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Fashioning Gender Fashioning Gender
FASHIONING GENDER FASHIONING GENDER: A CASE STUDY OF THE FASHION INDUSTRY BY ALLYSON STOKES, B.A.(H), M.A. A THESIS SUBMITTED TO THE DEPARTMENT OF SOCIOLOGY AND THE SCHOOL OF GRADUATE STUDIES OF MCMASTER UNIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY c Copyright by Allyson Stokes, August 2013 All Rights Reserved Doctor of Philosophy (2013) McMaster University (Sociology) Hamilton, Ontario, Canada TITLE: Fashioning Gender: A Case Study of the Fashion Industry AUTHOR: Allyson Stokes BA.H., MA SUPERVISOR: Dr. Tina Fetner NUMBER OF PAGES: xii, 169 ii For Johnny. iii Abstract This dissertation uses the case of the fashion industry to explore gender inequality in cre- ative cultural work. Data come from 63 in-depth interviews, media texts, labor market statistics, and observation at Toronto’s fashion week. The three articles comprising this sandwich thesis address: (1) processes through which femininity and feminized labor are devalued; (2) the gendered distribution of symbolic capital among fashion designers; and (3) the gendered organization of the fashion industry and the “ideal creative worker.” In chapter two, I apply devaluation theory to the fashion industry in Canada. This chap- ter makes two contributions to literature on the devaluation of femininity and “women’s work.” First, while devaluation is typically used to explain the gender wage gap, I also address symbolic aspects of devaluation related to respect, prestige, and interpretations of worth. Second, this paper shows that processes of devaluation vary and are heavily shaped by the context in which work is performed. I address five processes of devaluation in fash- ion: (1) trivialization, (2) the privileging of men and masculinity, (3) the production of a smokescreen of glamour, (4) the use of free labor and “free stuff,” and (5) the construction of symbolic boundaries between “work horses” and “show ponies.” In chapter three, I use media analysis to investigate male advantage in the predomi- nantly female field of fashion design. -
Of Gucci, Crasi Vira- Le, Collisione Digitale Tra Il Social Del Momento Clubhouse Marchio, Questo Nome, Questa Saga
il primo quotidiano della moda e del lusso Anno XXXII n. 074 Direttore ed editore Direttore MFvenerdì fashion 16 aprile 2021 MF fashion Paolo Panerai - Stefano RoncatoI 16.04.21 CClub-Houselub-House UN LOOK DELLA COLLEZIONE ARIA DI GUCCI ooff GGucciucci DDalal SSavoyavoy a uunn EEdenden lluminosouminoso ddoveove ssii pprenderende iill vvolo.olo. IIll vvideoideo cco-direttoo-diretto ddaa AAlessandrolessandro MMicheleichele e ddaa FFlorialoria SSigismondiigismondi ssperimentaperimenta ppensandoensando aaii 110000 aanninni ddellaella mmaisonaison ddellaella ddoppiaoppia GG,, ssvelandovelando ll’inedito’inedito ddialogoialogo cconon DDemnaemna GGvasaliavasalia ddii BBalenciagaalenciaga o rrilettureiletture ddelel llavoroavoro ddii TTomom FFord.ord. TTrara lluccicanzeuccicanze ddii ccristalli,ristalli, ssartorialeartoriale ssensuale,ensuale, eelementilementi eequestriquestri ffetishetish e rrimandiimandi a HHollywoodollywood ucci gang, Lil Pump canta. Un innocente tailleur si avvicina al- la cam e svela the body of evidence. Glitter, cristalli, ricami, La scritta Balenciaga sulla giacca, le calze con il logo GG. Quei Gdue nomi uniti, che tanto hanno scatenato l’interesse di que- sti giorni alla fine sono comparsi (vedere MFF del 12 aprile). Gucci e Balenciaga, sovrapposti nei ricami e nelle fantasie, in una composizione che farà impazzire i consumatori. Kering ringrazia. Ma ringrazia anche per la collezione Aria che incomincia a svelare i festeggiamenti per i 100 anni della maison Gucci. Un mondo che è andato in scena in quel corto- metraggio co-diretto da Alessandro Michele e da Floria Sigismondi, la regista avantguard e visionaria dei videoclip musicali che aveva già col- laborato con la fashion house della doppia G. E in effetti la musica ha un grande peso, oltre al ritmo diventa una colonna sonora con canzoni che citano la parola Gucci a più riprese, super virale. -
The Ethics of the International Display of Fashion in the Museum, 49 Case W
Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A. Anna Wintour and Condé Nast: A broad museum interest for trustees and a semi-broad museum interest for sponsors .................164 B. -
Press Release 05.06.2021
