The 1st World Symposium for Fashion, Jewellery and Accessories

Meeting  /  16 Dec 2018
Published: 07.12.2018

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“The First World Symposium for Fashion. Jewellery. Accessories” will be organized and hosted by the College of Design and Innovation of Tongji University in Shanghai, in collaboration with Geneva School of Art and Design (HEAD – Genève), Centro Superior de Diseño de Moda de la Universidad Politécnica de Madrid (CSDMM-UPM), and L’Institut Français de la Mode (IFM Paris). It is an international symposium dedicated to the topic of fashion, jewellery and fashion artefact design.
The conference will take place on the 16th of December 2018 in Shanghai in Tongji D&I in collaboration with HOW Design Center of HOW Art Museum. It is a unique opportunity to share research and foster scientific discussion related to the topic of Jewellery and Fashion Artefact Design.

About WoSoF
Fashion’s studies often include a discussion of garment art and design, textile technology and craftsmanship, gender theory, matriarchy, patriarchy, and more generally, what proponents describe as the social, historical, and cultural constructions of clothes from the textile perspective. Although 65% of the profits of the fashion luxury industries are made by the jewellery and accessories production, studies usually do not pay attention to the jewellery and accessories from a fashion and design perspective. Instead, they generally focus on aspects of history, old-fashioned craftsmanship and technique, and material science. Moreover, very few studies explicitly take a contemporary theoretical and methodology (more contextual / philosophical) perspective from the art, design and fashion to research on how meaning is produced and the position of representing fashion from those artefacts (jewellery, handbags, shoes, hats, glasses and so on) on body rather than garment and textile.

WoSoF (World Symposium of Fashion. Jewellery. Accessories) therefore proposes to step into the great potential to set a program with international networks, and connect both jewellery and accessories design, and fashion’s studies and practice to fill this gap. It takes fashion’s studies as a context to look at the jewellery and accessories art design practice, history, curation and management, and see how this perspective influences and gives new meaning and possibilities to fashion and design development.


Morning Session
9:30 - 10:00 h Sign In and Welcome Speech
Welcome Speech: Prof. Jie Sun
  • Section 1: Sustainability & New Technology
10:00 - 10:20 h
Associate Prof. Jean-Marc Chauve (Institut Français de la Mode / IFM Paris): Sneakers and Sustainability, Is It Possible to Reconcile Low Environmental Impact with High Creativity?

10:20 - 10:40 h
Maarten Floris Versteeg (Lecturer, Technical University Eindhoven): Where Wearable Technology, Jewellery and Fashion Meet.

10:40 - 11:00 h
Dr. Elizabeth Shaw (Senior Lecturer, Queensland College of Art Griffith University): Lessons we should Learn.

11:00 - 11:15 h Refreshment Break

11:20 - 11:40 h
Katharina Sand (Lecturer, PARSONS PARIS, Université The New School, NY): Repurposing Fashion Technology Innovation for Sustainable Alternatives.

  • Section 2: Design, Art, Craftsmanship, Material, Culture
11:40 - 12:00 h
Prof. Guillermo García-Badell (Director, Centro Superior de Diseño de Moda de Madrid, Universidad Politécnica de Madrid): From Architecture to Fashion… Designing It’s All About Ideas!

12:00 - 12:20 h
Naomi Filmer (Senior Lecturer, The London College of Fashion, UAL): Fashion Artefact: Design as A Social Facilitator.

12:20 - 12:40 h
Nichka Marobin (Art Historian, Curator): IN TERRĀ MEDIĀ: The Hybrid Territory of Les Métissages.

12:40 - 13:00 h
Panel Talk (Q&A)
Moderator: Prof.Jie Sun, Prof. Elizabeth Fischer

Afternoon Session
14:00 - 14:20 h
Mala Siamptani  (Visiting Lecturer,  University of the Arts London ): Can Professional Jewellery Designers Using Consensual Assessment Technique (CAT) Achieve an Appropriate Level of Inter-rated Agreement When Judging A Specific Jewellery Design Creativity Task?

14:20 - 14:40 h
Volker Koch (Director for Product-Development and Production, STUDIO RUUGER: TRANSPARENT MFG and SILENT GOODS): Sustainability Through Materials.

14:40 - 15:00 h
Prof. Christine Lüdeke (Department Head for BA Jewelry and MA Design & Future Making, Pforzheim University): The Body Common.

15:00 - 15:20 h
Prof. Cristina Giorcelli (University of Rome Three): Accessories: Their Ontological Function as Superfluous/essential Items of Clothing, with Some Instances of Their Literary / filmic Meaning.

