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UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 Permalink https://escholarship.org/uc/item/2kv6s20v Author Harris, Jessica Lynne Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Jessica Lynne Harris 2016 © Copyright by Jessica Lynne Harris 2016 ABSTRACT OF THE DISSERTATION Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975 by Jessica Lynne Harris Doctor of Philosophy in History University of California, Los Angeles, 2016 Professor Brenda Stevenson, Co-chair Professor Geoffre W. Symcox, Co-chair “Exporting Mrs. Consumer: The American Woman in Italian Culture, 1945-1975” examines the development and growth of a mass consumer-based society in Italy after the Second World War. Employing a gendered and transnational approach, the dissertation puts women at the center of the analysis by specifically focusing on American female consumer culture’s influence on Italian women’s lives from 1945-1975. This study, in contrast to existing literature on the topic, provides a more comprehensive understanding of the nature of the models and messages of American female consumer culture in Italy during this period, how they influenced Italian women, and the extent of this culture’s influence. Furthermore, the analysis of the intersection of the modern “American woman” (the white middle-class suburban American ii housewife), consumerism, and Italian female culture and identities provides new insight into the unique cultural relationship between the United States and Italy following the Second World War. -
Dolce & Gabbana's Communication and Branding Analysis
FACE Business Case Dolce & Gabbana’s Communication and Branding Analysis Il presente lavoro è stato redatto grazie al contributo degli studenti del corso di Laurea Magistrale in Fashion Communication: Cristiana Avolio, Federica Fancinelli, Valentina Foschi, Veronica Rimondi e Camilla Tosi 1 The work aims to analyze the communication strategies of Dolce&Gabbana, one of the most famous brands on a national and international level, that has been able to create, within a varied audience, a global strong recognition. The fashion company was founded in 1985 by two designers: Domenico Dolce and Stefano Gabbana. 1. Zeitgeist and social context The inspiration of the designers Stefano Dolce and Domenico Gabbana comes from Sicily and the post-war neo-realist filmography, a land of perfumes and mysteries, a precious treasure chest of memories from which derive motifs destined to characterize each new collection. Surely their point of strength and recognition, both in lingerie and tailoring, is the black lace, a symbol of rigor and feminine sensuality; in fact the woman of Dolce & Gabbana, in balance between the modest and uninhibited, embodies the woman of our time with a strong and fragile personality at the same time, a concrete woman but also a dreamer. Protagonists of the fashion shows and the advertising campaigns are often the icon of the typical Italian beauty as: Bianca Balti, Monica Bellucci, Maria Grazia Cucinotta and Bianca Brandolini d'Adda. The Mediterranean woman becomes the point of reference and the muse of the two designers who highlight her shapes and her strong personality. For example, the bustier, as a synonymous for excellence of femininity that women, of all ages, have always used to outline and emphasize their bodies, recurs frequently in the brand pictures. -
Dolce & Gabbana for Release: Dec 4, 2018. Milan, Italy Contact
Dolce & Gabbana For release: Dec 4, 2018. Milan, Italy Contact: Alexandria Hawthorne Phone: (347)756-1655 DOLCE & GABBANA REPLACES MILLENNIALS WITH DRONES FOR FALL 2018 Domenico Dolce and Stefano Gabbana will be launching their Fall collection on Dec 4, 2018 in Milan, Italy. Get ready to experience a different level of runway at Sala delle Cariatidi @ Palazzo Reale. This season, design duo Domenico Dolce and Stefano Gabbana make a declaration of love to the industry with a Fall 2018 collection entitled Fashion Devotion. Catholic motifs are intrinsic to the Italian house, and for Fall 2018, Dolce and Gabbana is keen to give guests a deeper religious experience, with a show that will present fashion as a form of religion filled with angelic looks, sequined dresses with cherubs and mini-skirts with detailing that might as well have been taken from church ceilings, and bejewelled cross necklaces. Dolce & Gabbana’s identity is a mix of devotion, sheer creativity, religion, style and irony…The collection has it all, it’s an interesting play of contrasts. It pays tribute to pop culture icons, but also religion and the world of Catholicism. Dolce & Gabbana wants to celebrate their passion for fashion, which is their religion in a way. On the other hand, celebrate beauty, the ultimate “artifice” of fashion. Drones are the new angels of technology! This runway show is also meant as an homage to Dolce & Gabbana’s love for technology. ### Dolce & Gabbana was founded in 1985 by designers Domenico Dolce & Stefano Gabbana in Milan. Five years before the launch of the legendary Italian label, the two designers met in a workshop in Venice where they joined creative forces. -
