Building a Learning Community
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Evolution of Streetwear
The Evolution of Streetwear The newfound reality of Streetwear and its luxury-like management Trabalho Final na modalidade de Dissertação apresentado à Universidade Católica Portuguesa para obtenção do grau de mestre em Marketing por Miguel Lobo de Macedo sob orientação de Professora Doutora Joana César Machado Universidade Católica, Faculdade de Economia e Gestão, Maio de 2015 Acknowledgements Máximo 1 página (facultativo) Abstract Purpose: To explore the critical dimensions of successful streetwear brands and how they garner customers’ attention, devotion and regard for the brand. Ultimately, the goal is to compare the anatomy of a streetwear brand to that of a luxury fashion brand and analyze the main differences and similarities between the two in order to understand how a streetwear brand, Supreme, operates in its niche market. By using a case study approach, this study plans on analyzing the newfound reality of streetwear, the reasons for its unprecedented consumption and what the biggest brands in this industry do in order to appeal, constantly, to different crowds: the devoted followers and the fashion-driven consumers. With this in mind, the study intends to validate the relevancy of these streetwear labels in today’s luxury fashion markets. Findings: The aspirational consumer of today’s streetwear will be the aspirational consumer of the eventual luxury market of tomorrow. I understand that there is still a lot to be studied within this streetwear industry but believe to have validated the importance of these brands in the purchasing intention of today’s consumers, by deconstructing the brands. Three important levels of analysis cement my study. -
How Fashion Erased the Politics of Streetwear in 2017
City University of New York (CUNY) CUNY Academic Works Capstones Craig Newmark Graduate School of Journalism Fall 12-15-2017 Mask On: How Fashion Erased the Politics of Streetwear in 2017 Frances Sola-Santiago How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gj_etds/219 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Mask On: How Fashion Erased the Politics of Streetwear in 2017 By Frances Sola-Santiago Hip-hop culture dominated the fashion zeitgeist in 2017. From a Louis Vuitton and Supreme collaboration to Gucci’s support of Harlem designer Dapper Dan’s store reopening, the fashion industry welcomed Black culture into the highest echelons of high fashion. Rapper Cardi B became the darling of New York Fashion Week in September after being rejected by designers throughout most of her career. Marc Jacobs traded the runway for the street, staging a show that included bucket hats, oversized jackets, and loads of corduroy on a large number of models of color. But while the industry appeared to diversify by acknowledging the indomitable force of hip-hop culture, it truly didn’t. The politics of hip-hop and Black culture were left out of the conversation and the players behind-the-scenes remained a homogeneous mass of privileged white Westerners. Nearly every high fashion brand this year capitalized on streetwear— a style of clothing born out of hip-hop culture in marginalized neighborhoods of New York City and Los Angeles, and none recognized the historical, cultural, and political heritage that made streetwear a worldwide phenomenon, symbolizing power and cool. -
Julianne Moore Stephen Dillane Eddie Redmayne
JULIANNE MOORE STEPHEN DILLANE EDDIE REDMAYNE ELENA ANAYA Directed By Tom Kalin UNAX UGALDE Screenplay by Howard A. Rodman Based on the book by Natalie Robins & Steven M. L. Aronson BELÉN RUEDA HUGH DANCY Julianne Moore, Stephen Dillane, Eddie Redmayne Elena Anaya, Unax Ugalde, Belén Rueda, Hugh Dancy CANNES 2007 Directed by Tom Kalin Screenplay Howard A. Rodman Based on the book by Natalie Robins & Steven M.L Aronson FRENCH / INTERNATIONAL PRESS DREAMACHINE CANNES 4th Floor Villa Royale 41 la Croisette (1st door N° 29) T: + 33 (0) 4 93 38 88 35 WORLD SALES F: + 33 (0) 4 93 38 88 70 DREAMACHINE CANNES Magali Montet 2, La Croisette, 3rd