, museums for&nbsp;</span><span data-contrast="none">fashion;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">The relations between fashion and tourism&nbsp;</span><span data-contrast="none">enterprises;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Communication in fashion&nbsp;</span><span data-contrast="none">tourism;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Tourist behavior of fashion consumers and the fashion consumption behavior of&nbsp;</span><span data-contrast="none">tourists;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Dematerialization and digitalization of experiences in fashion&nbsp;</span><span data-contrast="none">tourism;</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="1" aria-setsize="-1" data-aria-posinset="5" data-aria-level="1"><span data-contrast="none">Fashion, creativity, and tourism.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> </ul> <p><span data-contrast="none">Due to the specific characteristics of the two fields of study, the call is open to contributions from all socio-humanistic disciplines, and more in general</span><span data-contrast="none">,</span><span data-contrast="none">&nbsp;to new multidisciplinary perspectives.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p>&nbsp;</p> <p><span data-contrast="none">Submissions </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to </span><a href="mailto:zmj@unibo.it"><span data-contrast="none">zmj@unibo.it</span></a><span data-contrast="none">. </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-contrast="none">Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process. </span></p> <p>&nbsp;</p> <p><span data-contrast="none">Key deadlines: </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559739&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <ul> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="1" data-aria-level="1"><span data-contrast="none">abstract submission: </span><strong><span data-contrast="none">May 30, 2021</span></strong><span data-contrast="none"> </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="2" data-aria-level="1"><span data-contrast="none">notification of acceptance/rejection: <strong>June</strong></span><strong><span data-contrast="none"> 15, 2021</span></strong><span data-contrast="none"> (notice of acceptance might include comments and requests of explanations). </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> </ul> <ul> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="1" data-aria-level="1"><span data-contrast="none">full-length paper (6000/7000 words) <strong>submission: </strong></span><strong>August<span data-contrast="none"> 30, 2021</span></strong><span data-contrast="none">. </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="2" data-aria-level="1"><span data-contrast="none">comments of the reviewers will be conveyed together with the editor</span><span data-contrast="none">'</span><span data-contrast="none">s decision (approval with no changes, approval with major/minor changes and/or rejection): </span><strong><span data-contrast="none">September 30, 2021</span></strong><span data-contrast="none">. </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="3" data-aria-level="1"><span data-contrast="none">authors shall send the reviewed article to the editorial staff by </span><strong><span data-contrast="none">October 15, 2021</span></strong><span data-contrast="none">. </span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> </ul> <p><span data-contrast="none">ZMJ 11.2 2021 is scheduled to be published by December 2021.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:300,&quot;335559740&quot;:375}">&nbsp;</span></p> <p><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></p> ZoneModa Journal 2021-04-15 ZMJ Call For Papers: Rethinking Fashion Brands in The Era of Digital Media https://zmj.unibo.it/announcement/view/432 <p><span data-contrast="auto">Volume 11 n. 1, 2021</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">MariachiaraColucci, University of Bologna</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">Marco Pedroni, eCampus University</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">Over the last two decades, the process of digitization has deeply reshaped the dynamics of the field of fashion. Scholarly debate has framed the overall societal changes in this regard under the category of&nbsp;</span><span data-contrast="auto">mediatization</span><span data-contrast="auto">. The relevance of media has been recognized «in the social construction of everyday life, society, and culture as a whole» (</span><span data-contrast="auto">Krotz</span><span data-contrast="auto">&nbsp;2009: 24), something that makes&nbsp;</span><span data-contrast="auto">mediatization</span><span data-contrast="auto">&nbsp;a kind of meta-process «grounded in the modification of communication as the basic practice of how people construct the social and cultural world» (</span><span data-contrast="auto">ibid.:</span><span data-contrast="auto">&nbsp;26). The&nbsp;</span><span data-contrast="auto">mediatization</span><span data-contrast="auto">&nbsp;of society works as a process «whereby society to an increasing degree is submitted to, or becomes dependent on, the media and their logic» (</span><span data-contrast="auto">Hjarvard</span><span data-contrast="auto">&nbsp;2008: 113).