THE STYLE ISSUE the World's Wealthiest Clients Gather by The
For Immediate Release: September 14, 2015 Press Contacts: Natalie Raabe, (212) 286-6591 Molly Erman, (212) 286-7936 Adrea Piazza, (212) 286-5996 THE STYLE ISSUE The World’s Wealthiest Clients Gather by the Mediterranean to Shop In the September 21, 2015, issue of The New Yorker, in “The Couture Club” (p. 76), Rebecca Mead reports from Portofino, Italy, where Dolce & Gabbana recently presented this year’s collection of Alta Moda—made-to-measure haute couture—by throwing an over-the- top, four-day event for an élite international clientele. Launched four years ago by Stefano Gabbana, fifty-two, and his business partner of thirty years, Domenico Dolce, fifty-seven, “Alta Moda consists of one-of-a-kind, made-to-measure pieces: virtuoso demonstrations of what can be achieved sartorially when the imagination of a designer and the spending power of his patron are given unconstrained ex- pression,” Mead writes. Since Alta Moda’s inception, the fall/winter collection has been shown outside of Milan. This year, Dolce and Gabbana threw the most ambitious Alta Moda getaway yet: a four-day weekend of fashion shows, dinners, and other festivities, culmi- nating in a dance party with a dress code of gold. “These people live in another world,” Gabbana—whose personal wealth, like Dolce’s, is estimated by Forbes to be more than a billion dollars—tells Mead, regarding the Alta Moda clients. “I don’t live in that world.” He adds that he was sometimes surprised by the extravagances that the clients took for granted. “I live in an apartment, I have three dogs, two cats— you know what I mean.” The Alta Moda presentation consisted of a fashion show in which ninety-four models each wore just one cou- ture outfit, which could then be purchased—at a starting price of around forty thousand dollars—by the first customer to lay claim to it after the show ended. -
Sorelle Fontana and Hollywood on the Tiber: the Birth of the Modern Italian Fashion Industry 1949-1959
Sorelle Fontana and Hollywood on the Tiber: The Birth of the Modern Italian Fashion Industry 1949-1959 Courtney Lyons Undergraduate Senior Thesis Department of History Barnard College, Columbia University Professor Joel Kaye April 7, 2021 Lyons 1 Table of Contents Acknowledgments……………………………………………………………………………..…..2 Introduction……………………………………………………………………………..…………3 Chapter One: The Beginnings of Italian Fashion……………………………………………...….9 Chapter Two: The Growth of Cinecittà Studios and Hollywood on the Tiber……………….….20 Chapter Three: Sorelle Fontana and Hollywood……………….………..…………………..…..31 Chapter Four: The Rise of the Modern Italian Fashion Industry………………………………..46 Conclusion ……………………………………………………………………………………....63 Images……………………………………………………………………………………………65 Bibliography……………………………………………………………………………………..68 Lyons 2 Acknowledgments First, I would like to thank Professor Joel Kaye, who I have been lucky enough to call my thesis advisor this past year. Through your detailed feedback and many informative sessions, you have pushed me to become a better writer and historian, and I will be forever grateful for that. Thank you for always embracing my love of scandalous pop culture history and making our research seminar the best part of my week. Thank you to Professor Lisa Tiersten, my academic advisor, for taking me on as a last-minute advisee and admitting me into your seminar, even though it was full. It was under your guidance that I have been able to foster my love of fashion history. I would also like to thank Professor Barbara Faedda, whose “Culture of Italian Fashion” course inspired me to write my thesis on the topic. Finally, to both the Barnard and Columbia History Departments, thank you. Every history course that I have taken during my time here has been a pleasure. -
La Dolce Vita" Today: Fashion and Media
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2017 "La Dolce Vita" Today: Fashion and Media Nicola Certo The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1862 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] “LA DOLCE VITA” TODAY: FASHION AND MEDIA by NICOLA CERTO A master’s thesis to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2017 i © 2017 NICOLA CERTO All Rights Reserved ii “La Dolce Vita” today: Fashion and Media by Nicola Certo This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts Date Eugenia Paulicelli Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT “La Dolce Vita” today: Fashion and Media by Nicola Certo Advisor: Eugenia Paulicelli Federico Fellini’s La Dolce Vita is a cinematic masterpiece that has inspired nationally and internationally generations of creative people and artists because of the extent of its themes and because of the mastery in the choice of its costumes. The actuality of the director’s criticism towards the decadent society of his years, the originality of his stylistic choices, and his sophisticated taste for beauty and fashion, brought him to influence media and contemporary fashion then and now. -
When Big Guns March In: Here's How Global Luxury Brands Are Helping Fig