floor M : + 33 (0) 6 71 63 36 16 T : + 33 (0) 4 93 38 64 58 E: [email protected] F : + 33 (0) 4 93 38 62 26 Gordon Spragg M : + 33 (0) 6 75 25 97 91 LONDON E: [email protected] 24 Hanway Street London W1T 1UH US PRESS T : + 44 (0) 207 290 0750 INTERNATIONAL HOUSE OF PUBLICITY F : + 44 (0) 207 290 0751 info@hanwayfilms.com CANNES Jeff Hill PARIS M: + 33 (0)6 74 04 7063 2 rue Turgot email: [email protected] 75009 Paris, France T : + 33 (0) 1 4970 0370 Jessica Uzzan F : + 33 (0) 1 4970 0371 M: + 33 (0)6 76 19 2669 [email protected] email: [email protected] www.dreamachinefilms.com Résidence All Suites – 12, rue Latour Maubourg T : + 33 (0) 4 93 94 90 00 SYNOPSIS “Savage Grace”, based on the award winning book, tells the incredible true story of Barbara Daly, who married above her class to Brooks Baekeland, the dashing heir to the Bakelite plastics fortune. -
To Innovate Chinese Artistic and Popular Culture and to Create Design and Brand of Fashion Products
2019 International Conference on Education, Management, Social Science and Humanities Research (EMSSHR 2019) To Innovate Chinese Artistic and Popular Culture and to Create Design and Brand of Fashion Products Wang Shiyin, Qiang Mo* Guangzhou Academy of Fine Arts, 510066 *Corresponding author Keywords: The Method of Innovation, Fashion Cultural Products Derived from Art, The Construction of Brands, Core Value in Brand Abstract: On the basis of studying and combing out traditional cultural elements, this paper pays attention to the cultural connotation of Chinese classical design, updates the concept of innovative design, and reflects the cultural consciousness and self-confidence of artistic design and inject and applies national cultural elements to the design innovation practice of fashion art derivatives in order to explore the possibility of establishing a brand operation in the fashion art derivative market. The research method adopts the status analysis of domestic and foreign art and fashion design products, takes successful brand cases as examples, analyzes and discusses the design of representative popular logo products from the perspective of overall understanding and the whole environment, explores new design innovation methods, and puts forward theoretical basis for innovative brand strategy planning. Under the present background of cultural communication and the exchange of the sharp collision, problems that it is worth us to think mainly include the traditional craft and modern pop art, folk tradition and regional culture, the progress of science and technology and the humanities spirit, etc. These knowledges will undoubtedly directly affect people's real life and consumption idea, at the meanwhile, it can inspire creative inspiration and designers of fashion product innovation, and can become the art designer innovation inexhaustible creative driving power. -
Universitas Katolik Parahyangan Fakultas Ilmu Sosial Dan Ilmu Politik Program Ilmu Administrasi Bisnis
Universitas Katolik Parahyangan Fakultas Ilmu Sosial dan Ilmu Politik Program Ilmu Administrasi Bisnis Terakreditasi A SK BAN –PT NO: 468/SK/BAN-PT/Akred/S/XII/2014 Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Skripsi Oleh Yen Manda 2015320086 Bandung 2019 Universitas Katolik Parahyangan Fakultas Ilmu Sosial dan Ilmu Politik Program Ilmu Administrasi Bisnis Terakreditasi A SK BAN –PT NO: 468/SK/BAN-PT/Akred/S/XII/2014 Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Skripsi Oleh Yen Manda 2015320086 Pembimbing Fransiska Anita Subari, S.S., M.M. Bandung 2019 ABSTRAK Nama : Yen Manda NPM : 2015320086 Judul : Pengaruh Co-Branding Louis Vuitton dan Supreme Terhadap Minat Pembelian Konsumen di Bandung dan Jakarta Untuk memenangkan persaingan, merek-merek mempertimbangkan untuk berkolaborasi dengan satu atau lebih merek untuk membangun kekuatan baru di pasar akhir-akhir ini. Beberapa ahli mengatakan bahwa Co-Branding dapat berhasil jika satu merek berkolaborasi dengan merek kuat lain yang memiliki karakteristik yang mirip atau cocok dengan merek induk. Merek terkenal, Louis Vuitton (LV), telah melakukan Co-Branding. Yang menarik adalah, meskipun memilih merek lain dari segmentasi serupa, LV yang mewah memilih Supreme, merek fashion pakaian jalanan atau streetwear yang terkenal secara global. Penelitian ini bertujuan untuk mengetahui bagaimana pengaruh Co-Branding Louis Vuitton dan Supreme terhadap minat pembelian konsumen pada 100 orang yang mengetahui kedua merek tersebut. Co-Branding dapat diukur melalui dimensi familiarity, attitudes toward the partner brands, dan perceived fit between the partner brands. Melalui penelitian secara kuantitatif, data kemudian diolah untuk diketahui korelasinya antar dua variabel. -