PRESS RELEASE 05.06.2021 REPURCHASE OF OWN SHARES FOR ALLOCATION TO FREE SHARE GRANT PROGRAMS FOR THE BENEFIT OF EMPLOYEES Within the scope of its share repurchase program authorized by the April 22, 2021 shareholders' meeting (14th resolution), Kering has entrusted an investment service provider to acquire up to 200,000 ordinary Kering shares, representing close to 0.2% of its share capital as at April 15, 2021, no later than June 25, 2021 and subject to market conditions. These shares will be allocated to free share grant programs to some employees. The unit purchase price may not exceed the maximum set by the April 22, 2021 shareholders' meeting. As part of the previous repurchase announced on February 22, 2021 (with a deadline of April 16, 2021), Kering bought back 142,723 of its own shares. About Kering A global Luxury group, Kering manages the development of a series of renowned Houses in Fashion, Leather Goods, Jewelry and Watches: Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, Boucheron, Pomellato, DoDo, Qeelin, Ulysse Nardin, Girard-Perregaux, as well as Kering Eyewear. By placing creativity at the heart of its strategy, Kering enables its Houses to set new limits in terms of their creative expression while crafting tomorrow’s Luxury in a sustainable and responsible way. We capture these beliefs in our signature: “Empowering Imagination”. In 2020, Kering had over 38,000 employees and revenue of €13.1 billion. Contacts Press Emilie Gargatte +33 (0)1 45 64 61 20 [email protected] Marie de Montreynaud +33 (0)1 45 64 62 53 [email protected] Analysts/investors Claire Roblet +33 (0)1 45 64 61 49 [email protected] Laura Levy +33 (0)1 45 64 60 45 [email protected] www.kering.com Twitter: @KeringGroup LinkedIn: Kering Instagram: @kering_official YouTube: KeringGroup Press release 05.06.2021 1/1 . -
View Annual Report
2016 ANNUAL REPORT CONTENT MESSAGES FROM THE SUPERVISORY BOARD AND THE MANAGEMENT BOARD 02 1 4 Profile of the Group and its Businesses | Financial Report | Statutory Auditors’ Report Financial Communication, Tax Policy on the Consolidated Financial Statements | and Regulatory Environment | Risk Factors 05 Consolidated Financial Statements | 1. Profi le of the Group and its Businesses 07 Statutory Auditors’ Report on 2. Financial Communication, Tax policy and Regulatory Environment 43 the Financial Statements | Statutory 3. Risk Factors 47 Financial Statements 183 Selected key consolidated fi nancial data 184 I - 2016 Financial Report 185 II - Appendix to the Financial Report: Unaudited supplementary fi nancial data 208 2 III - Consolidated Financial Statements for the year ended December 31, 2016 210 Societal, Social and IV - 2016 Statutory Financial Statements 300 Environmental Information 51 1. Corporate Social Responsibility (CSR) Policy 52 2. Key Messages 58 3. Societal, Social and Environmental Indicators 64 4. Verifi cation of Non-Financial Data 101 5 Recent Events | Forecasts | Statutory Auditors’ Report on EBITA forecasts 343 1. Recent Events 344 2. Forecasts 344 3 3. Statutory Auditors’ Report on EBITA forecasts 345 Information about the Company | Corporate Governance | Reports 107 1. General Information about the Company 108 2. Additional Information about the Company 109 3. Corporate Governance 125 6 4. Report by the Chairman of Vivendi’s Supervisory Board Responsibility for Auditing the Financial Statements 347 on Corporate Governance, Internal Audits and Risk 1. Responsibility for Auditing the Financial Statements 348 Management – Fiscal year 2016 172 5. Statutory Auditors’ Report, Prepared in Accordance with Article L.225-235 of the French Commercial Code, on the Report Prepared by the Chairman of the Supervisory Board of Vivendi SA 181 ANNUAL REPORT 2016 ANNUAL REPORT 2016 The Annual Report in English is a translation of the French “Document de référence” provided for information purposes. -
Isis Samuels Swaby CDMG 1111 Digital Media Foundations Professor Tanya Goetz December 20 2017 Study of Logos