&nbsp;&nbsp;</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">Fashion has a problematic relationship with digital media. On the one hand, fashion bloggers and influencers set the foundations of the influencer marketing that is now largely expanding in all the lifestyle-related industries. On the other, the fashion industry has become able to exploit the advantages of digitization later than other cultural industries. Nonetheless, it could not avoid&nbsp;</span><span data-contrast="auto">to be</span><span data-contrast="auto">&nbsp;involved in this «</span><span data-contrast="auto">mediatization</span><span data-contrast="auto">&nbsp;of everything» (Livingstone 2009: x). Fashion is subject to&nbsp;</span><span data-contrast="auto">mediatization</span><span data-contrast="auto">&nbsp;in a variety of ways (</span><span data-contrast="auto">Rocamora</span><span data-contrast="auto">&nbsp;2017) affecting the processes of designing, producing, distributing, promoting and consuming clothes.&nbsp;</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">This special issue aims to understand how digitization is affecting the domain of fashion, with particular attention to the role of fashion brands. Accordingly, we invite scholars to deal with a set of questions in the light of digitization and&nbsp;</span><span data-contrast="auto">mediatization</span><span data-contrast="auto">:</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:240,&quot;335559740&quot;:240}">&nbsp;</span></p> <ul> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="1" data-aria-level="1"><span data-contrast="auto">How do&nbsp;</span><span data-contrast="auto">fashion brands, whether mass-market or established&nbsp;</span><em><span data-contrast="auto">maisons</span></em><span data-contrast="auto">, interface with their audience, advertise their products, reach their targets, finalize the sale, and retain the consumers?</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="2" data-aria-level="1"><span data-contrast="auto">How has physical retail been transformed by digital, whether in-store or out-store? (e.g. interactive showcases, digital signage, intelligent mannequins, digital fitting rooms, innovative payment acceptance systems, sales force automation)</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="3" data-aria-level="1"><span data-contrast="auto">How has digital technology changed the format and meaning of fashion shows and catwalks?</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="4" data-aria-level="1"><span data-contrast="auto">How is digital impacting on fashion economy and luxury conglomerates? (e.g. processes of automation and optimization of economies of scale throughout the supply chain)</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="4" data-aria-level="1"><span data-contrast="auto">How is digitization contributing to the development of new business models? (e.g.&nbsp;</span><span data-contrast="auto">crowdfunding</span><span data-contrast="auto">, start-up incubators, online platforms)</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="4" data-aria-level="1"><span data-contrast="auto">How do fashion brands cooperate with, fight against or exploit new digital intermediaries like bloggers, influencers and content creators?</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="4" data-aria-level="1"><span data-contrast="auto">How do digital platforms promote new forms of contamination between culture and commerce? (e.g. lifestyle magazines combined with e-commerce platforms, influencers turned into entrepreneurs and brands themselves)</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="3" aria-setsize="-1" data-aria-posinset="4" data-aria-level="1"><span data-contrast="auto">How do brands pursue the search for authenticity, as a value and a rhetoric construction, through digital channels?</span><span data-ccp-props="{&quot;134233279&quot;:true,&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:160,&quot;335559740&quot;:259}">&nbsp;</span></li> </ul> <p><span data-contrast="auto">The call for papers is open (but not restricted) to scholars of any discipline belonging to social and organizational science and humanities, and especially to management, marketing, sociology, anthropology, communication, history.