Film Soleil 28/9/05 3:35 Pm Page 2 Film Soleil 28/9/05 3:35 Pm Page 3
Film Soleil 28/9/05 3:35 pm Page 2 Film Soleil 28/9/05 3:35 pm Page 3 Film Soleil D.K. Holm www.pocketessentials.com This edition published in Great Britain 2005 by Pocket Essentials P.O.Box 394, Harpenden, Herts, AL5 1XJ, UK Distributed in the USA by Trafalgar Square Publishing P.O.Box 257, Howe Hill Road, North Pomfret, Vermont 05053 © D.K.Holm 2005 The right of D.K.Holm to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may beliable to criminal prosecution and civil claims for damages. The book is sold subject tothe condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out or otherwise circulated, without the publisher’s prior consent, in anyform, binding or cover other than in which it is published, and without similar condi-tions, including this condition being imposed on the subsequent publication. A CIP catalogue record for this book is available from the British Library. ISBN 1–904048–50–1 2 4 6 8 10 9 7 5 3 1 Book typeset by Avocet Typeset, Chilton, Aylesbury, Bucks Printed and bound by Cox & Wyman, Reading, Berkshire Film Soleil 28/9/05 3:35 pm Page 5 Acknowledgements There is nothing -
Limited Edition: Collaborations Between Luxury Brands Alice Fregne, Linnea Björck, Lusiyana Dimitrova
Limited Edition: Collaborations between luxury brands By: Alice Fregne, Linnea Björck, Lusiyana Dimitrova Limited edition: Collaborations between luxury brands Alice Fregne, Linnea Björck, Lusiyana Dimitrova Purpose: The purpose of this paper is to see what luxury brands gain from a limited-edition collaboration in terms of segment, positioning and target group and based on the identity prism, see what characteristics that are transferred from and to the brands in the collaboration. Design/methodology/approach: First a literature review is presented with relevant theories for the purpose of the paper. Luxury brands, co-branding, limited edition and brand identity are concepts of interest that are described and analyzed. Multiple case-studies were conducted and analyzed based on secondary data from websites in combination with academic articles and literature to be able to answer the research question. Findings: It is possible to draw some cross-case conclusions regarding reaching a new target group, however, we cannot determine whether this is also valid long-term or just during the collaboration. For two of the cases, a new segment was reached through the collaboration hence creating potential customers for both brands in the future. Regarding the positioning in customers' minds, it is difficult to say without collecting information from them, nevertheless, we can see that some brand characteristics have the potential to be transferred from and to the brands in the collaboration that they can benefit from long-term. Research limitations: The study is based on secondary data; therefore, it is difficult to determine if the limited-edition collaborations affected the brand characteristics from the senders’ side. -
A Subcategory of Neo Noir Film Certificate of Original Authorship