Isis Samuels Swaby CDMG 1111 Digital Media Foundations Professor Tanya Goetz December 20 2017 Study of Logos Guccio Gucci created ‘Gucci’ based on his love for leather goods in Florence, Italy in 1921. By 1933, he joined forces with his family to build the business into a larger company and worldwide brand. The designer of the logo of Gucci happened be one of Gucci’s three sons named Aldo Gucci. He joined The House of Gucci in 1933. The logo symbolizes grandeur and authenticity and is seen worldwide. (Ebaqdesign 1) ‘GG’ Type facing in a flip reverse is the Gucci Logo based on Guccio Gucci original namesake. However, it is slightly similar to designer fashion house, Chanel’s Double CC logo. For almost the duration of this time, Gucci has proudly displayed its double-G logo, working to make the emblem a symbol for high-end quality and a proud stamp of the company’s approval. (Logomyway 1) Classic Gucci Ads show the luxury and versatility of the Gucci, designer brand that captures the persona and illusion of design. The class GG Double Locking Type on a belt design, which is the classic logo for Gucci. The newest transitions of the logo has developed into emblem of a woman figure. Source: Logomyway.com ‘The Lady Lock is part of the collection released for Fall/Winter 2013. The signature Gucci logo embossed cappuccio and lock are typically crafted in shiny metal and accompany a collection of handbags that have a rounded, minimalist shape.’ (Yoogi Closet 1) The typeface appears to be Times New Roman and in Uppercase. -
Gucci 3Rd Attempt
level Penguin Readers Factsheets E Teacher’snotes 1 2 Gucci Business 3 in Fashionss in 4 5 by Paola Trimarco 6 ELEMENTARY SUMMARY his is the story of one of the most famous designs, and Versace, with its more glamorous styles. T fashion houses in the world. Guccio and Aida Other world famous Italian names include Dolce & Gucci opened the first Gucci store in a little street Gabbana, Moschino, Benetton, MaxMara, as well as in Florence in 1921. They sold luggage and leather Prada and Gucci. products for horses. Their children, one daughter and five sons, all helped in the early days of the family The story of Gucci is a good example of how the business, delivering orders to customers by bicycle. fortunes of a business and a family can change over GUCCI BUSINESS IN FASHION Then came the idea for handbags and the famous Gucci nearly a century. Other famous Italian companies have logo. been run by the same family over generations. One is Fiat, The company grew and became known all over Italy. the car company started by Giovanni Agnelli in Turin in After the Second World War Gucci stores opened in 1899. The Agnelli family have enjoyed a similarly colourful America and Japan. People from around the world life. Like Gucci, they have had family battles that have wanted to buy Italian style. been closely followed in the newspapers, violent deaths and corruption. Guccio Gucci had many sons and grandsons, perhaps too many for one business. The ones who joined the Brand names such as Gucci play a powerful role in the business often had different ideas and couldn’t agree. -
Local Action Plan
Local Action Plan URBACT REPAIR N The Local Action Plan of Florence December 2010 TABLE OF CONTENTS Contents 1. Scope and Objective of LAP.................................................................................. 4 2. City Profile ................................................................................................................... 5 3. The Local Support Group....................................................................................... 8 4. Exchange of Knowledge and Best Practices................................................. 10 5. Key Actions ............................................................................................................... 11 6. Financial Resources ............................................................................................... 13 Annex: SWOT analysis .................................................................................................... 14 SCOPE AND OBJECTIVE OF LAP 1. Scope and Objective of LAP The LAP covers the completion of the recovery of former prison Le Murate in the historical centre of Florence, with impacts on the broader urban regeneration of the whole district of Santa Croce in a balanced system of public space and functions. The recovery brings to the City more than 100 new social dwellings. The City has completed the 1997-2010 phase of the intervention, with the realisation of 73 social dwellings, 2 new urban squares, a commercial-leisure gallery and public and services spaces (euro 15 million financed by National government and -
Bachelor Thesis Conference, July 3Rd, 2014, Enschede, the Netherlands
