FASHION WORKS?!
FASHION WORKS?!
The fashion industry is in the process of transitioning from a linear model of producing, selling and disposing of its goods to a circular model of reducing, reusing, repairing and recycling. This transition is unleashing an unprecedented wave of creativity and innovation: start-ups, business accelerators, new production processes, new retail models, new skills, everything around us is bubbling and being transformed!
The 11th edition of the Global Fashion Conference, the first to be held in the Balkans, and the second in Eastern Europe, in collaboration with the Bucharest University of Economic Studies, takes place against the backdrop of Romania, a country with a long tradition in textiles, clothing and leather goods, well-known for the quality of its products, and which challenges us to think about the role of creativity and innovation in the fashion industry.
ABOUT THE CALL 2024
(Re)imagining sustainability through design.
Many questions are raised about the cost and, consequently, the price of sustainability. We know that design is responsible not only for fashion’s success on the market, but also for production costs and end-of-life considerations.
- What challenges need to be overcome to offer sustainable fashion that everyone wants and can afford?
- In what way can Eco-design contribute to more sustainable and affordable fashion?
- How can legal regulations on materials support eco-design?
- Is fashion sustainability working?
- How does design really support sustainability?
- How does eco design work?
- Does fashion really care about eco design?
The future of fashion legacy as an instrument for sustainability.
Culture is an asset which promotes positive feelings of belonging and inclusion. It stems from an unique set of conditions and events embracing time and space, and acts as a source of inspiration for creativity and innovation for young generations.
- How can new technologies help preserve and simultaneously revitalise the cultural identity of each people or country, reflecting their contemporaneity?
- How can cultural appropriation be countered, helping to maintain the rich diversity that the world of fashion presents and carries with it in a global market?
- How are legal regulations furthering this goal?
- How does heritage inspire design?
- How may cultural heritage be preserved?
- How upskilling works for fashion?
The challenges of the virtual world and fashion.
Fashion today is a physical product: it’s virtual; it’s phygital. The worlds of online and natural reality interact with each other, exploring new frontiers both in fashion consumption and in the social dimensions of the fashion business. The forms of interaction between brands and consumers, and between consumers themselves, are undergoing a revolution: co-creation processes are taking on aspects of “gamification”, experiences through augmented reality, metaverse and Artificial Intelligence are creating opportunities in which the fascination with new experiences is mingled with the fear of losing data privacy, or the sense of reality with repercussions on health and well-being, and there is already talk of digital detox.
Digitalisation is here and increasing.
- What are the opportunities opened by digital for Fashion Industry?
- What new businesses are emerging?
- What are the environmental and social repercussions?
- What do consumers say about new forms of business or digital experiences?
- How does AI work for fashion?
- How does the metaverse work for fashion?
- How does fashion business work in the digital realm?
- How is IT, or any other new technologies, influencing fashion?
- Are students of Fashion Design or Designers prepared for techbased fashion?
- Is phygital fashion really working?
Funding the transition for circular economy and sustainability.
In global terms, sustainable finance has been gaining ground, especially in more developed countries. In a world of geopolitical instability, the commitment to SDG 2030 has been recognised and has influenced the political agenda. There are regulations and intergovernmental agreements that aim to reward investor commitment to sustainability. This sustainability also often involves business automation and digitalisation processes, in both production and services.
Thus, there is a need for companies to fulfil their obligation to present financial and non-financial information on their projects in an exemplary manner, demonstrating how their activities have a positive impact, contributing to a world in which the natural resources necessary for the lives of future generations are not threatened.
- What and where are the sources for investment in sustainability?
- What kind of information about companies should be made available to investors and finance institutions? And the public?
- How can legal regulation help to make the information available in financial markets credible and thus benefit companies that are, in fact, sustainable fashion companies?
- How do regulations in the fashion industry work?
- What are the differences between countries’ regulations?
- Does fashion governance work?
- What regulations will be actioned to shape a sustainable fashion industry? May they be related to ESG regulations?
