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, 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, like Matteo Mantellassi from the textile company Manteco and Nicoletta Fiorucci, founder of Fiorucci Art Trust. 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Discover the publication by purchasing your copy and unpublished content by following the Instagram channel @dunejournal.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 Board
Giorgio Camuffo
Elisabetta Cianfanelli
Piero Di Biase
Riccardo Dirindin
Marta Franceschini
Alberto Moreu
Gabriele Monti
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

Translations and copyediting
Teresa Albanese
Lucian Comoy/Language Consulting Congressi srl
Christopher Huw Evans

Editorial Coordination
Eleonora Milani

Image Sourcing and Licensing
Elena Fava
Marta Zanoni

Jordan Kelly
Marta Zanoni

Flash Art
Gea Politi and Cristiano Seganfreddo
Nicoletta Fiorucci, Fiorucci Art Trust
Matteo Mantellassi, Manteco


Call for papers
Dune Vol. 002 n. 001, May 2021

Dune accepts ideas and proposals from scholars and the academic papers it publishes are subject to Double-blind Peer Review.

For its third issue, the journal will focus on the fragment. The fragment as a fundamental means of historical inquiry, of critical reflection, of curatorial action. The fragment as starting point for speculation and as an integral part of the creative process of designers working in different disciplines.

Owing to the rarity of material evidence, museum collections that deal with fashion and costume value the fragment as a precious trace of a past to be preserved. In its imperfection the fragment of a garment is able to represent a particular moment in time and space, allowing it to throw light on the tendencies at a precise moment in history. To an even greater extent, that fragment speaks of everyday and personal “clothing practices,” as Elizabeth Wilson has described them, of the intimate relationship between the garment and the person who has worn it as Olivier Saillard revealed in the exhibition Anatomie d’une collection, and invites us to reflect on time and on what withstands it. In this connection, authors like Paul Valéry, Walter Benjamin and Italo Calvino see the city as a “place of collection,” in which the multiplicity of elements and the absence of relationship between them results in a fragmentariness. In his essay “Lo sguardo dell’archeologo” Calvino described it as a “storehouse of the materials accumulated by humanity,” and this view is shared by exponents of both the archeological and the architectural disciplines.

Fragmentation is the condition that characterizes the way we understand the world and internalize it. Daily life is made up of details, which then turn into fragments in the dimension of memory. From a postmodern perspective it is also the mode of production of contents that deviate from the dominant narrative in order to explore its areas of light and shade, often in contrast with or direct opposition to a simple, positive and monolithic description of reality. The fragment, in this sense, characterizes the partial nature of possibility: not so much of completeness as of imagination. For this reason the fragment is also a device employed in the construction of a text or to set in motion processes of invention that are based on memory. In William Gibson’s novel Pattern Recognition fragments of videos introduced into the chaos of the internet have such a power of fascination that they are addictive and forge deep ties between strangers, mysteriously attracted by these grainy frames. In his book Fragments d’un discours amoureux Roland Barthes treats a subject as changeable and slippery as love in a disjointed manner, juxtaposing words and philosophical references to produce a possible lexicon and theory of the lover. Cleve Jones conceived the collective work NAMES Project AIDS Memorial Quilt as an accumulation of pieces of fabric, clothes and personal effects belonging to people who had died of AIDS to commemorate a tragedy in its simultaneously global and personal dimension, lending value to the act of patchwork—of “stitching together”—fragments of different lives in order to celebrate life in its universal sense.

Finally, the fragment is linked to the idea of crisis, as rupture and starting over. The Japanese practice of kintsugi, the art of mending broken pottery with inserts of precious materials like gold, was taken up by Martin Margiela in his Artisanal fall/winter 1989 collection, in which a top sewn together from pieces of broken china reflected a desire to see breakage and repair as an integral, and not effaceable, part of the story of objects and of the people who relate to those objects.

Important dates:

January 11, 2021
consignment of abstract (in Italian or English, approx. 250 words) and short biography to dune@iuav.it
January 25, 2021
communication of acceptance of abstract
March 12, 2021
consignment of article (in Italian or English, approx. 4000 words)
March 29, 2021
communication of results of double-blind peer review
April 12, 2021
consignment of definitive article

May 2021

Dune Vol. 001 n. 002 Manifesto, December 2020, Published by Flash Art. Photography by Think Work Observe.