After my various posts on the Pagan-ish presentations by the House of Dior in particular (such as “The Tarot of Dior” and “Dior Dresses the Fair Folk” and “I Want to Call Dior’s Cruise Collection Pagan-ish Too“), I was happy to see this call for papers, “Design and the Occult.”
Here is a little of it — visit the link for all the particulars.
Until recently many academic disciplines and subjects avoided the subject of the occult, deeming it too ‘irrational or ‘eccentric’ for serious study. Exceptions to this include the discipline of anthropology, which since the 19th century, embraced the study of religion and belief from Western rationalist perspectives. In recent decades anthropology has explored magic and occultism from a broader range of viewpoints, including phenomenology, relativism, and post-structuralism. In the last two decades adjacent disciplines to design history such as history, art history, sociology, cultural studies, and film studies have increasingly embraced occult subjects. Likewise, the interdisciplinary field of environmental humanities has examined Indigenous, Western and Eastern ideas about the relationships between humans and the natural world, including esoteric, folkloric, and occult concepts.
However, within the field of design history esotericism, occultism, and magic have been largely overlooked with no sustained explorations of their relationships with design and the decorative arts. Notable exceptions to this include studies such as Zeynep Çelik Alexander, ‘Jugendstil Visions: Occultism, Gender and Modern Design Pedagogy’ Journal of Design History, Vol. 22, Issue 3, September 2009, pp. 203–226, and Elizabeth Otto, Haunted Bauhaus: Occult Spirituality, Gender Fluidity, Queer Identities, and Radical Politics (The MIT Press, 2019)
I will have to get this issue of the journal when it’s published. (Pointy hat tip to Sabina Magliocco for the link.)