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Next Calls Dossier
Tecnomoda: The Techniques that Weave and Are Woven by Fashion
- Submissions: January to July 2025
- Publication: January 2026
Editors
Mst. Bárbara Venturini Ábile (Unicamp)
http://lattes.cnpq.br/0425842724235734
PhD. Flávia Virgínia Santos Teixeira Lana (UFMG)
http://lattes.cnpq.br/1112017610768016
PhD. Luciana Nacif (UFMG)
http://lattes.cnpq.br/4177021252426683
Fashion can be analyzed at the intersection of various fields of knowledge, for example, from aesthetics (which considers aesthetic pleasure, style, beauty), psychology (linked to prestige and the staging of personal identity), economics (related to the production, flow, and trade of goods), semiology and anthropology (connected with symbolic communication systems and cultural expression), politics (through the power it exerts over bodies, habits, imaginaries), and sociology (from the dimensions between the production and consumption of this symbolic good and their interrelations). A key aspect that has been little explored is the technical dimension of fashion, which permeates its fabric in various configurations. For philosopher Vilém Flusser, there is no fundamental difference between art and technique. In Greek, both art and technique are designated by the same term: tekné. It was from modernity that the term was divided into two different actions, governed by the "separation between objectivity and subjectivity, in which science became the realm of objectivity and art [as well as fashion] came to occupy the pole of subjectivity." However, today, in light of the profound technical transformations affecting various sectors, we cannot ignore their impacts on how we create, perceive, and consume fashion. There exists a social, aesthetic, subjective, economic, communicational, and political paradigm that inscribes itself in the ways of making, creating, producing, thinking, and dressing in fashion. Such a paradigm points us towards a complex system that traverses the body, clothing, imaging devices, technology, industry, commerce, and a series of sectors that help shape the modes of production, appearance, and consumption of fashion. In the book "Sentidos da Moda," author Renata Pitombo Cidreira proposes to think, alongside thinker Marshall Sahlins, that "all production is the realization of a symbolic scheme." Thus, all clothing reflects, to a greater or lesser degree, a symbolic structuring of a given culture, with clothing being a kind of "symbolic universe transformed into matter." According to Flusser, "the technique alters the object, the altered object alters the technique, the altered technique alters the subject, and the altered subject alters the technique," meaning that techniques alter how we create/produce fashion, which alters the fashion product, which alters the subject that incorporates fashion, which alters the technique, in an endless loop. Considering this, how could we interpret this system of evidence revealed by fashion, if, beyond and below clothing, we thought about the various technical mechanisms that structure and are structured by this symbolic universe? Seeking to answer this question, and inspired by the notion elaborated by Letícia Cesarino, who advocates for the impossibility of thinking about politics disconnected from technology, the proposal for the Tecnomoda dossier is to open space for reflections on fashion through the techniques that permeate it. We seek articles that present interdisciplinary reflections that address, in a non-exhaustive manner, the following topics:
- Techniques that are symbolically structured by culture and participate in the constitution of subjects;
- Fashion as a bodily technique, capable of determining gestures, behaviors, emotions;
- Technique as a set of production rules for a piece of clothing, encompassing traditional knowledge to Haute Couture;
- Dialogues between techniques and the context of market globalization and cultural globalization: forms of circulation, displacement, deterritorialization, and the production process;
- Artificial intelligence as a new layer of fashion intermediation, among others.
Referências
BORDO, Susan; JAGGAR, Alison M. (ed.). Gênero, corpo, conhecimento. Tradução Brítta Lemos de Freitas. Rio de Janeiro: Rosa dos Tempos, 1997.
CIDREIRA, Renata Pitombo. Os sentidos da moda: vestuário, comunicação e cultura. São Paulo: Annablume, 2005.
BARRETO, Carol. Moda e aparência como ativismo político: notas introdutórias. Academia, 2015. Disponível em: https://encurtador.com.br/
Crane, Diana. 2006. A moda e seu papel social: classe, gênero e identidade das roupas. São Paulo: Editora Senac São Paulo.
Flusser, Vilém. 1985. Filosofia da caixa preta. São Paulo: Hucitec, 1985.
HOSKINS, T. E. Foot Work: What Your Shoes Tell You About Globalisation. Orion, 2020.
KURKDJIAN, S. Paris as the Capital of Fashion, 1858-1939: An Inquiry. Fashion Theory, v. 24, issue 3, p. 371-391. 2020.
Michetti, Miqueli. 2015. Moda brasileira e mundialização. São Paulo: Fapesp/Annablume.
Ortiz, Renato. 2019. O Universo do luxo. São Paulo: Alameda.
Steele, Valerie. 2019. Paris Capital of fashion. London: Bloomsbury Visual Arts.
Shusterman, Richard. 2016. "Fits of Fashion: Somaesthetics of Style"” In: Matteucci, G.; Marino, S. (Org.), Philosophical Perspectives of Fashion. London: Bloomsbury, 2016. p. 91-106.
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