15:20 - 15:40 h
Emilie Hammen (Lecturer, Institut Français de la Mode / IFM Paris): Accessories and the Construction of Identities in Fashion: The Case of 19th Century France.

15:40 - 15:55 h Refreshment Break

16:00 - 16:20 h
Prof. Elizabeth Fischer (Dean of Fashion, Jewellery and Accessory Design, HEAD – Genève): Jewellery and Fashion, A Cross Between the Eternal and the Ephemeral.

16:20 - 16:40 h
Prof. Paula Rabinowitz (University of Minnesota): Belabouring Dress: Literature of Wear and Tear.

  • Section 3: Curation & Management
16:40 - 17:00 h
Prof. Jie Sun (College of Design and Innovation, Tongji University Shanghai, Head of New Center of Contemporary Jewellery and Fashion Culture  (NoCC): Join the Creative Parade: Jewellery and Fashion Artefacts

17:00 - 17:20 h
Donatella Zappieri (Luxury Goods Strategic Consultant; Director of Master in Luxury Marketing and Fashion Management Executive, Créa Genève): Jewellery and Fashion: Their Intrinsic Bond Through Art, Design and Savoir-faire.

17:20 - 17:40 h
Associate Prof. Hector Navarro (Centro Superior de Diseño de Moda de Madrid, Universidad Politécnica de Madrid. CSDMM-UPM): Fashion and Museography: The Diffusion from the Academic Field

17:40 - 18:00 h
Panel Talk (Q&A)
Moderator: Prof. Jie Sun, Prof. Guillermo García-Badell

Jean-Marc Chauve (Associate Prof. Institut Français de la Mode / IFM Paris)

Associate professor IFM and consultant. Due to a rich palette of missions and positions in the fashion business during the past 20 years, Jean-Marc acquired a great expertise in contemporary fashion and trends and how they translate into looks in fashion and beauty. Jean-Marc Chauve, graduate of a business school also studied the Fashion sociology with a post-graduation DESS in The phenomena of fashion and design from the Université Lyon II. He worked for Nelly Rodi, the famous style office after which he founded the ready-to wear brand "Sept". He also worked as a free-lance designer, in particular with Maison Martin Margiela. Today, Jean-Marc Chauve is managing director of the designer brand Imane Ayissi, and associate professor at the IFM on subjects related to the contemporary fashion culture in Europe, United States and Asia.

Sneakers and Sustainability, Is It Possible to Reconcile Low Environmental Impact with High Creativity?
Created at the end of the 19th century to support the development of sports practice in wealthy European social classes, the sneaker became an every-day object in the second half of the 20th century. The sneaker has become a complete fashion object, whose consumption, although it depends on fluctuations of fashion trends, remains regular and completely globalized. Its cultural aspects, the fact that it is linked to the notion of physical performance and comfort, its multiple components made of very plastic materials make it one of the most creative accessories in terms of volume, shape, colours and materials.

But the materials that allow this great latitude of creativity are also those that make the sneaker the most polluting fashion accessory throughout its lifecycle: From the materials used that produce toxic waste and have a heavy carbon and water footprint, to the manufacturing step which also impacts negatively the eco-systems, and to the end of its lifecycle when it turned into a short-lived and rarely recycled mass consumer item that has also a strong impact on the environment, as the synthetic materials usually used are not biodegradable.

Many initiatives, whether initiated by major global brands (Nike Adidas) or by small companies, have been recently developed to use recycled, recyclable or biodegradable materials and make sneakers more environmentally friendly. But in addition to the fact that these sport shoes are never completely neutral for the environment, there is generally less diversity and creativity in these products, particularly because of the lower plastic potential of the materials used. The challenge for sneaker designers and manufacturers therefore seems, for the coming years, to find new solutions to minimize the environmental impact of sneakers while maintaining the strong creative potential of this product which is a component of its appeal.

Maarten Floris Versteeg (Lecturer, Technical University Eindhoven)

A designer, researcher and collector of jewellery. Maarten obtained a Bachelor and Master degree in Industrial Design Engineering at Delft University of Technology. Next to that, he was trained as a goldsmith. After graduating he started his own jewellery brand Brech, focusing on the application of innovative materials, production methods and concepts in jewellery. His research at the Eindhoven University of Technology focuses on the integration of electronics and jewellery. He is particularly interested in the way technology can be used to reinforce and re-invent the personal and social-cultural values of jewellery. Maarten collects (and wears!) contemporary jewellery in which technology and movement often play a key-role.

