Centre for Fashion Curation (CfFC, UAL)

📀💿 We are delighted to invite you to Resonant Matter, a new exhibition at London College of Fashion curated and produced by CfFC Interim Director Caroline Stevenson, Luke Turk (@luketurk ) and Asha Hall-Jones, and featuring Diego Benalcazar and Rachael Finney (@crisapsoundarts ), The Deosil and Widdershin Soundsystem, Jason Jules (@garmsville ) Sir Collins Archive (@archiveshackney , and Tim and Barry TV (@timandbarry ). 💿📀 🔈Resonant Matter explores the spaces and scenes through which sound, fashion and collective cultures take shape across London. Through archival storytelling and immersive installations, the exhibition traces underground networks - from pirate radio stations and street protest to sound system cultures and club nights - where aesthetic codes are shared, adapted and performed, producing distinct forms of style, music and cultural expression. By tuning in to these practices, the exhibition considers how sound and fashion move together, shaping identities, solidarities and moments of collective resonance across the city.🔈 🔈Resonant Matter forms part of The Music is Black Festival, an East Bank–wide programme celebrating @vam_east inaugural exhibition The Music is Black: A British Story.🔈 💥Please join us on April 30th 5-8pm for a female-fronted pop, rock & disco DJ set with Seena Shamsavari @thatsparrowboy , celebrating iconic Black divas at East Bank, and make a zine with Eva Dieteren, imagining what the future will sound like. 💥 📷: @j.m.psd 2-D Design: @sebkoseda

London College of Fashion is currently recruiting for an Assistant Archivist: Cataloguing. (Application link in bio) ✨ This is an exciting opportunity to work with unique fashion and textile archives and play a key role organising and making these important collections accessible for teaching, research and public engagement at London College of Fashion. This six-month project offers the chance to work hands-on with garments, embroidery samples and archival material, and would suit both early-career archivists looking to build their cataloguing experience and experienced professionals seeking a focused project within a creative academic environment. As an Assistant Archivist, you will help unlock these collections for students, researchers and the wider public, enabling new stories about fashion history and textile practice to be discovered. ✨

Discussing books, ideas and a poster @tenderbooks last week—thank you to all of you who came and to @oesiri.rene for the pictures. The collaborative poster by @dalchodha @_cazzamatazza_ & @elizabeth_kutesko and shot by @jakesaintloveaxler is free and available in-store at Tenderbooks now! 📃🆓📌

🔸Story of a Smock: Women and Art Education in the Early 20th Century, is a collaborative display between @cffc_ual and LCF Archives. The project is centered on an artist’s smock of unknown provenance, using genealogical and archival research to trace its wearer and uncover the garment’s wider cultural significance. Through this modest object, research explores how clothing became a symbol of women artists’ struggle for education, professional identity, and creative freedom in the early 20th century. Today @cffc_ual were invited to a tour and discussion from the curators @c.laire_wilcox , @a_f_curation and @chloejaigilbert . LCF Archives, London College of Fashion Room G02, 105 Carpenters Road, E20 2AR. This project is supported by The Society of Antiquaries Janet Arnold Award.🔸

@flavialoscialpo and @_cazzamatazza_ sharing their paper “The Ethical Imperative: the Responsibilities of the Fashion Curator in an Era of Global Inequity” at From the Fringes: Practices for the Construction of Contact Zones at @iuav_venezia , curated by @flavialoscialpo and Alessandra Vaccari, coordinated by Clarissa Ricci. Our paper discussed fashion projects that operate the margin as a methodology, calling for curatorial practices that engage with criticality as a means of thinking with, from and within the world. 💫