</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">The overall objective of the special issue is to provide a comprehensive analysis of the challenges and opportunities that fashion brands are dealing with.</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="auto">Contributions capable of looking at the digital transformation of brands from a critical perspective and of outlining new lines of research within fashion studies will be particularly welcome.</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335551550&quot;:6,&quot;335551620&quot;:6,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="none">Submissions</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <p><span data-contrast="none">Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to </span><a href="mailto:zmj@unibo.it"><span data-contrast="none">zmj@unibo.it</span></a><span data-contrast="none">.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:171,&quot;335559739&quot;:171,&quot;335559740&quot;:214}">&nbsp;</span></p> <p><span data-contrast="none">Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:171,&quot;335559739&quot;:171,&quot;335559740&quot;:214}">&nbsp;</span></p> <p>&nbsp;</p> <p><span data-contrast="none">Key deadline</span><span data-contrast="none">s:</span><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> <ul> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="1" data-aria-level="1"><span data-contrast="none">abstract submission: </span><strong><span data-contrast="auto">February 15, 2021</span></strong><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="2" data-aria-level="1"><span data-contrast="none">notification</span><span data-contrast="none">&nbsp;of acceptance/rejection: </span><strong><span data-contrast="none">February 28, 2021</span></strong><span data-contrast="none"> (notice of acceptance might include comments and requests of explanations).</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="3" data-aria-level="1"><span data-contrast="none">full-length</span><span data-contrast="none">&nbsp;paper (6000/7000 words) submission: </span><strong><span data-contrast="none">March 31, 2021</span></strong><span data-contrast="none">.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="3" data-aria-level="1"><span data-contrast="none">comments</span><span data-contrast="none">&nbsp;of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection): </span><strong><span data-contrast="none">April 25, 2021</span></strong><span data-contrast="none">.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> <li class="show" data-leveltext="" data-font="Symbol" data-listid="2" aria-setsize="-1" data-aria-posinset="3" data-aria-level="1"><span data-contrast="none">authors</span><span data-contrast="none">&nbsp;shall send the reviewed article to the editorial staff by </span><strong><span data-contrast="none">May 15, 2021</span></strong><span data-contrast="none">.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></li> </ul> <p><span data-contrast="none">ZMJ 11.1 2021 is scheduled to be published by July 2021.</span><span data-ccp-props="{&quot;134233117&quot;:true,&quot;134233118&quot;:true,&quot;201341983&quot;:2,&quot;335559738&quot;:171,&quot;335559740&quot;:214}">&nbsp;</span></p> <p><span data-ccp-props="{&quot;201341983&quot;:0,&quot;335559739&quot;:0,&quot;335559740&quot;:240}">&nbsp;</span></p> ZoneModa Journal 2021-01-14 ZMJ Call for papers: Fashion, Technology, and Social Distancing https://zmj.unibo.it/announcement/view/399 <h4>Volume 10.2, 2020<br />Editor: Gustavo Marfia (University of Bologna)</h4><p>In the history of humanity, the adoption of technologies is constantly accelerating (Denning and Lewis 2020). The time elapsed from the invention to the mass adoption of the telegraph, about eighty years, that required for the widespread diffusion of the telephone, sixty years, electricity (thirty three years), color TV (fifteen years) and social media (twelve). In this perspective, an interesting question for everyone, but also for consumers, fashion professionals, and scholars is: “Which of the technologies nowadays in an early adoption state will become mainstream in the near future?”.</p><p>In order to answer this question, we circumscribe an ecosystem consisting of three computer technologies, which are currently going through different stages in terms of maturity, but which will doubtless sooner or later influence and modify future scenarios, both from the point of view of consumers and fashion experts and practitioners.