Where Wearable Technology, Jewellery and Fashion Meet
Fashion, jewellery and wearable technology: three entities that share the proximity to the human body, yet that are so different in terms of - for example - materials used, production techniques, duration of lifecycle and sales platform. From a scholarly perspective, they have been approached as separate fields for a long time. This paper sketches a dynamic and multi-disciplinary perspective on the relation between fashion, jewellery and wearable technology and identifies opportunities for future development.

Dr. Elizabeth Shaw (Senior Lecturer,Queensland College of Art Griffith University)

A contemporary jeweller, metalsmith and academic whose arts practice is embedded in the traditions of silversmithing and sculpture. She exhibits regularly and contributes to academic research with a focus on ethical practice and the social and cultural values and meanings associated with objects. While based in Australia her works have been curated into national and international exhibitions, including USE (2018-2020 touring 15 venues AU), 4th Triple Parade Viva La Difference AU, HOW Art Museum, Shanghai 2018-2019, Scents of Life, (2017) Ame Gallery, Hong Kong, Pin Sstudio, Taiwan, J-Tour, Shanghai, Arts Co-work, Hong Kong, Tinker Tailor Soldier Sailor (2012-14 touring 14 venues AU), Icons National Centre for Craft and Design, Sleaford UK (2014) and Sleight of Hand Brewhouse Burton upon Trent, The Scottish Gallery, Edinburgh and Plymouth College of Arts UK (2015), Repair and Renewal Contemporary Craft Pittsburg USA (2017).

Lessons We Should Learn
Sustainability has different meanings in different contexts. This paper is considering sustainability from an environmental and cultural perspective in relation to new technology and the impact of its adoption. A historical event that continues to have lasting impact on societies internationally will be considered. A World Economic Forum discussion paper authored by Philbeck, Davis and Larsen, identified “two most widely held views of technologies”. The first of which is the rise and adoption of technologies as inevitable progress for society, and the second is that history has been defined by technological advancement and this advancement is “inevitable and out of human control”. Philbeck, Davis & Larsen argue that A more balanced and empowering perspective recognizes technologies as capabilities that interpret, transform and make meaning in the world around us. Rather than being simple objects or processes that are distinct from human beings, they are deeply socially constructed, culturally situated and reflective of societal values. They are how we engage with the world around us. They affect how people order their lives, interact with one another and see themselves. Far from an academic observation, this more nuanced view has practical importance for strategic needs as well as implications for successful governance of technologies. We are in the position to draw on the lessons from history to ensure the environmental and cultural impacts of new technology are considered before a circumstance forces the reflection.

Katharina Sand (Lecturer, PARSONS PARIS, Université The New School, NY)

A speaker on Fashion and Technology and a lecturer at the Geneva University of Art and Design (HEAD) as well as at PARSONS PARIS. Her principal research focus is fashion and technology, a field she presented for TedX Transmedia in Rome, the ArtTech Foundation and via several publications.  Current projects include co-curating a Fashion and Technology Festival at the House of Electronic Arts Basel in January 2020. Other research includes the function of fashion as an intercultural mediator, a practice she initiated as CEO/founder of the fashion platform SEPTIEME ETAGE in Switzerland and now develops worldwide. She is a Media & Communications graduate of Goldsmith's College (University of London), covered fashion and culture as a New York correspondent from 1994-2000 and has contributed to a variety of publications as a journalist and editor. She is a nominator for the Design Prize Switzerland.

Repurposing Fashion Technology Innovation for Sustainable Alternatives
I will be analysing the way recent innovations in technology such as Augmented Reality and (RFID) Radio Frequency Identification systems can be applied to the fashion and accessories industry for a more sustainable future. My research as a lecturer and speaker and journalist combines analysis of technology innovations in production, retail distribution, fashion communication and human-garment interaction to creatively rethink how we create and perceive fashion. My focus is combining speculative design thinking in regards to fashion and technology with real world haptic experience of garments and their being in the world.

Prof. Guillermo García-Badell (Director, Centro Superior de Diseño de Moda de Madrid, Universidad Politécnica de Madrid)

Architect, PhD in Marketing Research. Director of the Centro Superior de Diseño de Moda de la Universidad Politécnica de Madrid (UPM), the Fashion Centre of the UPM. He is also a member of the UPM Research Group "Architecture, Design, Fashion and Society" and professor in the PhD Program with the same name. As professor and researcher, he is therefore focused on design fundamentals and interdisciplinary of design. In the same way, as an architect, he is also interested in designing through different scales and uses, from landscape to furniture objects. In that sense, his designs have been awarded international distinctions and his pieces has been shown in different exhibitions.