During preparations ahead of the new term this summer @elizabeth_kutesko , @dalchodha & @_cazzamatazza_ began a conversation about their respective reading lists. Naturally, they ended up with a set of questions: what books have remained at the forefront of the discipline? Whose theories about the body, the psychology of dress, the spectrum of gender and the potential of clothes do we—and our students—scaffold contemporary ideas upon? What might the canon of fashion studies look like and,what even is ‘a canon’ anyway?    The result of this dialogue was then captured in a single image by @jakesaintloveaxler   A pile of books with their spines turned away from the lens is a starting point for an ongoing series of events and discussions surveying the genesis of fashion studies and its untold potentials.     Please join us @tenderbooks next Thursday 6-8pm for drinks, discussion and a free poster ! Thank you to @cffc_ual , Viv Eades-Miller & Tim Arscott at Central Saint Martins library & @brightenthecornersstudio & @oliviaoben

🎓 From the fringes. Practices for the construction of contact zones Come si costruiscono oggi gli spazi di contatto tra arte, moda e cultura visiva? A questa domanda prova a rispondere il simposio internazionale "From the fringes. Practices for the construction of contact zones", curato da Flavia Loscialpo e Alessandra Vaccari, con il coordinamento di Clarissa Ricci, in programma giovedì 30 ottobre 2025, ore 9.30 a Ca' Tron, Venezia. Organizzato dal Dipartimento di Culture del progetto dell’Università Iuav di Venezia, in collaborazione con il Centre for Fashion Curation – University of the Arts London, Università IULM (Milano) e OBOE Journal, il convegno vede la partecipazione di Marco Baravalle, Nello Barile, Silva Maria Sara Cammarata, Antonella Giannone, Flavia Loscialpo, Cesare Pietroiusti, Clarissa Ricci, Caroline Stevenson, Angela Vettese, Leon Wainwright e Rebecca Yeoh. ENG 🎓 From the fringes. Practices for the construction of contact zones How are contact zones between art, fashion, and visual culture constructed today? The international symposium "From the fringes. Practices for the construction of contact zones", curated by Flavia Loscialpo and Alessandra Vaccari and coordinated by Clarissa Ricci, invites scholars and practitioners to explore the creative and critical potential of the margins, Thursday, 730 October 2025, 9:30 AM – 6:00 PM, Ca' Tron, Venezia. Organized by the Department of Architecture and Arts of Università Iuav di Venezia, in collaboration with the Centre for Fashion Curation – University of the Arts London, Università IULM (Milan), and OBOE Journal, the event brings together voices from different disciplines and contexts. Speakers include Marco Baravalle, Nello Barile, Silva Maria Sara Cammarata, Antonella Giannone, Flavia Loscialpo, Cesare Pietroiusti, Clarissa Ricci, Caroline Stevenson, Angela Vettese, Leon Wainwright, and Rebecca Yeoh. #Iuav #ricerca #research #arte #art #moda #fashion #cultura #culture #università #university

Alison Moloney, Wanda Lephoto and Dr Erica de Greef discuss the photograph which opened Fashion Accounts in Museum Africa which reimagines histories of Black South African youth that were either not documented or were destroyed by the apartheid police. @wandalephoto is a Johannesburg-based designer whose work negotiates the boundaries of culture and shared histories. @ericadegreef is the co-founder of the African Fashion Research Institute and a lecturer at WITS School of Art @visualcultureswits Together with Alison the three co-curated Fashion Accounts which explores archival practices through dress. This conversation is the latest in the Object No.1 series in which Alison interviews curators about the first exhibit audiences encounter at the start of an exhibition. Through a close reading of this initial object, the curators discuss the theme of the show and how the work was selected. Like the opening sentence of a book, the first object sets the scene for the narrative to unfold. The series is supported by @cffc_ual @lcflondon_ where @amoloney_ is an Associate Member. The podcast is produced by @clarelynchred Fashion Accounts in Museum Africa is open until 28 September 2025 at Museum Africa, Newtown, Johannesburg. Installation photography @simphiwestixmajozi #linkinbio to Object No.1 podcast #objectno1 #objectno1podcast #fashionpodcasts #fashionexhibitions #exhibitingfashion

