SMOC 2025 AGM
Dear SMOC Members and Community,
Please save the date for our Annual General Meeting and Talk on Sunday, April 27th at 2:00 PM, at the Italian Cultural Center.
SMOC 2025 AGM
Sunday, April 27th
2:00 PM: AGM Begins
2:30PM: Bauhaus Fashions Lecture by Dr. Katrina Sark
Italian Cultural Center
3075 Slocan Street, Vancouver
Seats are limited, so members will receive advance registration notice for tickets. Memberships are available here.
What's happening at this AGM:
- Update on the past year at SMOC and plans for the future
- Election of members to the Board Trustees at 2PM
- Presentation about Bauhaus Fashion by guest speaker, Kat Sark at 2:30PM
SMOC needs you!
The Nominating Committee is accepting nominations for SMOC Board positions, each for a two year term of office, which would begin in May 2025.
We are looking for motivated people who love working with a team and are interested in helping SMOC grow. SMOC is dedicated to connecting with our local communities through education, exhibits, and events to inform and share the stories of our collection as well as the historical and cultural impacts fashion continues to have on our society.
If you have a love for fashion, costume, or history, and want to be a part of planning and executing more exciting SMOC projects in the future, please consider submitting your nomination to join our Board. This is an open call for nominees for various positions, but we are seeking specific nominations for Trustees-at-large.
Trustees-at-large: individuals who could contribute to our events, education initiatives, community outreach activities, promotion, fundraising, membership development, digital media and strategic planning.
To put your name forward for Board nomination:
Must hold a valid SMOC membership for at least 30 days before the AGM. (Purchased before March 27, 2025) Purchase your membership here.
Please send a cover letter highlighting why you’re interested in joining the Board and a summary of your experience to Melanie McIntosh melanie@smoc.ca
About the Speaker
Dr. Katrina Sark is the founder of the Canadian Fashion Scholars Network, the co-founder of the Urban Chic book series published by Intellect, and the co-author of Berliner Chic: A Locational History of Berlin Fashion (2011), Montréal Chic: A Locational History of Montreal Fashion (2016), and Copenhagen Chic: A Locational History of Copenhagen Fashion (2023). Her other publications include Branding Berlin (2023), Social Justice Pedagogies (2023), a special issue on Creativity, Craft, Fashion, and Gender also in Clothing Cultures (2025) and a special issue on Ethical Fashion and Empowerment in Clothing Cultures (2021). For over eighteen years, she has taught at different universities across Canada, Denmark, Germany, and Austria, developing programs and many interdisciplinary courses in Fashion Studies, History, Theory, Cultural Studies, Media Studies, Gender Studies, Design Studies, and Creativity Studies. She is the creator of Chic podcast, and launched The Critical Pulse online magazine to create a platform for young critical voices and established experts to help reform fashion media, industry, education, as well as fashion practices and consumption. She is currently consulting for the creative industries and coaching and helping individuals with creative projects.
About the Lecture: Bauhaus Fashion
Despite the fact that the Bauhaus school (1919–33) purposely restricted, streamlined and often discriminated against its female students and their creativity, and despite the fact that fashion and clothing were very deliberately excluded from the textile workshop production because the Bauhaus did not want to be associated with women’s crafts, “domesticity” and the “frivolity” of fashion, there are nonetheless several fashion objects that survived and many fashion histories that have not been included in the mainstream Bauhaus narratives. This presentation investigates the suppressed histories of Bauhaus fashion by tracing the origins and remains of several Bauhaus dresses, as well as by investigating the biographies of former Bauhaus students and teachers who had different careers in several fashion industries (in Paris, Prague, Germany, Switzerland, the Netherlands, etc.). My investigation revealed just how biased history and historiography can be, how certain (gendered) narratives fall through the cracks and how difficult it is to reconstruct an accurate representation of the multiple narratives that constitute the mythos of the Bauhaus.