From Architecture to FashionDesigning It’s All About Ideas!
In conceptual art the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.

According to this Wikipedia definition, it is only in conceptual art where ideas are the prominent elements of a piece. However, even in the most primitive forms of art, when our antecessor draw in caverns, the idea of communicating thoughts was more important that the result itself. Even more, when in the Renaissance, we finally dominated space with drawings techniques, the perfection of the perspective was secondary face to the importance of transmitting the idea of the perfection of human being and the world itself. In fact, we tend to distinguish conceptual art from other artistic trends, generally confronting it to figurative forms of art. However, can art not to be about ideas? And.... what about design in general, can it not to be conceptual?

Naomi Filmer (Senior Lecturer, The London College of Fashion, UAL) 
A contemporary jewellery designer/artist, who describes her work as ‘objects about the body’ rather than jewellery. After completing a master’s degree in Metalwork and Jewellery at the Royal College of Art, London 1993, Filmer acquired a reputation for catwalk collaborations with designers such as Hussein Chalayan, Alexander McQueen and Anne Valerie Hash. More recently her works feature in international contemporary Fashion and Applied Art exhibitions, recognised for her sculptural forms, experimental use of materials and her regard for the body, subjectively and objectively, as a site for continued aesthetic enquiry. By combining craftsmanship with new media and exploring recurrent themes such as fragmentation and isolation of the body, she pushes boundaries between art and accessories, creating objects that occupy a middle ground between art and design.

Fashion Artefact: Design as A Social Facilitator
At the London College of Fashion we offer an MA programme titled Fashion Artefact. This is a fifteen-month course, recognised internationally as an incubator of artisan designer makers where traditional craftsmanship and industrial technologies are studied and facilitated for the making of contemporary fashion products. The course defines its position within education and the wider creative industries by focusing on the provocative possibilities of an ever-changing spectrum of arenas and audiences. Students build a comprehensive and personal perspective on the role and importance of objects in fashion. Their ideas and philosophies contribute to the making of wearable and non-wearable objects that assert new meanings. They challenge, critique and redefine fashion products and accessories as a way to inform and influence the world in which we live.
To clarify the spectrum of meaning in the work produced by our graduates I present and discuss work by a selected few, looking at four directions: heritage and craftsmanship; the body and prosthetics; product and manufacture; fashion artefact as political voice.
The presentation spans over a decade of graduates and offers reflection on how fashion accessories, jewellery and products behave as critical agency in both socio-cultural and personal terms. Furthermore, this reflection illustrates how fashion education (and the fashion industry) offers a basis for creative conception that lives beyond fashion and exists as a method of thinking and expression to facilitate use as a tool in contemporary living.

Nichka Marobin (Art Historian, Curator)

An Italian art historian specialized in Dutch and Flemish art history. She graduated at the faculty of letters of Padova (Italy) with a dissertation on Renaissance ornament prints from 1500 to 1550 in Germany and the Low Lands, focusing on the migration of forms, themes and styles on the engravings of Cornelis Bos, Cornelis Floris II, Lucas van Leyden and the German Little Masters. She is a contributor of Art Jewellery Forum, a worldwide platform for contemporary jewellery and member of AJF Ambassador Program for contemporary jewellery in Italy; from 2009 she is an active member of AGC the Italian association for contemporary jewellery. Her blogazette, The Morning Bark, is one of the official media partners of JOYA Barcelona, the international contemporary jewellery fair and Gioielli in Fermento, an international contemporary jewellery contest. She is a passionate collector of contemporary jewellery.

IN TERRĀ MEDIĀ: The Hybrid Territory of Les Métissages
"Speaking of fashion doesn't mean to talk about clothes" states Maria Luisa Frisa in her book “Le Forme della moda” (p. 7) and speaking about contemporary jewelry doesn't mean to talk about disparate materials and abstruseness.

Talking of these areas means getting in touch with two complex systems that are constantly related to different topics such as art, design, sociology, anthropology, economics, education, culture, aesthetics. To talk about fashion and contemporary jewellery means speaking about seismographs of time, of taste, of the visible and of the invisible, of two languages of Art.