📣 We are delighted to announce that Dr Jeffrey Horsley’s AHRC-funded Exhibiting Fashion Toolkit has been shortlisted for a @unioftheartslondon Staff Knowledge Exchange Award under the category R&D Innovation! 📣 The Exhibiting Fashion project worked alongside non specialist curatorial teams in UK museums to develop an ‘Exhibiting Fashion Toolkit’ that supports them in developing innovative fashion displays. The project positions exhibition-making as a creative practice, enabling small and mid-sized museums to tell new stories about and with fashion, in direct response to the decline of subject-specialist curators. Congratulations Jeffrey!

Rachel Dedman and Alison Moloney discuss the garments which opened the exhibition Material Power: Palestinian Embroidery, which reflect the everyday clothing rural Palestinian women wore in the early twentieth century. @racheldedman is the Jameel Curator of Contemporary Art from the Middle East at the Victoria and Albert Museum, London, and the curator of Material Power: Palestinian Embroidery which was held at Kettle’s Yard, Cambridge, and The Whitworth, Manchester, between 2023-2024. Rachel's most recent exhibition on this subject is Thread Memory: Embroidery from Palestine, currently at V&A Dundee. It is made in partnership with Art Jameel, the Palestinian Museum and V&A South Kensington, and is based on an exhibition of the same title that was shown at Hayy Jameel in Jeddah, Saudi Arabia from January to April 2025. This conversation is the latest in the Object No.1 series, in which Alison interviews curators about the first exhibit audiences encounter at the start of an exhibition. Through a close reading of this initial object, the curators discuss the theme of the show and how the garment was selected. Like the opening sentence of a book, the first object sets the scene for the narrative to unfold. The series is supported by the @cffc_ual @lcflondon_ where @amoloney_ is an Associate Member. The podcast series is produced by @clarelynchred #linkinbio to Object No.1 podcast series #objectno1 #objectno1podcast #fashionpodcasts #fashionexhibitions #exhibitingfashion Image: Material Power: Palestinian Embroidery installation @whitworthart , The University of Manchester (2023). Photo: Michael Pollard. Podcast icon by @kajsashus #Åbäke @kettlesyard @vamuseum

Dr Christine Checinska, Elisabeth Murray and Alison Moloney discuss the opening garment by Imane Ayissi in Africa Fashion which was held at the V&A in 2022. Dr Christine Checinska is the inaugural Senior Curator African and Diaspora: Textiles and Fashion at the V&A and Lead Curator of Africa Fashion. Christine has worked as a designer in the fashion industry for over 30 years. Elisabeth Murray is Senior Curator at the Fashion Museum Bath. Prior to joining the Fashion Museum, she was a curator in the fashion and textiles section at the V&A focusing on 20th century and contemporary fashion and was the project curator for Africa Fashion. This conversation is the latest in the Object No. 1 podcast series, in which Alison interviews curators about the first garment audiences encounter at the start of an exhibition. Through a close reading of this initial object, the theme of the show and how the garment was selected is discussed. Like the opening sentence of a book, the first object sets the scene for the narrative to unfold. The series is supported by @cffc_ual where Alison is an Associate Member. It is produced by @clarelynchred Object No. 1 icon by @kajsashus #Åbäke @checinskachristine @elisabeth_m_murray @imane_ayissi #linkinbio to Object No.1 podcast #objectno1 #objectno1podcast #fashionpodcasts #fashionexhibitions #exhibitingfashion

1:01 Aprons, a residency with Judith Clark and Carol Tulloch at Chelsea Space culminated this evening with a closing party and publication launch. The residency supported experimental, practice led research, providing time and space for Tulloch and Clark to respond to the Fashion Museum Bath Aprons Collection, study a new private collection and to ‘live with’ Aprons while exploring ways in which research can be displayed. @prefigured_ @this_is_not_all_that_i_am @chelseaspace