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Discover the publication by purchasing your copy and unpublished content by following the Instagram channel @dunejournal.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

Maria Grazia Chiuri
Nicoletta Fiorucci, Fiorucci Art Trust
Maison Valentino
Matteo Mantellassi, Manteco

Printed by
Grafiche Veneziane


Call for papers
Dune Vol. 002 n. 002

Dune accepts ideas and proposals from scholars, whose contributions are selected for publication through a process of double-blind peer review. For its fourth issue, the magazine is examining the concept of value.

Value is generated by economics according to the modern myth of production, something that has been challenged by Mariana Mazzucato in The Value of Everything (2018). Today, in discourses on fashion and its industry, questions are being raised that go beyond the economic sphere and look at its social, political and cultural dynamics. What is value? Is it still linked to work? Who creates wealth? What determines the value of the things we produce? Authors like Elizabeth Wissinger and Angela McRobbie are proposing reflections that are intertwined with the contemporary challenges of the pandemic crisis.

Intangible value, like the one attributed to tradition, and the historico-cultural value that permeates the processes of preservation of the heritage and does not leave out of consideration a precise economic exploitation. In The Invention of Tradition (1983) Eric Hobsbawm observed that traditions often stem from a manipulation of more or less ancient materials with the aim of conveying values and norms of behavior in which a continuity with the past is implicit. Today, the management of archives, especially those of companies, is a highly strategic exercise, and it is useful to study the significance that tradition acquires in the processes of design and communication utilized by fashion brands.

Value in relation to authenticity, brought into question over the course of the 20th century by mechanical, electronic and digital means of reproduction. The copy, the forgery, the simulation and the clone are at the center of a culture of digital liquidity in which everything is duplicated, shared and spread around. Expressions that are feeding into the development and elaboration of this phenomenon range from Marjorie Perloff’s notion of unoriginal genius (2010)— which attributes to the artist a role of control and diffusion of information rather than invention and which has influenced the poet and critic Kenneth Goldsmith—to the concept of migration of the aura explored by Bruno Latour and The Hacker Project of Gucci and Balenciaga.

In the lecture “Insert Complicated Title Here” delivered at the Harvard University Graduate School of Design in 2017, Virgil Abloh offered a reflection on practices of design and reminded us that authenticity is related to counterfeiting, in the sense of deceptive replication. In the ambit of the legal notion of global intellectual property the word counterfeiting is applied in particular to the unauthorized imitation of objects protected by copyright. As Daniel McClean asked in the article “On the Counterfeit,” published in Mousse Magazine in the summer of 2015, just what kind of value is it that is protected by laws on intellectual propriety?

Important dates:

July 15, 2021
delivery of abstract (in Italian or English, about 250 words) and short biography to dune@iuav.it

July 22, 2021
communication of acceptance of abstract

September 15, 2021
delivery of article (in Italian or English, about 4000 words)

October 5, 2021
communication of results of double-blind peer review

October 15, 2021
delivery of definitive article

December 2021

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.