Flash Art
Flash Art
Flash Art

Writings on fashion, project and visual culture

Dune is a biannual, bilingual academic journal of fashion and visual culture, with open call, welcoming scientific contributions. It is directed by Maria Luisa Frisa, director of the bachelor course in Fashion Design and Multimedia Arts at IUAV University of Venice, is published by Flash Art, with graphic design by Think Work Observe.

The title refers to the infamous science fiction novel Frank Herbert published in 1965, and to the film directed by David Lynch in 1984. Dune is intended as a space for theoretical, critical and visual examination and presentation of new research. It reflects interests in research, writing methods and theoretical production of the team of the fashion courses at IUAV. Each issue is monothematic; the theme is defined by a word or a sentence that permeates contents, focusing on either pivotal figures and circumstances or the unveiling of stories that are not yet well known while giving space to the voice of young authors.

Dune accepts ideas and proposals from scholars and the academic papers it publishes are subject to Double-blind Peer Review. The scientific committee is characterized by the presence of academics, creatives and professionals active in the realms of criticism, fashion studies, contemporary art, architecture, the running of museums, curating, publishing, art direction and photography.

Each issue can gather different kinds of contributes: Chronicles, Conversations, Essays, Performative Writings, Reviews, Self-Analysis, Studies.

Dune is a part of the research cluster FLAIR and it is supported by donors that trusted the editorial project. The journal, devoid of traditional advertising pages, is an expression of a work group interested to new forms of dialogue with companies, institutions and collectors.

Discover the publication by purchasing your copy and unpublished content by following the Instagram channel @dunejournal.

Editor in Chief
Maria Luisa Frisa


Saul Marcadent

Editorial Assistant
Elena Fava

Editorial Coordination
Riccardo Dirindin

Editorial Board
Giorgio Camuffo
Elisabetta Cianfanelli
Piero Di Biase
Riccardo Dirindin
Marta Franceschini
Gabriele Monti
Alberto Moreu
Marco Pecorari
Manuela Soldi

Scientific Committee
Miren Arzalluz, Palais Galliera, Paris
Paola Bertola, Politecnico di Milano
Manuel Blanco, Universidad Politécnica de Madrid
Paul Boudens, graphic designer
Silvia Calderoni, performer
Bruno Ceschel, University of the Arts London
Judith Clark, London College of Fashion
Paola Colaiacomo, fashion scholar
Giovanni Corbellini, Politecnico di Torino
Milovan Farronato, Fiorucci Art Trust, London
Elke Gaugele, Akademie der Bildenden Künst
Francesca Granata, Parsons School of Design New York
Stefano Graziani, photographer
Alistair O’Neill, Central Saint Martins College, London
Patrizia Ranzo, Seconda Università degli Studi di Napoli
Stefano Tonchi, L’Officiel
Paolo Volonté, Politecnico di Milano
Louise Wallenberg, Stockholm University

Graphic Design
Think Work Observe

Teresa Albanese
Huw Evans

Copyediting and Proofreading
Anna Albano/Language Consulting Congressi srl

Image Sourcing and Licensing
Marta Zanoni

Flash Art
Gea Politi and Cristiano Seganfreddo

Camera Nazionale della Moda Italiana
Maria Grazia Chiuri
Enzo di Sarli and Beatrice Rossaro
Nicoletta Fiorucci, Fiorucci Art Trust
Maison Valentino

Printed by
Grafiche Veneziane


Call for Papers
Dune Vol. 003 n. 001

Dune welcomes ideas and proposals from scholars, whose contributions are subjected to a process of double-blind peer review before selection for publication. For its fifth issue, the journal is looking at the concept of the shortcut.

A shortcut only happens by chance, you can’t bank on it. But that’s sort of how life works. There are shortcuts for everyone. It all just depends on whether you can recognise it enough. I believe that coincidence is key, but coincidence is energies coming towards each other. You have to be moving to meet it. There’s a natural coincidence of life. But I think that all things help; I think the only factor is that when you work hard, things naturally advance. Of course, it becomes a traffic jam at points, but I think that’s when I operate at my best. Under a deadline, or under the pressure to complete, or to come up with a narrative.
(Interview published in Mr Porter, Jan 24, 2019.)

In his lecture at the Harvard Graduate School of Design in 2017, Virgil Abloh shared with his audience the cheat codes – the strategies, which he called shortcuts – that form his “personal design language.”

Insert Complicated Title Here, the publication that followed the lecture, bought out as part of the series “The Incidents” by Sternberg Press / MIT, captures Abloh’s methodology and documents a contemporary mode of creativity. It updates the parameters of the role of the creative director – a role to which Abloh himself gave the title TBD. It describes and celebrates the application of practices of sampling and curating to design, put into effect by those who move with agility between different disciplines, seeking the quickest and smartest way of hitting the mark.

Mental flexibility, versatility, perspicacity and the ability to “embrace chaos” were, for Abloh, true ways of being in the world, of exploring territories that differ in their paradigms and configurations: a mode of behavior, a way of being attentive and in tune with the world, anticipating the directions it is going to take, or even guiding their course.

If considered from the perspective of the relationship between past and present, which to a great extent shapes creativity in fashion and its presentation in contemporary life, the shortcut is also a technique of survival. It is a way of managing the exchange of ideas, of reestablishing balances of power and recognizability, of looking ahead without being tied to what has been decided, chosen or said in the past: the generative potential of contradiction.

Shortcuts are a design methodology, but also an attitude of resistance to a system governed by precise, and sometimes stale, rules that therefore makes it possible to push limits and stereotypes and subvert them. Like unique characteristics, fundamental data of the design identikit, shortcuts become part of a creator’s work and situate his or her authoriality; they permit a critical evaluation of how modes of design have changed, between consolidated codes and new keywords, individuality and collective debate, solipsism and co-creation. Given the conceptual horizon outlined above, the proposals for this issue do not necessarily have to refer to the figure and work of Virgil Abloh.

Important dates:

February 4, 2022
delivery of abstract (in Italian or English, about 250 words) and short biography to dune@iuav.it

February 14, 2022
communication of acceptance of abstract

April 8, 2022
delivery of article (in Italian or English, about 4000 words)

April 29, 2022
communication of results of double-blind peer review

May 9, 2022
delivery of definitive article

June 2022

Dune Vol. 001 n. 001 Dark Room, March 2020; Vol. 001 n. 002 Manifesto, November 2020; Vol. 002 n. 001 Fragment, June 2021. Published by Flash Art. Photography by Think Work Observe.