On the 21st and 22nd of November, EFHA held its 10th anniversary conference in collaboration with MUDE – Museu do Design, Lisboa.

Under the theme “Codes of Conduct” we had the chance to listen to diverse professionals and academics who explored different topics on responsibility and ethics in fashion heritage, while presenting various case studies.

The two days were structured in four panels, each chaired by a member of EFHA’s Scientific Committee. Between the panels, the audience had opportunities to engage with the participants through Q&A sessions. These sessions fostered valuable discussions, with insightful questions being asked and addressed, while allowing for the inclusion of additional insights from attendees who contributed to the dialogue.

On the first day of the conference, we were welcomed by Marco Rendina, EFHA’s President and Managing Director, followed by an introduction by Bárbara Coutinho, MUDE’s Director. Bárbara set the tone for reflection with the question “What are things for?”, making us consider museum artifacts as not only tangible objects, but also as the intangible ideas they represent. This question resonated deeply as the collaboration also celebrated the reopening of MUDE, marking an important moment for both MUDE and EFHA, highlighting the importance of international collaboration in preserving and promoting shared heritage. 

The conference’s first panel “The Private and The Public: Modes of Intersection” was chaired by Karolien de Clippel, director of Modemuseum Hasselt and chair of EFHA’s Scientific Committee. Curator at Nasjonalmuseet, Hanne Eide, discussed the balance between curatorial creativity and administrative processes in developing fashion exhibitions, while exploring collaborative challenges and opportunities of presenting fashion as both cultural artifact and scholarly inquiry. Jihane Dyer and Catherine Howe outlined the Zaha Hadid Foundation’s strategies for displaying Hadid’s extensive collection, while researching and preserving it, emphasizing her pioneering role as an Iraqi British Arab woman in a male-dominated field and discussing the collection’s ties to both her work and personal life. Piotr Szaradowski closed the panel with the inspiring journey of the Muzealne Mody Foundation, which started as a private collection and evolved to a formal institution focusing on fashion education, research and collaboration.

The second panel, “Backstage / Frontstage – Curatorial Responsibility”, led by Sonnet Stanfill, senior curator of the Victoria and Albert Museum, began with Cyana Madsen of London College of Fashion advocating for a more critical and reflective approach in fashion curation: a methodology to identify and mitigate biases in curatorial decision-makings, which allows the highlight of otherwise underrepresented histories and preserving garment biographies. Anabela Becho from MUDE’s curatorial team and Inês Matias, one of MUDE’s collection assistants, used Alexander Mcqueen and Jean Paul Gaultier’s works from MUDE’s collection to examine the ethical and material challenges involved in preserving and displaying garments made of animal-derived materials, while balancing the museum’s role in contextualizing the garments and providing insights into their cultural significance, with contemporary ethical standards at the same time. Elisa Costa, with the supervision of Sara Babo and Inês Correia, explored another case study of MUDE’s collection: two dresses by Walter Van Beirendonck – advocating for conservation methods that respect the designers’ original intent and the performative nature of the pieces, while highlighting the importance of preserving these intangible cultural and social values embedded in the garments. Ninke Bloemberg shared the experience of a collaborative process of co-curation and the importance of inclusivity in representing certain narratives. In the MODA – Moroccan Fashion Statements exhibition, the significance of Morocco in the global fashion dialogue allowed for the exploration of different perspectives, challenging Western-centric views of fashion.

The first day of the conference was concluded with a roundtable on Responsibility and Values, with Sonnet Stanfill of the Victoria and Albert Museum, Eve Demoen of Modemuseum Hasselt and Marta Franceschini of EFHA, chaired by Marco Pecorari of Parsons Paris. The roundtable provided an opportunity to explore the paths curators take nowadays and to discuss how various approaches can be adopted, considering their diverse roles, such as senior curators, curators of small institutions, and freelance curators. 