Talking about fashion and contemporary jewelry also means to reveal the project of Les Métissages and exploring this hybrid territory as a complex system of forms in which the same aesthetic result emerges from two different fields of creation without any cultural contact nor limitation of knowledge.
Les Métissages unveil the anticipations and the collisions of ideas and forms thus, for this reason, they are in terrā mediā, a middle-Earth.

Mala Siamptani (Visiting Lecturer, University of the Arts London)

A design practitioner who has, developed innovative techniques and processes, with the idea to step out of the conventional jewellery/accessories context in order to develop unique series of precious objects. With a background in model making, Mala has been employed by various sculpture companies and independent artists/designers, with projects ranging from theater props to interiors. After developing her skills in 3D Design, Computer Aided Design (CAD) and Computer Aided Manufacturing (CAM), she has pursued her own projects ranging from jewellery to art installations. Following an extensive material exploration, in the studio, Mala’s work attempts to connect traditional craft with digital technology. This is evident through her work in education, where she has been providing up-to-date knowledge, expertise and experience of professional practice in a specific 3D/Jewellery specialist subject area. With her work, Mala demonstrates both the use and need for material research and it’s acknowledgement of experiential knowledge to advance craft thinking and practice. Through her work in education, she sees it as her role to pass this message on to the new generation of designer/craftsmen.

Can Professional Jewellery Designers Using Consensual Assessment Technique (CAT) Achieve an Appropriate Level of Inter-rated Agreement When Judging A Specific Jewellery Design Creativity Task?
The jewellery designer’s pallet is one without limits, informed by an endless stream of ideas, themes, motifs as well as historical references. Jewellery design can be considered as subjective self-expression which has evolved through the centuries influenced by the social as well as the economic factors of the time.

The consensual assessment technique (CAT) (Amabile, 1982) is a commonly used technique for the assessment of creativity, according to which the best judges of creativity are experts of the specific domain in question. This paper will review existing research on the use of CAT within the design domain. The research strategy used is a reflection of the theories being investigated and in extending such research this study has been designed to explore whether CAT can be used as a measure of jewellery design creativity.

As required when applying CAT, 30 artworks in the form of ring designs were collected and accessed by seven professional jewellery designers for their level of creativity, technical execution and aesthetic appeal. These data, once obtained, were then analysed for inter rater agreement, in addition to having their relationship with creativity being investigated. The findings of this study are particularly significant due the consensual assessment technique not previously used as a measure of creativity within jewellery design. Hence, considering the lack of research in this area, a benchmark should be established for further studies.

Volker Koch (Director for Product-Development and Production, STUDIO RUUGER: TRANSPARENT MFG and SILENT GOODS)

Born into the family of a 4th generation leather goods manufacturer. At the age of 19, Volker endeavoured to apply for a formal apprenticeship at several leather goods ateliers in Germany but was turned away as the majority of them feared to educate their own competition. Passing the final exam with distinction, he went on to work at notable fashion houses such as Hermès in Paris and later on as the Head of the Product Development at a luxury leather goods studio in South Africa, where he specialised in working with exotic leathers. After working in Cape Town for 15 years, Volker moved to London in 2010 to complete the Master’s Degree “Fashion Artefact” at the London College of Fashion where he met Oliver during the studies. Volker established Studio Ruuger together with Oliver in 2011. They have been working together since then and were instrumental in setting up Silent goods in 2017.

Sustainability Through Product - Wearer Relationship
A typical leather bag consists of several different material groups: leathers, textiles, metal components, reinforcements, adhesives, threads and zips. As environmentally conscious designer-manufacturers of leather accessories, the sourcing of suitable materials stands at the forefront of our perspective on sustainability.

Product - Wearer Relationship
We are however aware that - besides the effect of material choices on the environment - the biggest impact that we as a designer-manufacturer have, is dependent on the relationship formed between the product and the wearer.

Leather as a once living material has certain properties that are unique to its nature. As a main material for our bags we have chosen organically farmed, plant extract tanned cowhide. We have decided to avoid covering the material’s surface with chemical substances in order to enhance these natural properties and allow natural patination to happen. This results in every product changing differently over time, depending on the environment it is used in and the habits of its wearer. This not only creates a beautiful patina but also shapes a sense of history, and in turn an emotional bond with the owner.

Right to Repair
We believe that offering a permanent warranty and free product care and conditioning gives the customer a sense of trust, saves resources and builds a closer relationship between the company and the client.

