Attending the Textile Society of America’s 2024 Symposium, Shifts and Strands, was truly an unforgettable experience for me. It wasn’t just an academic event or a place to hear presentations, it became an incredible space where I could connect and reflect on my own work and the future of textiles. The theme itself, Shifts and Strands, resonated with me on a personal level, touching on the ongoing changes in the textile world and the powerful threads that tie together cultures and identities, bridging distances with motifs and patterns.
The meaning behind Shifts and Strands
The theme of the symposium, Shifts and Strands, was brilliant in its simplicity yet profound in its meaning. On one hand, the “shifts” spoke to the larger transformations in the textile industry, from technological advances to movements toward sustainability. On the other hand, the “strands” reminded me of the deeper, often overlooked threads that run through the textile world, such as history, culture, identity, and community. As I sat through the panels and presentations, I couldn’t help but think about how these shifts are both personal and collective, and how our own experiences with textiles wove together a larger community.
It was eye-opening to listen to how others in the field were grappling with these shifts. Some presentations explored the intersection of digital technologies and traditional techniques, while others focused on decolonizing practices within the textile industry. Each session sparked new thoughts and reflections, pushing me to think not only about textiles as a craft or industry but as a cultural force, something that’s constantly evolving, just like the people who create, use and research them.
Chairing a Session
One of the highlights of the symposium for me was the honor and responsibility of chairing a session, which allowed me to dive deeper into three fascinating projects. As a researcher and educator in the fashion field, having the opportunity to curate and facilitate a conversation about these specific projects was both an enriching and humbling experience. The session focused on historical and cultural perspectives in textile studies approached from a political angle, and I had the pleasure of presenting the work of three talented individuals who each approached textiles with a unique lens.
First, Dr. Keiko Okamoto’s project Bridging Traditions and Innovations in Japanese Fashion: Kimono & Wedding Dress after WWII to the Present provided a deep dive into the evolution of Japanese fashion in the post-war period, highlighting the delicate balance between tradition and modernity. Next, Nallely Rangel Vázquez’s A City Between Fibers, Threads, Textiles, and Seamstresses: Establishments in Mexico City (1900-1910) shed light on the role of textiles in urban development and labor history. By examining the relationship between the growth of textile establishments and the work of seamstresses in Mexico City at the turn of the 20th century, Nallely’s research offered a glimpse into the intersection of textile production and the shaping of a modern city. Lastly, Brielle Pizzala’s Weaving Modernity: Woven Images in the Nanjing Decade took us through the significant role of textiles in reflecting and influencing modernity in China during the Nanjing Decade (1927-1937).
Having the chance to moderate these discussions and engage with the audience on these important topics felt like a privilege. The questions and comments from the attendees sparked rich debates, and it was amazing to see how each of these projects resonated with people from various backgrounds and areas of expertise.
Innovation, culture and the future of textiles
Another unforgettable moment from the symposium came when I had the honor of listening to Wafa Ghnaim, whose work I have been following for my entire life. Wafa’s work has been one of the primary inspirations behind my PhD thesis, and listening to her presentation was a truly transformative experience. Her work continues to shape my thinking, and it was surreal to finally hear her discuss ideas I had been deeply engaged with for years.
Shifts and Strands also took a deep dive into the technological and cultural innovations transforming the textile world. One session that stood out for me was about the role of digital technologies in textile design, such as 3D printing and AI. In this session I also presented some new findings from my research. Self-recognition aside, it was fascinating to see how emerging digital environments are not only changing the way we produce textiles but are also reshaping the possibilities of what textiles can mean in the future, whether that’s in fashion, art, architecture, or even mental care.
One truly powerful outlook shared directly and indirectly by several presentations was the theme of textiles as a medium for activism. Textiles have long been used as symbols of protest, resistance, and identity. Hearing from artists and activists who use textiles in these ways gave me a deeper understanding of how textiles can be a form of social change. It made me think about my own work in a broader context and how I can contribute to meaningful conversations through my research.
Mentorship and networking
The symposium didn’t just feel like a place for learning: it felt like a community, one where people genuinely cared about helping each other grow. It was a space where I could be open about my struggles and challenges, and in return, I was given guidance, suggestions, and support from others who had faced similar obstacles. This sense of mentorship wasn’t confined to formal sessions; instead, it permeated everything, from casual virtual chats to deeper connections through Whova.
Conclusion
The Shifts and Strands symposium wasn’t just an event; it was an experience that left a lasting impression on me. It offered much more than academic content. It provided an opportunity to connect with incredible people, reflect on my practice, and engage in meaningful conversations about the future of textiles. I left the symposium feeling recharged, inspired, and deeply grateful for the opportunity to be part of such an amazing community.
I’m already looking forward to future Textile Society of America events, knowing that the conversations and relationships begun at Shifts and Strands will continue to inspire and guide me along my journey in the world of textiles.
Maria Ida De Ioanni graduated with a BA in Design and Visual Communication from the Polytechnic of Turin in 2020. After one year at the National Art Academy of Riga, she moved to Paris where she completed her Master of Arts in Fashion Studies, specialising in fashion heritage communication and fashion archives visual and textual activation. Her previous experience in the field of fashion heritage includes working with L’Officiel de Couture et de la Mode as a visual researcher and content writer for the book L’Officiel 100, published in 2021. She subsequently worked for Christian Louboutin archives, Hermès Conservatoire, and for Ferragamo’s heritage department as mediator and executive throughout 2023. She is currently teaching SEO practices and Community Management within the department of Information and Communication Sciences, while also researching in the field of Mediterranean fashion heritage and post-colonial interactive creation of meaning in the social media era.
