Submissions include research articles, research reports, visual essays, in-conversations, documents, and reviews. The journal is double-blind peer-reviewed in order to maintain the highest standards of scholarly integrity.
There are multiple phases in the process of double-blind peer review that is undertaken for each published article in Studies in Costume and Performance:
- Internal evaluation to determine if a new submission can go to peer review or requires resubmission or is unsuitable.
- Submission is sent for external double-blind peer review by experts related to the topic. Reviewers are chosen carefully by the journal editors according to their disciplinary expertise and level of seniority. Consideration is given to the interdisciplinarity of the submissions and where appropriate disciplinary expertise can be accessed.
- Journal editors manage the revisions of the text according to the external peer reviewers’ feedback.
- Should the process result in two conflicting reviews, a third reviewer is engaged.
- Where requested, the revised texts are sent back to the external reviewers for further comments and evaluation.
- The journal’s editors provide additional feedback, guidance and commentary for the finalisation of the texts.
- Authors undertake additional/final revisions based on the editors’ feedback before submission of the final draft of the text.
- Journal editors undertake a final check before a text is accepted for publication.
- Guest editors are supported throughout this process by one or more of the internal editors to ensure the rigour is maintained in each issue.
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
Special Issue Call for Papers
'Costume and Fairy Tales'
Special Issue of Studies in Costume & Performance 7.2
London College of Fashion
National Institute of Dramatic Arts, Australia
Costume plays an important part both in traditional fairy tales and in their adaptations in diverse media forms, especially in performing arts such as theatre, ballet, opera, and musical, but also in other media such as film, visual art, manga, theme parks, video games, and digital and social media. Clothes worn by characters in fairy tales function according to the internal narrative logic that constitutes and organizes the story-world, defining and transforming the wearers' identities and social contexts. In this sense, fairy-tale clothes can be regarded as costume, defined as the kind of clothes that bear significance, within a staged, performed moment for an audience, ranging from traditional theatre to live art, through spoken, movement based, or sung performance. The ubiquitous persistence of fairy tales in popular cultures across the globe renders them a means to express social, cultural and psychological anxieties, evoking ethical dimensions of individual and collective struggles. As such, the way characters are embodied through their clothes bears significant narrative and performative potential in layering of meanings in performance making.
Equally, iconic fairy tale characters may float away from their narrative roles and be found to be expressing key themes in contemporary performance-based artistic practices. For example, Korean-born photographer Chan-Hyo Bae in his Existing in Costume series (2006-) casts himself in the roles of princesses in European fairy tales such as Cinderella and Sleeping Beauty by wearing authentic dresses worn by ruling-class women in eighteenth-century England, thereby foregrounding the physical and metaphorical tension between the male Asian body and those kinds of historical costumes which evidence the Eurocentric colonial norms still dominant in today's globalized culture.
While the relationship between fashion and the fairy tale has been examined in the fields of fashion studies and fairy-tale criticism, the concept of costume in the fairy tale has not yet been sufficiently explored. We believe that an interdisciplinary, cross-cultural approach to this topic will offer fresh insight into the fields of costume studies, fairy-tale studies, performance studies, and, more broadly, studies of art, narrative, and culture across time, space, and discipline. Topics may include, but are not limited to:
- Costume and gender/sexuality/race/class/ethnicity/age in fairy tales
- Costume and multispecies entanglement in fairy tales
- Costume in ballet/opera/theatre/musical/film/visual adaptations of fairy tales
- Costume and metamorphosis in fairy tales
- Costume and liminality in fairy tales
- Post-colonial implications of costume in fairy tales
- Costume and globalisation of fairy tales.
This issue of the journal invites full-research articles (4000-5000 words), visual essays (1000-2500 words), and reviews of events and of new publications.
Submission deadline for all manuscripts: 31 December 2021| Publication: December 2022
Please send any questions regarding submissions to:
Mayako Murai: firstname.lastname@example.org