When big guns march in: Here's how global luxury brands are helping fig... https://www.newindianexpress.com/magazine/2020/may/03/when-big-gu... When big guns march in: Here's how global luxury brands are helping fight coronavirus surge By Manjul Misra Ever wondered what the world’s biggest brands are doing at a time when the world is under lockdown and nobody’s out buying their luxury goods? Plenty, actually. Forever since COVID-19 began sweeping the globe, and upending life as we know it, several of the world’s biggest luxury fashion, jewellery and beauty companies have come forward to join the relief efforts. While some are recalibrating their factories to produce face masks, hand sanitisers and medical gowns, instead of the usual luxury apparel, handbags and perfumes, others are donating millions to help hospitals buy medical equipment and to nonprofits reaching aid to the needy. Here’s a checklist, updated as of this week. LVMH: The owner of brands such as Louis Vuitton, Dior, Dom Pérignon, Givenchy, Guerlain, Bulgari, Moët & Chandon, Loewe and Fendi, has converted its perfume and cosmetic factories into those producing hand sanitisers for French public hospitals. It has also employed 300 additional artisans to make non-surgical face masks for individuals in need. RALPH LAUREN: In the largest donation yet by an American conglomerate to the COVID-19 fight, the brand has pledged $10 million to the WHO’s Solidarity Response Fund and the company’s Emergency Assistance Foundation (for its own employees and partners). The company is also manufacturing 2,50,000 face masks and 25,000 gowns for healthcare workers. -
Interview in Style Magazine (Pdf)
FASHION • Style ICON tant for the fashion market in the Uae? fashion during the day and also the evening. tributed to the charm of this magnificent SG: “We are really happy that this new Fashion makes women dream – this is the island that maintains its DNA despite the boutique will implement our presence in service that fashion provides. It is some- passing of time. We consider our collections Sicily is in our DNA Dubai. Our clients in the region love to shop thing wishful that communicates beauty.” as a continuous evolution, a laboratory of in their usual malls, so it was important ideas without forgetting our roots.” eXclUSiVe for us to have a presence at the Mall of the Q: Your high couture credo is summed Emirates.” up in the 3S motto that you espouse: Q: lots of celebrities, from beyoncé to dd: “The local market is a differentiated “Sicilian, Sartorial, Sensual.” is that the Monica bellucci to Madonna love your Mariella radaelli talks design and inspiration when she meets and certainly a dynamic market of great secret of your success? brand. but how do you manage to fasci- doMenico dolce and Stefano Gabbana at their office in milan importance both for us and the entire fash- dd: “The three ‘S’ motto is a summary of nate the average shopper? ion industry.” what we are and what we feel. Sicily is in dd: “We always liked the idea of dressing our DNA and represents all the heart and women from all over the world but main- Q: Your fall 2016 collection is a com- passion we put in everything we do, espe- tain our ideal woman and man when we To enter into the sensuous curves of a Dolce & Gabbana The iconic duo met in 1980 in the city of Milan when pendium of princess fairy tale fantasies. -
Firmly Focused
INTERNATIONAL TRADE SHOWS/SECTION II FACING STRONG HEADWINDS Marco WWD Bizzarri WEDNESDAY, NOVEMBER 16, 2011 Q WOMEN’S WEAR DAILY Q $3.00 Richard A. Baker Tom Murry Norma Kamali Carol Goll WWDBRAND 2011 CEO SUMMIT EVERYWHERE Victoria Beckham Firmly Focused From Calvin Klein to Victoria Beckham, Bottega Veneta to Lord & Taylor, speakers at the WWD Apparel & Retail CEO Summit at The Plaza hotel in New York discussed how sticking to their brand values have enabled them to thrive in these turbulent times of social media, a booming China and an ever-changing consumer. For complete coverage, see pages 10 to 19. Remo Peter Federico Ruffini Williams Marchetti Haider Ackermann ALL PHOTOS BY JOHN AQUINO ALL PHOTOS BY IN WWD TODAY Women’s Designer Lags at Saks PAGE 4 Burberry’s Flagship Raleigh Denim’s RETAIL: Reporting strong third-quarter Strategy PAGE 4 Local Taste PAGE 6 results, Saks Inc. admitted that women’s FINANCIAL: Angela Ahrendts, DENIM: Using old machines and USA cotton, designer apparel sales struggled — and Burberry’s chief executive officer, Raleigh Denim is thriving in North Carolina — expressed concerns about the category in said the opening of major flagships and has just opened a store in Raleigh, the fourth quarter. will fuel the firm’s future growth. with eyes to add a unit in Manhattan. 2 WWD WEDNESDAY, NOVEMBER 16, 2011 WWD.COM Wal-Mart Comps Rise, American Eagle Taps Hanson more than two decades with Levi Strauss & Co., Profit Falls 2.9 Percent By JEAN E. PALMIERI most recently as global president of the Levi’s brand, resigned from his position. -
The Meaning of 'Made in Italy' in Fashion