</p><p>The first of these technologies is already in the process of altering many of the situations to which humanity is accustomed, Artificial Intelligence. Even in an economic sector with a strong creative drive, such as fashion, more and more scenarios are imagined in which artificial intelligence tools can prove decisive, not only in relation to aspects related to sales, production and logistics, but also in relation to those related to the design of new collections and the identification of future trends (IBM Research – AI for Fashion).</p><p>The second technology, the Internet of Things, already well integrated in the industrial world in general, finds space in the value chain of the fashion system and to a lesser extent in clothes and accessories in the form of wearable technologies.</p><p>The third and latest technology taken into consideration in this call, Extended Reality (which includes Virtual and Augmented Reality), has been experimented by the main fashion brands for some years, especially in relation to its ability to amaze and create a connection which is more direct, compared to traditional media and the web, between customers and the most exclusive initiatives of a brand.</p><p>Now, the experience of the pandemic of 2020 has further sparked the interest of many fashion companies for these technologies; has imposed on many companies a management of their business based on digital systems, which starts from the supply chain of materials, to the creation, exhibition and sale of their products (Roberts-Islam 2020). Social distancing, in fact, amplified in the first instance the use of digital channels, but also the need to use digital technologies within each link in the value chain (The state of Fashion 2020, McKinsey report).</p><p>Therefore, this Issue of the ZoneModa Journal aims at investigating how the universe of fashion, made up of highly heterogeneous realities and with very different characteristics, can benefit from the existence of an integrated technological ecosystem, which contemplates the use of the digital technologies indicated above in all its phases. We therefore invite scholars to focus on a series of questions, in the light of future scenarios that presumably will arise:</p><ul><li><p>How will fashion companies propose the physical experience of their stores and showrooms within new or existing virtual channels?</p></li><li><p>How will the online shopping experience change in the medium to long term, if it changes, in light of the rules of social distancing and the closure of many physical stores?</p></li><li><p>How will a large amount of data coming from the fashion system, following the digitization of many of its processes, change the working methods of the designers?</p></li><li><p>Will the pandemic, the pervasive use of the Web and the integration of Extended Reality technologies boost fashion archives?</p></li><li><p>The companies that today provide trend services, forecasts and styling to the fashion industry, as well as influencers and bloggers, will see their role changed within an increasingly digital scenario, in perspective, conditioned from the use of artificial intelligence?</p></li><li><p>Can the pandemic represent the stimulus that will bring the Internet of Things and Extended Reality technologies from an early adoption state to that of a mainstream one within all or some of the steps in the fashion value chain?</p></li></ul><h5 id="references">References</h5><p>Denning, Peter J., and Lewis, Ted G. “Technology adoption.” <em>Communications of the ACM</em> 63, no. 6 (2020): 27–29.</p><p>Roberts-Islam, B. “Virtual Catwalks And Digital Fashion: How COVID-19 Is Changing The Fashion Industry,” April 2020 – <a class="uri" href="https://www.forbes.com/sites/brookerobertsislam/2020/04/06/virtual-catwalks-and-digital-fashion-how-covid-19-is-changing-the-fashion-industry/">https://www.forbes.com/sites/brookerobertsislam/2020/04/06/virtual-catwalks-and-digital-fashion-how-covid-19-is-changing-the-fashion-industry/</a></p><p>IBM Research – AI for Fashion. <a class="uri" href="https://cognitivefashion.github.io/portfolio/couture_jasongrech/">https://cognitivefashion.github.io/portfolio/couture_jasongrech/</a></p><p>The state of Fashion 2020 – coronavirus update. <a href="https://www.mckinsey.com/~/media/mckinsey/industries/retail/our%20insights/its%20time%20to%20rewire%20the%20fashion%20system%20state%20of%20fashion%20coronavirus%20update/the-state-of-fashion-2020-coronavirus-update-vf.ashx">https://www.mckinsey.com/~/media/mckinsey/industries/retail/our insights/its time to rewire the fashion system state of fashion coronavirus update/the-state-of-fashion-2020-coronavirus-update-vf.ashx</a></p><h4 id="submissions">Submissions</h4><p>Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to: <a class="email" href="mailto:zmj@unibo.it">zmj@unibo.it</a>.