Prof. Christine Lüdeke (Department Head for BA Jewelry and MA Design & Future Making)

Contrasts accompany and continue to fascinate Christine Lüdeke. American born in a Swiss family, she grew up balancing and feeding on two languages and cultures. After her BA Degree in Industrial Design, focusing on human-centric objects at San José State University, CA which emphasized design for nearby Silicon Valley, she embraced the Italian approach steeped in philosophical dialog and material senses through a master’s degree in Milan. While establishing her studio for developing seats and other products for aircraft interiors in Zurich, she discovered the Jewelry and Everyday Object department at Pforzheim University, as well as her love for working with students. The contrasting yet symbiotic nature of jewelry and object revolves around a fundamental and mutually enriching relation to the body and material. Establishing the new Master of Arts in Design and Future Making is allowing her to amplify this discussion within a critical dialog with today’s digital tendencies.

The Body Common
Jewelry and clothing: both exist in their essence in relation to the body, but much of their inherent philosophical depth is reviewed outside of the body context. Both developed as early expressions of human making – one’s awareness of one’s relationship to our surroundings (including other humans) is directly related to one’s own sense of existence – as either physical and/or psychological protection. Both also create a frame in which the wearer creates a projection (to herself, to others) about who she is and would like to be.
The concept of fashion transcends clothes in a way that jewelry doesn’t have its own equivalent for. There is a shift from the body – the body is still front and center – but the viewpoint is slightly skewed. While jewelry has increasingly been viewed in the context of fashion systems – especially in socio-cultural and economic contexts – the renewed interest in craft offers both a new context.
Jewelry – body – craft – fashion: instigators and recipients. In exploring jewelry within the context of current developments in craft from both a maker and wearer perspective, new possibilities for developing jewelry design languages and their symbiotic potential for fashion emerges.

Prof. Cristina Giorcelli (University of Rome Three)

Professor Emeritus of American Literature at the University of Rome Three. Her fields of research are: mid- and late-nineteenth-century fiction and Modernist poetry and fiction. She is co-founder (1980) and co-director of the quarterly journal Letterature d’America. She has edited twelve volumes on clothing and identity (Abito e Identità), out of which the University of Minnesota Press has published four volumes under the title, Habits of Being, coedited with Paula Rabinowitz. She was President of the Italian Association of American Studies (1989-1992) and Vice-President of the European Association for American Studies (1994-2002).

Accessories: Their Ontological Function as Superfluous/essential Items of Clothing, with Some Instances of Their Literary/filmic Meaning
After defining the ambiguous status of accessories (both additions and revelations), I will show how they come to acquire great significance (as they are meant to concentrate the history and the meaning of a character) in some well-known novels and film scripts, such as: pearl necklaces in Fitzgerald's The Great Gatsby, African jewels in Conrad's Heart of Darkness, hoop earrings in Billy Wilder's Sabrina, balangandas in Carmen Miranda's movies.

Emilie Hammen (Lecturer,  Institut Français de la Mode / IFM Paris)

A graduate of the ESAA Duperré and the IFM (Design 2009) and previously worked as a designer (Louis Vuitton, Marc Jacobs, 2009-2014). She is currently working on an art history doctoral thesis on fashion in France and how it is assessed covering the 19th and 20th centuries at the Université Paris 1 Panthéon-Sorbonne in tandem with the IFM. She teaches the history of fashion at IFM and Parsons - The New School (Paris). In 2015, she co-curated an exhibition entitled La Fabrique d'une image: les Noailles et la mode (Hyères).

Accessories and the Construction of Identities in Fashion: The Case of 19th Century France
This paper will seek to emphasize the central role played by accessories in the development and definition of fashion in 19th Century France. By looking at this decisive moment in the emergence of Western contemporary consumer culture, our aim is to demonstrate how accessories are not to be considered, as their etymology suggests, as secondary to clothes. We will offer to consider how French fashion accessory brands, founded in the social and cultural context of the mid-19th, also perpetuate some of the narratives forged at the time, in today’s radically transformed global economy and culture.

Prof. Elizabeth Fischer (Dean of Fashion, Jewellery and Accessory Design)

Elizabeth Fischer is Professor in charge of the Fashion, Jewellery, Watch and Accessory Design BA and MA course of study at HEAD – Geneva, Geneva School of art and design in Switzerland. Her field of expertise is cultural history of adornment in the broadest sense – fashion, jewellery, watches, accessories, body ornaments, dress and textiles. Her research explores the relationship of the body with accessories and dress. She regularly acts as scientific collaborator, curator and guest lecturer for various institutions, museums and symposiums internationally. She has published numerous articles on jewellery and fashion.

