Call for participation

  • March 23, 2012: submissions due
  • April 26, 2012: participants notified
  • June 12, 2012: Workshop held in Newcastle, UK

In this workshop, we intend to explore within the HCI community the importance of fashion in the IT industry. We will explore the meaning of fashion and how fashion and sustainability could and might interplay in the design of interactive technology. Participants in the workshop will collaborate in a practical exercise to act as a stimulus for thought concerning how the notion of fashion affects people’s behaviors and attitudes toward digital consumption. Participants will also share a reflection about their own personal experience of fashion as it relates to sustainability.

We hope to bring together a diverse group of HCI researchers and practitioners, as well as academics and practitioners from disciplines such as design, IT management, computer science, cultural studies, social sciences, and humanities. We encourage submissions of short position papers (2-4 pages), demonstrations, photo essays or design briefs relevant to the relationship of fashion and sustainability in the IT industry. Some potentially relevant topics for submissions include:

  • The history of fashion, especially with respect to IT.
  • The social significance of fashion.
  • The psychological significance of fashion.
  • The economic significance of fashion.
  • The relationship of fashion’s quest for extremes and the use of extreme examples as a legitimate and important aspect of science.
  • How fashion varies from culture to culture.
  • Exemplars and patterns of fashion-related sustainable design.

Please read more about the workshop theme and format.

Please email submissions and questions to:

Submissions will be reviewed by the organizers, and 15-20 will be accepted. Accepted submissions will be placed on the workshop website, along with links to relevant literature.


2 responses to “Call for participation

  1. Hello,

    Would you be interested in a paper on a recent exhibition on LOSS from a fashion point of view? I can submit images. Please see the website

    Although the traditional rituals around bereavement and mourning were discontinued in the generation of the 1950’s and 60’s, over the years new rituals used in mourning such as memory trees, use of ribbons and other memoria, have crept into today’s society. There are memory products made from ashes such as a diamond, or the idea of a memory bracelet ( Sustainable RCA Helen Hamlyn, summer 2011), all of these can be worn, in a similar way to mourning jewelry created in the 18th and 19th centuries. I want to ask whether these new rituals could be explored through in-depth interviews with funeral companies and the wider public, and examining if newer products and sustainable rituals could be accepted. If so what about clothing, and how people should set about dressing for the new funeral?

    Methodologies would be combined in individual studio practice; choice of materials; choice of processes which could include drawing, felt making, embroidery, sewing, pattern cutting and various other techniques in order to explore new fabrics through thread and adorning the surface of the fabric. Rituals can be explored by documenting the process, which could entail performance and digital imagery. I would be also interested in bio-fabric such as Susan Lee’s bio-culture, growing fabrics from cultures or Helen Storey and Tony Ryan’s collaboration in ‘Catalystic Clothing’, or dissolvable fabrics with a view to sustainable fabrics in decomposition. Making future collaborations with scientists from either Imperial or Cambridge universities would be interesting. As part of my questioning and testing, I see myself experimenting with various processes to further my research and challenge my ideas. As a result from these investigations and experimentations, I would be able to build up a picture of research grounded in the theory of personal subjects that are still taboo. Using a variety of mixed media I would then make samples of the pieces that I intend to make larger and explore areas where I can convey controversial narrative through the process of reflection-in-action and reflection-on-action (Schön 1983).

    Allan, G. (2003) “A Critique of using Grounded Theory as a Research Method” available at last accessed November 19th 2011

    Baille R (2011) ‘Tracey Emin: Ideas of Melancholy and Maternity’ Studies in the Maternal’ 3 (1) 2011

    Baraitser L (2009) ‘Maternal Encounters’ Routledge, Falmer

    Davis F (1992), ‘Fashion Culture and Identity’ University of Chicago Press, Chicago

    Delday, H. (2003) ‘Genescapes: Visualisation and Value finding’, University of Edinburgh accessed November 19th 2011

    Emin T. (2011) ‘Love is What you Want’ Hayward Publishing

    Fleishman A. (1992), ‘Narrated Films’ John Hopkins University Press

    Garfinkel, H. (1967) ‘Studies in Ethnomethodology’, Englewood Cliffs, New Jersey Prentice Hall

    Gittings C. & Jupp P.C. (1999) ‘Death in England an Illustrated History’ Manchester University Press

    Glaser, B.G. (1992) ‘Emergence vs Forcing: Basics of Grounded Theory’, Mill Valley CA: Sociology Press

    Gray, C. & Pirie, I. (1995) ‘Artistic research procedure: research at the edge of chaos?’ in ‘Design interfaces Conference’ Vol. 3. Salford: the European Academy of Design, University of Salford

    Hallam, E. & Hockey, J (2001), ‘Death, Memory and Material Culture’ Berg, Oxford

    Hallam, E. Hockey, J. & Howarth, G. (1999), ‘Beyond the Body: Death and Social Identity’ Routledge

    Jacob, M.J. with Brenson, M. (1998), ‘Conversations at the Castle: Changing Audiences and Contemporary Art’, Cambridge, Massachusetts: MIT Press

    Jefferies J (2001), ‘Reinventing Textiles: Gender and Identity’ Telos Press

    Lacy, S. ‘Cultural Pilgrimages and Metaphoric Journeys’ in Lacy S. (ed) (1995), ‘Mapping the Terrain: New Genre Public Art’, Washington: Bay Press (19-47)

    Langmuir E. (2003), ‘Narrative’ The National Gallery Company

    Layne L (2003), ‘Motherhood Lost’ Routledge, New York

    Lefteri C (September 2011), ‘The Ingredients No 5 – The Smart Materials Issue’ Chris Lefteri Design Ltd.

    Lindquist, S. & Westurlund, B. (2000) ‘Artefacts for Understanding’, KTH, Stockholm, Sweden available at : accessed November 19th 2011

    Linkman A. (2011) ‘Photography and Death (Exposure)’ Reaktion Books, London

    Iain Struth feed:// accessed November 19th 2011

    Margolin, V. ed. (1989) ‘Design Discourse’, Chicago and London, University of Chicago Press

    Matarasso, F. 2000) ‘A Satisfactory Philosophy of Ignorance: International perspectives on linking art and science’, Comedia

    Parker R (2010) ‘The Subversive Stitch: Embroidery and the Making of the Feminine’ Women’s Press

    Pollock G (2010) ‘ The Long Journey: Maternal Trauma, Tears and Kisses in a Work by Chantal Akerman’ Studies in the Maternal 2 (1) 2010

    Schoeser, M. (2009) ‘Rozanne Hawksley’, Ruthin Craft Centre/Lund Humphries

    Schön, D. (1983) ‘The Reflective Practitioner: How Professionals Think in Action’, Ashgate Arena

    Scrivener, S. (2002) ‘The art object does not embody a form of knowledge’ accessed on November 19th 2011

    Shakespeare, P., Atkinson, D. & French, S. (1993), ‘Reflecting on Research Practice’, Open University Press

    Townsend, C. (2008) ‘Art & Death’ I.B.Tauris London, New York

    • Hello Jules Findley,

      Thanks a lot for this great comment! It’s very helpful to know that.

      We also recommend you to participate in our workshop and we would like to discuss about this further with you in more detail. Please consider of sumbitting something to our workshop. Image and position paper are both welcome!

      Yue, Dave, Eli, John

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