</p><p>Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process.</p><h4 id="deadlines">Key deadlines</h4><ul><li>abstract submission: <strong>July 20, 2020</strong></li><li>notification of acceptance/rejection: <strong>July 30, 2020</strong> (notice of acceptance might include comments and requests of explanations).</li><li>full-length paper (6000/7000 words) submission: <strong>September 30, 2020</strong>.</li><li>comments of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection): <strong>October 15, 2020</strong>.</li><li>authors shall send the reviewed article to the editorial staff by <strong>October 30, 2020</strong>.</li></ul><p>ZMJ 10.2 2020 is scheduled to be published by the end of 2020.</p> ZoneModa Journal 2020-06-17 ZMJ Call For Papers: Deconstruction https://zmj.unibo.it/announcement/view/340 <h4 id="editors">Volume 10 n.1, 2020 <br />Editors: Stefano Marino (University of Bologna), Ines Tolic (University of Bologna)</h4><p>Deconstruction, understood both as a philosophical doctrine or concept (and hence as <em>theory</em>) and as <em>practice</em> of planning and realization, emerged during the 1970s and 1980s and rapidly disseminated in all fields of cultural, artistic and media production. After some decades since its inception, and on the basis of the persistence of deconstruction at least in some domains, the “ZoneModa Journal” monographic issue dedicated to deconstruction in 2020 aims at assessing the situation of deconstruction in our time and at inquiring into its consequences and implications. We especially invite authors to submit contributions focused on the several ramifications and intersections of deconstructive theories and practices in different but nevertheless always connected fields, such as, for example, philosophy, fashion, architecture, art, design, literature and music.</p><h4 id="submissions">Submissions</h4><p>Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to: <a href="mailto:zmj@unibo.it">zmj@unibo.it</a></p><p>Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process.</p><h4 id="key-deadlines">Key deadlines</h4><ul><li>abstract submission: <strong>October 30, 2019</strong>.</li><li>notification of acceptance/rejection: <strong>November 30, 2019</strong> (notice of acceptance might include comments and requests of explanations).</li><li>full-length paper (6000/7000 words) submission: <strong>February 15, 2020</strong>.</li><li>comments of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection): <strong>March 31, 2020</strong>.</li><li>authors shall send the reviewed article to the editorial staff by <strong>April 30, 2020</strong>.</li></ul><p>ZMJ 10.1 2020 is scheduled to be published by July 2020.</p> ZoneModa Journal 2019-06-05 ZMJ Call for papers: Global Fashion https://zmj.unibo.it/announcement/view/323 <h4>Volume 9.2, 2019<br />Editors: Wessie Ling (Northumbria University), Mariella Lorusso (Bologna University) and Simona Segre Reinach (Bologna University)</h4><p>The globalisation of fashion is a heterogeneous process operating in various forms of national subjectivity within an instable hierarchy. It flows in an uneven path and is marked by continual global interactions. Its outcome is the very history of fashion, a history made up of differences, inequalities and the intriguing relation of Europe with the rest of the world. Entwined within are power relations, historical, political and economic interventions. The dynamics of globalisation have taken the place, space and images of the pre-existing colonial relationships. It is no longer a question of integrating western views of fashion with the one Others have on themselves. Rather, recognising the various voices and forces is quintessential in comprehending the making of global fashion. The making of global fashion in the 21<sup>st</sup> century is a transglobal project involving a network of transcultural agencies and cross-border activities. Like culture, it is never a pure entity. Underneath its layer, global fashion-making is a transcultural mosaic onto which authenticity is often glossed over for the purpose of marketing and economic veins. It is therefore useful to know the directions in which ideas and trade have moved, to overcome old stereotypes, and also to renounce the claim of “pure” sartorial identities, those of product, consumption and communication, which perhaps have never existed and certainly do not exist today.