This research project is the first to systematically investigate the hidden history of fashion film in the silent era between 1900 and 1929, and its legacy for the rapidly changing field of fashion communications today, both in the UK and globally. It posits fashion film as a unique hybrid of two industries with distinct practices, resources, and motivations. Its interdisciplinary approach provides a new historical and theoretical framework for understanding this important and increasingly popular phenomenon. To that end, the project brings together scholars with combined expertise in film history, fashion history and media studies, and practitioners involved in various aspects of contemporary fashion film production. The study of fashion film has been neglected in both film and fashion histories, and in the fashion industry it is often assumed to be a novel product of the digital age. The project redresses this by conducting extensive archival and filmographic research into fashion film of the silent era, and by subjecting these findings to a comparison with the practices of emergent digital fashion film in the early 21st century - another period of rapid technological and cultural change. We use 'media archaeology' as an innovative, non-linear method of connecting these two periods. Although not historically proximate, each period acts as a critical prism for understanding the other. More broadly, we will also investigate the potential of media archaeology approaches to 'rewire' established fashion history methodologies and to inform contemporary fashion practice. Emphasising for the first time the transformative effects of film on fashion in both periods, the project forges a new understanding of film as a 'fashion medium' and as a 'fashion object'. It will make a major contribution to scholarly studies of the history of fashion, of film, and of fashion film, and will change how contemporary fashion filmmakers and other media practitioners understand the history of their discipline and the context for their own creative and commercial work. The project team is based at Central Saint Martins, University of the Arts London, and Winchester School of Art, University of Southampton. The project's methods span fashion history and theory, fashion in film studies and media archaeology. The specialist art school environment is a singularly appropriate milieu for this project because its research activities regularly combine historical and theoretical research with art and design practice. The team will work closely in partnership with AnOther.com (an influential online magazine owned by Dazed Media, a leading UK-based international media platform with a focus on culture, fashion and lifestyle), the British Film Institute (the UK's foremost body for the collection, preservation, exhibition and promotion of film and the moving image), the British Fashion Council (the national organisation for the promotion of British fashion design and media in a global market), Somerset House (a major arts and cultural centre based in London) and Moravska Galerie Brno (a major national arts museum in the Czech Republic) to ensure a broad range of outputs and impacts, and wide dissemination. The outputs include: workshops, a showcase on a contemporary media platform, a conference, an international touring exhibition of historical fashion film at Somerset House and Moravska Galerie, Brno, public-facing screenings and discussion events, and several publications: a monograph accompanying the exhibition, a book documenting the conversations between academics and media industry practitioners, and a special issue of the Journal of Visual Culture.

Exploding Fashion destabilizes conventional historical methods to create new forms of understanding about the material culture of the past. It 'explodes' the mystique of the fashion design process in two ways. Firstly, it deconstructs the myth of the designer as sole creative genius by uncovering the intriguing role of the patter cutter. Secondly, it reverse-engineers four historical designs by game-changing designers who were also innovative pattern cutters, digitally reanimating museum objects as moving images which visually narrate how these things were once made, and how they moved on the body. This project thus foregrounds the pattern cutter, an essential maker and technician in the fashion design process whose role is essentially unacknowledged in design histories and unfamiliar to consumers. The project offers a long overdue corrective to this oversight. Like the warp and weft of fabric, it interweaves two strands of enquiry: firstly, the participatory nature of fashion design, and secondly, the cultural and historical implications of studying pattern cutting as a technology of the body. Like an exploded-view drawing, the project offers a visually-led understanding of how fashion is an object of pattern cutting. Working together in museum archives, historians and pattern-cutters will study a small number of highly complex garments in close detail, using several visual methods to 'explode' them in order to understand their construction. This involves making paper patterns, toiles (canvas prototypes of the garments), textile samples and digital visualisations of the garment in motion, to produce a set of 'materialised' investigations in 2D, 3D and 4D formats as a form of reverse engineering. The project thus reveals a backstage view of the fashion design process, and aims to make the invisible visible. It will set fashion in motion, animating a greater understanding of how historical dress designs once worked on the body. Outputs include a major exhibition at Somerset House (London), a book associated with the exhibition, academic journal articles, a museum study day, several workshops, a fashion industry showcase, and an online project with a fashion media partner. The project employs curation as a form of creative practice capable of revealing and narrating fashion design as a type of visual, motile and three-dimensional knowledge. Fashion curation sits between the academy and the museum, bridging the historical and the contemporary through the exhibition of objects, images and texts. Due to the new methods developed in fashion studies, the close reading of the cut and construction of historical dress has been discarded, and this project seeks to redeploy it in a contemporary context in order to offer new interpretations on the making of modern clothing. The research team consists of professional pattern cutters, historians, curators, and digital visualisers who will investigate the overlooked role of the pattern cutter. The project uses ideas about co-design which privileges processes and procedures over authors and styles that have rarely been tested in fashion. Exploding Fashion employs three forms of practice: pattern cutting, visualisation and curation. It combines the methods of practitioners and historians in a blended approach; it brings technicians and academics into debate, and investigates whether the practitioner's mode of 'thinking through making' can offer new paradigms to the fashion historian, allowing us to theorise pattern cutting as both cultural and technological, using cultural and historical theories of the body as a set of technologies. Situated at Central Saint Martins, University of the Arts London, the project bridges fashion design practice and academic history and theory, and draws on its expertise in both areas to produce innovative fashion thinking that is unique to London's status as a fashion capital that excels in design, education and curation.