Jewellery and Fashion, A Cross Between the Eternal and the Ephemeral 
Jewellery and dress enjoy different life spans – diamonds are forever whereas dress is made of perishable materials. However, both are necessary elements in the play of social appearances. For centuries precious jewels, intimately linked to dress, were the preserve of the elite, worn as patrimonial symbols of rank, prestige and antiquity of lineage. The major social and industrial shifts of the 19th century deeply changed the manufacture, materials and market of jewellery. The trappings of the new wealth of businessmen and industrialists increasingly rivalled the prized ornaments of the long-standing aristocracy, while a growing affluent middle class aspired to new kinds of jewellery. To meet this demand, jewellers used cheaper materials, like steel and coloured paste. The gradual simplification of dress and democratization of fashion during the 20th century marked the rise of costume jewellery and all types of non-precious ornamentation for dress. Gabrielle Chanel’s 1926 little black dress is considered one of the starting points of modern fashion and heralded new ways of using jewellery. Chanel boldly mixed precious and costume jewellery, thus putting the focus on aesthetic function as a signifier of taste rather than an indicator of rank, fortune and status. Ornament and beauty weren’t equated with preciousness anymore.

Prof. Paula Rabinowitz (University of Minnesota)

Professor Emerita of English at the University of Minnesota. Along with Cristina Giorcelli, she is editor of the four-volume series on clothing and identity published by University of Minnesota Press, Habits of Being. She is Editor-in-Chief of The Oxford Research Encyclopedia of Literature. She lives in Queens, New York.

Belabouring Dress: Literature of Wear and Tear
For the philosopher, the most interesting thing about fashion is its extraordinary anticipations…Whoever understands how to read these semaphores would know in advance not only about new currents in the arts but also about new legal codes, wars, and revolutions.
Dress (in its widest definition), the stuff that adorns—even if with such a gossamer touch that it can only be sensed through smell as perfume, or as unobtrusive as an earring hanging from a lobe—gives surface (and paradoxically depth) to characters. It generates ever proliferating theories of what to do with what to wear. The labor of dressing is manifold; it starts with the farmers growing flax and cotton and tending sheep or the miners pulling chunks of rock from the earth’s core, continues through the mill workers and gem carvers, then seamstresses and sweatshop workers transforming raw materials into wearable goods and accessories, to the salespeople selling them, and on to the buyer who organizes her closet and tends to her clothing and jewelry through its wear and tear—washing and mending—until it’s out of style and sent to second-hand merchants and junk dealers and trash haulers carting the discards of yesterday’s fashions into landfill. But this labor is also an idea—a philosophical idea animating much of modernist literature’s concerns with gender, race, class, and sexuality, as Yeats knew. Clothing is also a literary project.

Considering modernist prose, poetry and drama, including W.B. Yeats, D. H. Lawrence, Karl Marx, Edith Wharton, Lynn Nottage, Gertrude Stein, among others, this paper considers the theoretical work clothing and accessories materializes.


Jie Sun (Chief Curator, Director, 4th TRIPLE PARADE Biennale for Contemporary Jewellery)
Professor at College of Design and Innovation ( D&I ) TONGJI University, the Head of New Center of Contemporary Jewellery and Fashion Culture ( NoCC ) in Shanghai. He is also the National Distinguished Expert, Distinguished Professor at Tianjin Academy of Fine Arts, Visiting Professor at College of Jewellery at China University of Geosciences. On the past few years, he has worked on major collaborative and curatorial projects, actively engaged in both European and Asian design culture and practice, lectured in many international world-class museums and universities.

Join the Creative Parade: Jewellery and Fashion Artefacts

Donatella Zappieri (Luxury Goods Strategic Consultant; Director of Master in Luxury Marketing and Fashion Management Executive, Créa Genève)

Donatella Zappieri has a degree in languages (French and English) from Geneva University. She has been teaching at Haute Ecole Art and Design in Geneva for more than six years and is today Director of two Master at Créa Genève. She focus on trend forecasting, design direction, product development and strategic implementation. For 30 years, she has been working in the jewellery industry with important positions in marketing, design and PR for different companies such as Pomellato, Gianni Carità and Swarovski. In January 2010, she has founded her own studio as Luxury Goods Strategic Consultant, focusing on medium and high-end brands. Her expertise spans from design direction, product development, strategic marketing as well as events organization in order to offer to her clients a 360-degree consultancy. She is also a freelance contributor for magazines such as VO+, Il Tarì, Preziosa and Man in Town.