</p><p>This monographic issue considers Global Fashion as a process of exchanges, encounters and interaction interplayed by ambiguity, contradiction and power imbalance. The aim of the issue is to go beyond regional study which relies on case study from different parts of the world to withstand the global dimension. We intend to offer a new approach to help readers to understand the global dynamics behind the multiple encounters and the uncanny development of fashion in the transglobal landscape. Our ultimate goal is to shed light on the multiple connections, comparisons and circulations of people, goods and ideas through a global interconnected method of inquiry. We welcome papers that address such a process in fields such as anthropology, ethnography, economics, history, sociology, cultural studies, linguistic studies and museum studies.</p><h4 id="submissions">Submissions</h4><p>Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to: <a href="mailto:zmj@unibo.it">zmj@unibo.it</a></p><p>Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process.</p><h4 id="deadlines">Key deadlines</h4><ul><li>abstract submission: <strong>May 15, 2019</strong></li><li>notification of acceptance/rejection: <strong>May 30, 2019</strong> (notice of acceptance might include comments and requests of explanations).</li><li>full-length paper (6000/7000 words) submission: <strong>August 31, 2019</strong>.</li><li>comments of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection) : <strong>September 30, 2019</strong>.</li><li>authors shall send the reviewed article to the editorial staff by <strong>October 31, 2019</strong>.</li></ul><p>ZMJ 09.2 2019 is scheduled to be published by the end of 2019.</p> ZoneModa Journal 2019-02-27 ZMJ Call for papers: The Eighties https://zmj.unibo.it/announcement/view/307 <h4>Guest editor: Fabriano Fabbri</h4><p>ZoneModa Journal invites you to present proposal for a monographic issue on the Eighties.</p><p>Among the decades of the last century, the Eighties probably represent the most popular period, vividly transgenerational, the most imitated in the nostalgic commemorations of teenagers at the time now grown up as adults, the most extravagant and colorful. Recognizable for style, innovations, creativity, for all the features that have characterized their rich physiognomy, wrongly or rightly the Eighties have earned themselves the title of most excessive and superficial decade of the Twentieth Century. Yet, after a certain time, the Eighties have never been truly and systematically approached: they’re certainly talked about, but no unitary research exists to focus on the cultural offer of this decade.</p><p>ZoneModa Journal aims at gathering a historical and interpretational anthology of the Eighties phenomenon concentrating on its multiple faces. By nature, this decade embodies the guidelines of the so called “postmodernism”, overused and often misunderstood as a notion, nevertheless still very useful in framing the most evident dynamics of the Eighties. These rotate mostly around the recycle and pastiche of pre-existing materials, like a sort of “eternal return” ruled by the filter of irony and quotation. Among contemporary disciplines, fashion is one of the most suitable channels of observation to identify the spirit of the Eighties, that thanks to the creativity of Versace, Moschino, Alberta Ferretti and other protagonists of the revivalist-quotationist line, in Italy distinguishes for the backward look on the history and on the clothing codes of Greek-roman world and Baroque. Something similar happens in France, where Jean Paul Gaultier, Christian Lacroix, Thierry Mugler etc. are very skillful in remixing styles inspired by Versailles and pop culture. Indeed, pop culture is another focus point to zoom on, starting from music, above all the “new romantic” bands such as Duran Duran and Spandau Ballet, rivaled by the New Age of the Cure or Simple Minds, all supported by the diffusion of music videos through the frequencies of newborn Mtv.</p><p>Beside scholars specialized in pop culture, in its overview of the decade ZoneModa Journal addresses to design experts, a field that in those years is characterized by the playful and colorful style of Alessandro Mendini, Ettore Sottsass, echoed in visual arts by the “return to painting” of Transavanguardia, of Nuovi Nuovi, of Anacronisti, then by the Bad Painters, by the American Graffiti art and so on. Of course, equally desirable would be contributions on literature, enriched in Italy by the presence of the “new novelists”, among which Pier Vittorio Tondelli, Aldo Busi, Andrea De Carlo stand out, without forgetting the philosophical debate created by the “weak thought”, or the loss of “grand narratives” theorized by Jean François Lyotard in his famous <em>The Postmodern Condition</em>. Deeply stimulating are also the historical events of the period, through the years of Reaganism and the influence of the “Iron Lady” Margaret Thatcher, culminated in the end of the Cold War and the Fall of the Berlin wall. And it would be likewise interesting to understand how the Eighties have penetrated the collective imaginary of nowadays, becoming by now a subject to put inside the proverbial inverted commas by “millennials” scholars.