Dalia Poleac, Bucharest University of Economic Studies
Vasile Alecsandru Strat, Bucharest University of Economic Studies
Miruna Mazurencu-Marinescu-Pele, Bucharest University of Economic Studies
Cristian Teodor Negruțiu, Bucharest University of Economic Studies
Ilinca Zamfir, Bucharest University of Economic Studies
Costin Ciora, Bucharest University of Economic Studies
Adriana Davidescu, Bucharest University of Economic Studies
Isabel Cantista, Lusíada University/ COMEGI
Adriana Dutescu, Bucharest University of Economic Studies, Romania
Adriana AnaMaria Davidescu, Bucharest University of Economic Studies, Romania
Alina Gurguţă, National University of Arts, Bucharest, Romania
Antoaneta Tica, The National University of Arts, Bucharest, Romania
Andrea Palade Flondor, The West University Timisoara
Christiane Luïble Bar, Linz University, Austria
Claudia Henninger, Manchester University – UK
Codruta Mare Babeș, Bolyai University
Curteza Antonela, George Asachi Technical University of Iasi, Romania
Cosmin Cepoi, Bucharest University of Economic Studies, Romania
David Zajtmann, IFM – Paris, France
Daria Casciani, POLIMI Milan, Fashion design
Emanuela Mora, UNICATT – Milan
Grigore Pirosca, Bucharest University of Economic Studies
Esben Pedersen, CBS – Copenhagen Business School, Denmark
Jorge Campos, Lusíada University, Portugal
Joel Vaz, University Lusíada Portugal
Kazutoshi Tsuda, Kyoto Institute of Technology, Japan
Kirsi Niinimaki, University of Aalto, Helsinki, Finland
Kirsti Reitan Andersen, Royal Danish Academy
Liliana Turoiu, The National University of Arts, Bucharest, Romania
Lorenzo Cantoni, Università della Svizzera Italiana – Lugano
Lynda Grose, California College of Arts, USA
Maer Matei Monica Mihaela, National Research Institute for Labour and Social Protection
Marcia Bergmann, PUC – Rio de Janeiro – Brazil
Mirela Nichita, Bucharest University of Economic Studies, Romania
Oana Popovici, Bucharest University of Economic Studies, Romania
Petcu Monica, Bucharest University of Economic Studies, Romania
Raluca Ignat, Bucharest University of Economic Studies, Romania
Simona Apostu, Bucharest University of Economic Studies, Romania
Tahani Nassar Alajaji, Princess Nourah Bint Addul Rahman University, Riyadh, Saudi Arabia
GLOBAL FASHION CONFERENCE
BEST RESEARCH AWARDS 2024
The Global Fashion Conference has decided to award two prizes as from the 2020 edition. One of these is intended to acknowledge and reward the best research paper or project in the area of sustainable fashion, while the other prize seeks to acknowledge and reward the best research paper or project in the area of innovation. A special mention to a research made in one of these topics or any other topic may also be granted by the jury.
In each edition, an independent jury comprised of representatives from Academia, Industry, NGDOs and Fashion Communication will decide on the assignment of these prizes.
Teresa Sádaba is the Dean at ISEM Fashion Business School (Madrid), where she also teaches Strategic Communication for Fashion Companies.
Professor at the University of Navarra and at the Universitá della Svizzera italiana. Visiting professor at the Université Paris XII and George Washington University among others. Fulbright fellow.
PhD in Communication, BA in Journalism and Political Science. Expert on framing issues and strategic communication. Her research is now focused in politics & Fashion and new developments of communication.
Elsa Parente is responsible for setting the strategic course and technological advancement of Positive Materials, as co-Chief Executive Officer, and Chief Technology Officer.
Positive Materials is part of PDS Group, a global consumer-driven manufacturing and sourcing platform serving the world’s leading brands and retailers. The Group is present in more than 22 countries around the world, fostering cultures of 50 plus offices.
PDS is a strategic investor in relevant start-ups in the field of textile innovation, sustainability and technology enabling the Group to deliver the latest in sustainable products and technologies to its customers and suppliers.
Her professional career began with an academic degree in Chemistry followed by over 25 years of experience in textile innovation having founded RDD (Valérius Hub Innovation within the Valérius Group, in Portugal). At RDD and under her supervision new technologies were developed leading to revolutionary fibers and dyeing & finishing techniques. Before joining Valérius Group, Elsa was Head of R&D and Innovation at Tintex Textiles.
Elsa is known as a materials development advisor for renowned brands and a distinguished speaker at international conferences. Elsa is continuously working alongside global textile institutes and universities to pursuing always a positive vision for the Planet and the People.
Andreea Ioana Esca Eram (is the maker of the show “La radio” (meaning “At the radio”), on the Europa FM radio station.
Andreea studied at the Superior School of Journalism (Școala Superioară de Jurnalism) where she graduated in 1990. Later Andreea moved on professionally to the Center of Independent Journalism in Prague and CNN Atlanta (USA), having also been in Athens, Greece.
Andreea has been working as a news presenter at the Romanian television channel PRO TV for 27 years, since its beginning. In 2002, she won the National Audiovisual Council prize for “Woman of the Year”.
She won the award for best news anchor in Romania three years in a row.
Since 2006 Andreea Esca is the editorial director of “The One” magazine. Andreea is also a member of the “CNN World Report” team. In 2014 she released an autobiography titled “Ce-am făcut când am tăcut” [What I did while I was quiet] (in Romanian).
Announcement on the 12fth of October
DATES AND TEMPLATES
Submission of Structured Abstracts deadline: 30st of April
Feedback from Reviewers deadline: 30th of June
Full papers due: 30st of September
Publication of Proceedings (ISBN and DOI): December 2024