Jewellery and Fashion: Their Intrinsic Bond Through Art, Design and Savoir-faire
My talk will focus on the role that jewellery holds in the fashion universe with an overview on the different trends that originated in Italy starting from the '80s until nowadays and that influenced the international scenario. The Italian territory boasts a specific manufacturing tradition with invaluable strengths and capacity in work, nurturing a strong and solid relationship between the designer and the product developer throughout the entire production process.

From Benvenuto Cellini invention of lost wax techniques up to today, the production techniques keep alive the sophisticated and ancient skilled production methods, coupling them with state of art technologies, which allow the perfect representation of the design. These techniques do not affect the pureness of the design process as they are a vital expression of the aesthetics the designer wishes to impart: this is the strength of made in Italy jewellery: a perfect alchemy between the idea and the making, re-establishing the perfect bond between creation and manufacturing.

Jewellery has always evolved hand in hand with the fashion specific to an era. It plays an increasingly important role in the fashion universe as a factor of economic growth and brand identity. No more a mere accessory, it carries weight in its current symbiotic bond with contemporary apparel.

Associate Prof. Hector Navarro (Centro Superior de Diseño de Moda de Madrid, Universidad Politécnica de Madrid. CSDMM-UPM)

PhD in Architecture from the Polytechnic University of Madrid with Cum Laude qualification with the thesis "Symbiosis and borders between architecture and contemporary urban spaces". He is a member of the research group "Architecture, Design, Fashion and Society" and professor in the CSDMM (UPM). He has worked for 8 years with Manuel Blanco curating and designing exhibitions and installations as a collaborating architect. He currently works as an independent architect developing his own work (Plaza Tetuán, Santander) and several research projects.

Fashion and Museography: The Diffusion from the Academic Field
Curation in its widest meaning could be understood as a key part within the fashion process to communicate all the relevant contents of the final product to the general public. Communication through the physical space between the creator and the fashion product includes many questions to be considered. It is essential to show the produced pieces attending to the context and the fashion world must contemplate the many ways costume can be shown.

This paper aims to share how fashion has been included in the museums' agendas creating a new debate where fashion could be treated as any other piece art. For this purpose, curatorial works of relevance must be studied. From the early experiences like the first costume museums in the 19th century to ephemeral exhibitions held in art museums with important curators in charge like Diana Vreeland, Harold Koda or Richard Martin and Valerie Steele. They led the way and this phenomenon is also present in Spain, with permanent museums to be considered like Museo del Traje or Museo Balenciaga. But also, other important art institutions that have held fashion exhibitions and other museums that have mixed contents from art and fashion, like the recent exhibition “Sorolla and fashion” in Thyssen-Bornemisza Museum where paintings by Joaquin Sorolla were exhibited with the costumes included in the pieces of art. In any case, even after almost a century including fashion in the museum, the debate is still alive. This introduction will open this conference, showing also different professional works. This starting point will lead us to share how important curation and management is for Centro Superior de Diseño de Moda de Madrid (Polytechnic University of Madrid Spain).


Position of WoSoF
First, the WoSoF Board and Symposium featuring cross-sector international collaboration will well set up a nodal point of the networked global society. It not only brings the quality view of study and practice, and stimulates new developments of fashion and design, but also seems to be a click for putting the partner’s reputation and impact into a wider attention for potential future collaboration. It indicates that as a phenomenon and mobility strong opinion to activate notions of contemporary fashion to this day.
Second, the WoSoF Exhibition (or activity), developing and promoting public interest, aims to reach the widest possible audience from not only the academic world, but also the creative industries, hot spots, and cities worldwide, and therefore increase the educational, cultural and social significance of contemporary fashion, to give the potential of connecting impact, supply and demand more successfully.

WoSoF Board
The knowledge and concepts to be derived from the WoSoF are expected to improve the understanding of contemporary fashion that shapes and is shaped by jewellery and fashion artefact (accessories). In order to succeed in the result of the WoSoF , the strategy has been considered from three parts: WoSoF Symposium, WoSoF Exhibition, and WoSoF Publication.

Board of Directors
Prof. Jie Sun (College of Design and Innovation, Tongji University Shanghai. Head of NoCC  / New Center of Contemporary Jewellery and Fashion Culture ).
Prof. Elizabeth Fischer (Dean of Fashion, Jewellery and Accessory Design, HEAD – Genève).
Prof. Guillermo García-Badell (Director, Centro Superior de Diseño de Moda, Universidad Politécnica de Madrid).
Ms. Marie-Pierre Gendarme (Director of Executive Education, Institut Français de la Mode / IFM Paris).

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