Louise Alston Supervisor: Gillian Leahy Co-supervisor: Margot Nash Doctorate in Creative Arts University of Technology Sydney Femme noir: a subcategory of neo noir film Certificate of Original Authorship I, Louise Alston, declare that this thesis is submitted in fulfillment of the requirements for the award of the Doctorate of Creative Arts in the Faculty of Arts and Social Sciences at the University of Technology Sydney. This thesis is wholly my own work unless otherwise referenced or acknowledged. In addition, I certify that all information sources and literature used are indicated in the exegesis. This document has not been submitted for qualifications at any other academic institution. This research is supported by the Australian Government Research Training Program. Signature: Production Note: Signature removed prior to publication. Date: 05.09.2019 2 Acknowledgements Feedback and support for this thesis has been provided by my supervisor Dr Gillian Leahy with contributions by Dr Alex Munt, Dr Tara Forrest and Dr Margot Nash. Copy editing services provided by Emma Wise. Support and feedback for my creative work has come from my partner Stephen Vagg and my screenwriting group. Thanks go to the UTS librarians, especially those who generously and anonymously responded to my enquiries on the UTS Library online ‘ask a librarian’ service. This thesis is dedicated to my daughter Kathleen, who joined in half way through. 3 Format This thesis is composed of two parts: Part one is my creative project. It is an adaptation of Frank Wedekind’s Lulu plays in the form of a contemporary neo noir screenplay. Part two is my exegesis in which I answer my thesis question. -
Christopher Wool Bibliography
G A G O S I A N Christopher Wool Bibliography Selected Books and Catalogues: 2018 Wool, Christopher. Yard. Berlin: Holzwarth Publications. 2017 Siegel, Katy and Christopher Wool. Painting Paintings (David Reed) 1975. New York: Gagosian. Wool, Christopher. Westtexaspsychosculpture. Berlin: Holzwarth Publications. 2013 Brinson, Katherine et al. Christopher Wool. New York: Guggenheim Museum Publications. 2012 Cherix, Christophe. Print/Out: 20 Years in Print. New York: The Museum of Modern Art. Corbett, John and Fabrice Hergott. Christopher Wool. Berlin: Holzwarth Publications. ----------. The Painting Factory: Abstraction After Warhol. Los Angeles: The Museum of Contemporary Art. 2011 ----------. Art in the Streets. New York: Skira Rizzoli Publications, Inc. in association with the Museum of Contemporary Art, Los Angeles. Barrett, Terry. Making Art: Form and Meaning. New York: McGraw Hill Companies, Inc. ----------. Defining Contemporary Art – 25 Years in 200 Pivitol Artworks. London: Phaidon Press Limited. Doring, Jurgen. Power to the Imagination: Artists, Posters and Politics. Munich: Hirmer Verlag GmbH. Holzwarth, Hans Werner, and Laszlo Taschen, eds. Modern Art Volume 2: 1945-2000. Cologne: Taschen, 2011. Molesworth, Helen. This Will Have Been: Art, Love & Politics in the 1980s. New Haven and London: Museum of Contemporary Art Chicago and Yale University Press. Pincio, Tommaso. Christopher Wool: Roma Termini. New York: Gagosian Gallery. ----------. Peace Press Graphics: Art in the Pursuit of Social Change. Long Beach: University Art Museum, California State University. 2010 Bondaroff, Aaron, Glenn O’Brien, and James Jebbia. Supreme. New York: Rizzoli International Publications. Cooke, Lynne, Douglas Crimp, and Kristin Poor. Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Madrid: Museo Nacional Centro de Arte Reina Sofia. -
The Femme Fatale: a Recurrent Manifestation of Patriarchal Fears
THE FEMME FATALE: A RECURRENT MANIFESTATION OF PATRIARCHAL FEARS by LESLEY CECILE MARIE ANDERSON B.A., The University of Western Ontario, 1987 B.A. (Honours), The University of Toronto, 1992 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Theatre and Film) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July 1995 © Lesley C. M. Anderson, 1995 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree: that permission for extensive copying of this thesis "lor scholarly purposes may be - granted by the head of my department or by his or her representatives. It is j understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Theatre c\ncA F^wi The University of British Columbia Vancouver, Canada Date 2o Jut-V \9>°iS DE-6 (2/88) II ABSTRACT The Femme Fatale: A Recurrent Manifestation of Patriarchal Fears This thesis examines how and why the representation of the femme fatale is constructed and recycled by a dominant patriarchal ideology throughout history by outlining the catalysts that have produced and continue to produce such a figure. The image of the femme fatale is utilised as an ideological contrivance, occurring in the cultural discourses of various historical epochs in an attempt to quell any social change considered to be threatening to the patriarchal infrastructure. -