OPEN SECTION The meaning of ‘Made in Italy’ in fashion Simona Segre Reinach Abstract In this paper I set out to account for the transformations and specific features of Italian fashion within a broader scenario created by the globalisation of industry, markets and consumption. While a retrospective gaze may lead us to interpret Italian fashion as a phenomenon that has simply evolved in time, a closer examination reveals a development made up of continuity, but also of discontinuities. Continuity may be perceived in the production of quality fabrics and artisan competences scattered throughout Italy. The discontinuities highlight different fashion cultures, production and consumption marking the phases of its development. Introduction While a retrospective gaze may lead us to interpret Italian fashion as a phenomenon that has simply evolved over time, a closer examination reveals development that is made up of continuity, but also of discontinuities. Continuity is evident in the production of quality fabrics and artisan competencies scattered throughout Italy. The discontinuities are highlighted by varied fashion cultures, production and consumption marking the phases of its development. Present- day Italian fashion lacks the precise profile that it had in the past decades, but ‘Italian style’ is still recognisable. What exactly Italian style is, however, is not easy to grasp. In this essay, I suggest that understanding the concept of ‘Made in Italy’ in relation to Italian style requires research into the cultural history of Italian fashion and design, its ambiguities and historical evolution. This essay aims to account for the transformations and specific features of Italian fashion within the broader scenario created by the globalisation of industry, markets and consumption.1 The basic ingredients of Italian fashion were defined in 1981 in a special issue of Domus, the celebrated journal of architecture and design, which was devoted to fashion. -
AMSL Lawyers COURT of MILAN PURSUANT to ART. 183, COMMA 6, C.P.C . (PROC. N. 50660/2019 R.G
UNOFFICIAL ENGLISH TRANSLATION FOR REFERENCE (T AMSL Lawyers Via Zambianchi, 3 - Bergamo Tel. 035 212175 Fax 035 271110 O [email protected] COURT OF MILAN APPEARANCE AND ANSWER CONTAINING PRELIMINARY MOTIONS PURSUANT TO ART. 183, COMMA 6, C.P.C . (PROC. N. 50660/2019 R.G. - DOCTOR BORONI) In the interest of defandants LINDSEY SCHUYLER, residing in ________________, New York (U.S.A.), n. passport _____________, and TONY LIU, residing in ____________, New York (U.S.A.), n. passport _____________, represented and defended by attorneys Marco Amorese (CF MRLC77A10A794B) (email: [email protected] - fax 035271110) and Anna Orofino (CF RFNNA89A63A794N)(email: [email protected] - fax 035271110), (both of the Foro di Bergamo and with offices in Bergamo (BG), via Zambianchi n. 3, and electively domiciled office of the same, with the right power of attorney attached to this action, - defendants - AGAINST plaintiffs DOLCE & GABBANA S.R.L . (C.F. and P.IVA 09297890155), DOLCE & GABBANA TRADEMARKS S.R.L. (C.F. and- actorsP.IVA - 05817370967) and STEFANO GABBANA (C.F. GBBSFN62S14F205S), with attorneys C. Ferdinando Emanuele and Francesca Gesualdi - plaintiffs - 1 1. THEDIETSODA LL.C. is the company founded by Tony Liu and Lindsey Schuyler that manages the website www.dietprada.com and the Instagram account @DietPrada. 2. Diet Prada was born in 2014 with the idea of being a forum for commenting on the lack of originality in the world of fashion. It quickly becomes a new media-brand known for its frank approach in dealing with important issues in the sector and beyond. 3. Diet Prada soon stands out for its ability to highlight themes such as racism, cultural appropriation, misogyny, sexual harassment, and any topic affecting the fashion sector and its role in society. -
Corporate Reputation E IMC Strategy: Il Caso Dolce & Gabbana in Cina
Dipartimento di: IMPRESA E MANAGEMENT Cattedra: COMUNICAZIONE DI MARKETING E LINGUAGGI DEI NUOVI MEDIA Corporate reputation e IMC strategy: il caso Dolce & Gabbana in Cina RELATORE Prof. Paolo Peverini CANDIDATO Aurelio Curiale Matr. 685691 CORRELATORE Prof. Michele Costabile ANNO ACCADEMICO 2018/2019 Indice Introduzione ........................................................................................................ 1 1. Corporate Reputation .................................................................................. 4 1.1 Theorethical Background ...................................................................................................... 4 1.2 Working Definition ............................................................................................................. 10 1.3 Offline & Online Reputation ............................................................................................... 11 1.4 Corporate Reputation e Image ............................................................................................. 12 1.5 Word-of-Mouth ................................................................................................................... 13 1.6 User-Generated Content ...................................................................................................... 16 1.7 L’importanza del medium per il consumatore .................................................................... 17 1.8 L’importanza del medium per il marketer ..........................................................................