On the second day, we are introduced to the third panel “Re-Mapping Fashion: Politics & Poetics of Local Heritage”, moderated by Marta Franceschini of EFHA. Ornella Cirillo, in collaboration with Vicenza Caterino, shared the efforts and cultural initiatives the University of Campania took to revitalize and share the region’s fashion heritage, shedding light on local traditions, positioning Campania’s contributions as integral to Italian fashion heritage. Thomas Kilian Bruderer of Cho’jac items examined the challenges faced by traditional artisans in specific regions of Mexico and Bangladesh, whose crafts are threatened by globalization and shifting economic pressures, advocating for political support, educational initiatives and fair-trade practices to sustain their crafts, stressing the importance of respectful collaborations between designers and artisans to balance cultural preservation with modern demands. Binil Mohan of JK Lakshmipat University emphasized the urgent need to develop a structured protocol for engaging with India’s vast crafts-based heritage, advocating for a responsible engagement model that promotes cultural safety and responsible collaborations, and protects the cultural and communal rights of artisans. Anna Sinkevich shared WIPO’s framework for fostering respectful and equitable collaborations between Indigenous Peoples and fashion companies, regarding the use of Indigenous People’s Traditional Cultural Expressions, emphasizing the importance of dialogue, consent and ethical practices to prevent harm to Indigenous communities, advocating for fair interactions that empower Indigenous Peoples while preserving their cultural heritage.

The final panel, “Re-thinking Fashion collections: New Policies & Perspectives”, chaired by Karolien de Clippel, started off with Leanne Tonkin in collaboration with Katherine Townsend, both from Nottingham Trent University, exploring the cultural and historical significance of healthcare worker’s clothing, focusing on design, functionality and conservation but also inspecting the evolution of healthcare uniforms and the lived experiences of their wearers, utilizing both historical and contemporary examples. Isabella Volpe, of Parsons Paris, focused on the role of prototypes and prototyping processes in the creation of fashion collections, arguing that the industrial processes behind fashion are underrepresented in museum collections and exhibitions. Using Massimo Osti as a case study, Isabella emphasized preserving and curating these overlooked materials to safeguard endangered industrial knowledge. Wrapping up the conference, Lena van de Poel shares her research in collaboration with Chantal Perlee, conducted at the Centraal Museum in Utrecht, demonstrating how fashion objects in museum collections can reveal the enduring legacies of colonialism and slavery, showcasing the role museums can have in making hidden colonial legacies visible, urging action by revealing the broader societal impacts of these histories.

These two days were filled with insights, discussions and questions. Notably, the third panel generated the most debate among attendees, as they explored the involvement of Indigenous Communities in the production process. The discussion also delved into the distinctions between consultation and co-creation.This conference was a valuable step in opening up the dialogue to explore the intricate and multifaceted responsibilities tied to fashion heritage. The presentations and discussions provided valuable insights and laid a strong foundation for rethinking ethical, inclusive, and sustainable practices in the field. However, it is clear that this is only the beginning. The safeguarding of heritage demands nuanced, context-specific strategies, and the complexities of cultural preservation, ethical responsibility, and institutional evolution cannot be fully resolved/addressed (?) in a single event. Instead, this conference aimed to spark conversations, inspire action, and invite ongoing collaboration, welcoming further contributions and ideas to enrich this vital discourse, as we recognize that much remains to be explored and achieved on this theme.

The event also underscored the importance of rethinking and evolving museums and institutional practices to align with contemporary ethical standards. By prioritizing respect, inclusivity, and ethical collaboration, the event emphasized that preserving fashion heritage is not just about safeguarding the past but about ensuring it remains as a living, dynamic cultural resource. Collectively, all participants laid the groundwork for a more conscientious future in fashion heritage, pointing toward a vision where cultural narratives are responsibly preserved and shared, fostering reflection, understanding, and meaningful engagement.

Videos of the presentations will be available soon. Keep our Vimeo page in check.