</p><p>Every discipline, from sociology to history, from fashion to design, from photography to economics, can participate to set the outlines of a beloved decade and yet not investigated from a wide range perspective, finally capable of offering a no boundaries theoretical instrument of the vast horizon of the Eighties.</p><p>Abstracts of no more than 1000 words + 5 bibliographical references (word *.docx format), written either in Italian or English, must be sent to: <a href="mailto:zonemodajournal@unibo.it">zmj@unibo.it</a></p><p>Abstract acceptance does not guarantee publication of the article, which will be submitted to a double-blind peer-review process.</p><h4 id="deadlines">Key deadlines</h4><ul><li>abstract submission: <strong>November 30<sup>th</sup> 2018</strong></li><li>notification of acceptance/rejection: <strong>December 20<sup>th</sup> 2018</strong> (notice of acceptance might include comments and requests of explanations).</li><li>full-length paper (6000/7000 words) submission: <strong>March 15<sup>th</sup> 2019</strong>.</li><li>comments of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection) : <strong>April 15<sup>th</sup> 2019</strong>.</li><li>authors shall send the reviewed article to the editorial staff by <strong>May 15<sup>th</sup> 2019</strong>.</li></ul><p>ZMJ10 is scheduled to be published in <strong>June 2019</strong>.</p> ZoneModa Journal 2018-10-31 ZMJ Author Guidelines https://zmj.unibo.it/announcement/view/294 ZoneModa Journal 2018-06-27 ZMJ CFP: Fashion and Childhood https://zmj.unibo.it/announcement/view/288 <p class="DidefaultA"><strong>Fashion and Childhood</strong><strong></strong></p><p class="Corpo">guest editors Roberto Farnè and Marcella Terrusi</p><p class="Corpo">ZoneModa Journal invites you to present proposals for a monographic issue on Fashion and Childhood. The relationship between fashion and childhood can be explored from a wide range of different perspectives; from its representations of children’s body and clothing, in literature, in illustrations and other types of media to historical or sociological reflections concerning history of school, education and fashion.</p><p class="NormalWeb">The editors of this ZoneModa Journal issue invite you to contribute to this reflection, aiming at constructing an inter-disciplinary discourse on the relationship between fashion and childhood.</p><p class="NormalWeb">We welcome contributions relating to the following fields of research:</p><p class="NormalWeb">- Childhood imaginary and culture (history of children’s literature, illustration, movies and games)</p><p class="NormalWeb">- Pedagogy of the child’s body and children’s clothing in the history of education and illustrations (i.e. history of school, sport and toys)</p><p class="NormalWeb">- History of fashion design for children between experiences and key figures</p><p class="NormalWeb">- Sociological perspectives on the places, markets and initiatives devoted to fashion in childhood and how this relationship is perceived and retold by various parties.</p><p class="DidefaultA">Abstracts of no more than 1000 words + 5 bibliographical references (word *.doc format), written either in Italian or English, are be sent to: <a href="mailto:zonemodajournal@unibo.it">zonemodajournal@unibo.it</a></p><p class="DidefaultA">Abstract acceptance does not garantee publication of the article, which will be submitted to a double-blind peer-review process.</p><p class="DidefaultA"><strong>Important cut-off dates:</strong></p><p class="DidefaultA"> </p><p class="DidefaultA">- abstract submission : <strong>May 25, 2018</strong></p><p class="DidefaultA">- notification of acceptance/rejection: <strong>June 15, 2018</strong> (notice of acceptance might include comments and requests of explanations)</p><p class="DidefaultA">- full-length paper (6000/7000 words) submission: <strong>August 31, 2018</strong></p><p class="DidefaultA">- comments of the reviewers will be conveyed together with the editor’s decision (approval with no changes, approval with major/minor changes and/or rejection) : <strong>September 30, 2018</strong>.</p><p class="DidefaultA">- authors shall send the reviewed article to the editorial staff by <br /><strong>October 31, 2018</strong>.</p><p class="DidefaultA">ZMJ9 is scheduled to be published by end 2018.</p> ZoneModa Journal 2018-04-16