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS
2012 Twenty-Seven Years of Nominees & Winners FILM INDEPENDENT SPIRIT AWARDS BEST FIRST SCREENPLAY 2012 NOMINEES (Winners in bold) *Will Reiser 50/50 BEST FEATURE (Award given to the producer(s)) Mike Cahill & Brit Marling Another Earth *The Artist Thomas Langmann J.C. Chandor Margin Call 50/50 Evan Goldberg, Ben Karlin, Seth Rogen Patrick DeWitt Terri Beginners Miranda de Pencier, Lars Knudsen, Phil Johnston Cedar Rapids Leslie Urdang, Dean Vanech, Jay Van Hoy Drive Michel Litvak, John Palermo, BEST FEMALE LEAD Marc Platt, Gigi Pritzker, Adam Siegel *Michelle Williams My Week with Marilyn Take Shelter Tyler Davidson, Sophia Lin Lauren Ambrose Think of Me The Descendants Jim Burke, Alexander Payne, Jim Taylor Rachael Harris Natural Selection Adepero Oduye Pariah BEST FIRST FEATURE (Award given to the director and producer) Elizabeth Olsen Martha Marcy May Marlene *Margin Call Director: J.C. Chandor Producers: Robert Ogden Barnum, BEST MALE LEAD Michael Benaroya, Neal Dodson, Joe Jenckes, Corey Moosa, Zachary Quinto *Jean Dujardin The Artist Another Earth Director: Mike Cahill Demián Bichir A Better Life Producers: Mike Cahill, Hunter Gray, Brit Marling, Ryan Gosling Drive Nicholas Shumaker Woody Harrelson Rampart In The Family Director: Patrick Wang Michael Shannon Take Shelter Producers: Robert Tonino, Andrew van den Houten, Patrick Wang BEST SUPPORTING FEMALE Martha Marcy May Marlene Director: Sean Durkin Producers: Antonio Campos, Patrick Cunningham, *Shailene Woodley The Descendants Chris Maybach, Josh Mond Jessica Chastain Take Shelter -
Business Model Innovation Between Tangible and Intangible Products
Proceedings of the 11th Annual International Conference on Industrial Engineering and Operations Management Singapore, March 7-11, 2021 Business Model Innovation between Tangible and Intangible Products CHEN Si Graduate School of Business and Finance, Waseda University Tokyo, 1698050, Japan Faculty of Education Sciences, East China Normal University Shanghai, 200062, China [email protected] NAGASAWA Shin’ya Graduate School of Business and Finance, Waseda University Tokyo, 1698050 Japan [email protected] Abstract Highly valued in technology enhancement or product design, the business models of tangible and intangible products, however, are less concerned by academic researchers and entrepreneurial practices. The definition, characteristics and structure of these business models are still ambiguous. This article synthesizes the literature and draws conclusions. Combined with strategic design thinking, two core models are proposed for the two product types. These two business models, BMTP and BMIP, are illustrated by using four representative design companies as cases analysis. Implementation underpinnings of entrepreneurship education in Design Disciplines are explored in the suggestion part. Keywords: business model innovation, tangible and intangible products, entrepreneurship, strategy 1. Introduction A great increase on entrepreneurship in the field of technology turned up globally in the past thirty years, especially about the huge economic market and business trading platform to everyone. However, entrepreneurship and its education of tangible and intangible products are still in an unsystematic industrial chain, not merely for most designers usually concentrate on their products design, but also for they are totally unfamiliar with the knowledge of business as well as the entrepreneurship education in Design disciplines is in its infancy. As we know, the term “design” covers a wide range of disciplines, some of the common ones are architecture, engineering, exhibition, fashion, visual communications, interiors, multimedia, packaging.