Engagement of E-marketing by Luxury Brands, including an Empirical Study. Author: Rachel van Munster University of Twente P.O. Box 217, 7500AE Enschede The Netherlands [email protected] ABSTRACT Luxury Brand Management in the Internet Age The purpose of this study is to highlight the reasons provided by academic literature and the successful stories of luxury brands with their actual use of internet as marketing strategy, such to inspire other low or non online active brands to engage the internet with all its possibilities and activities as well and thereby help solve the research problem: ‘How can luxury brands successfully engage the internet as marketing strategy?’ Luxury brands and the management of these brands are discussed in the background section, while the literature review elaborates on e-marketing and luxury brand management. Three key activities are introduced: interacting, storytelling and experience. After an in depth description of the current online activity and highlights of five luxury brands: Burberry, Chanel, Louis Vuitton, Gucci and Dolce & Gabbana, the outcome of the empirical study conducted among these luxury brands is described and discussed. The survey outcome corresponds with the possibilities described in the literature review and shows that the luxury brands questioned use a lot of the internet marketing tools provided, and although they can still learn from each other and the possibilities presented in the literature review to enhance their marketing strategy, the survey is also providing supporting evidence from the field of practice that the possibilities and activities the literature review describes are actually used by the luxury brands and therefore it is practically a given that the luxury brands that are low or not active online should also engage the internet as their marketing strategy. -
The Ethics of the International Display of Fashion in the Museum, 49 Case W
CORE Metadata, citation and similar papers at core.ac.uk Provided by Case Western Reserve University School of Law Case Western Reserve Journal of International Law Volume 49 | Issue 1 2017 The thicE s of the International Display of Fashion in the Museum Felicia Caponigri Follow this and additional works at: https://scholarlycommons.law.case.edu/jil Part of the International Law Commons Recommended Citation Felicia Caponigri, The Ethics of the International Display of Fashion in the Museum, 49 Case W. Res. J. Int'l L. 135 (2017) Available at: https://scholarlycommons.law.case.edu/jil/vol49/iss1/10 This Article is brought to you for free and open access by the Student Journals at Case Western Reserve University School of Law Scholarly Commons. It has been accepted for inclusion in Case Western Reserve Journal of International Law by an authorized administrator of Case Western Reserve University School of Law Scholarly Commons. Case Western Reserve Journal of International Law 49(2017) THE ETHICS OF THE INTERNATIONAL DISPLAY OF FASHION IN THE MUSEUM Felicia Caponigri* CONTENTS I. Introduction................................................................................135 II. Fashion as Cultural Heritage...................................................138 III. The International Council of Museums and its Code of Ethics .....................................................................................144 A. The International Council of Museums’ Code of Ethics provides general principles of international law...........................................146 B. The standard that when there is a conflict of interest between the museum and an individual, the interests of the museum should prevail seems likely to become a rule of customary international law .................................................................................................149 IV. China: Through the Looking Glass at The Metropolitan Museum of Art.......................................................................162 A. -
Alderighi CP®.Pdf
AZIENDA CHI SIAMO Passione per la qualità, attenzione Alderighi Impianti, affidabilità al dettaglio, rispetto della tradizione e qualità dal 1963 e del fattore umano contraddistinguono da sempre La nostra storia prende avvio nel 1963, quando Mauro Alderighi fonda alle porte di Firenze la prima azienda individuale, attiva sul territorio locale nell’edilizia civile. Alderighi Impianti, impresa fiorentina L’inserimento del fratello, dopo circa un decennio, determina la costituzione della F.lli Alderighi Snc e un cambiamento di rotta verso il settore industriale e che opera da tempo nel settore terziario (banche, negozi, uffici, alberghi…), consolidatosi negli anni. dell’ingegneria impiantistica Nel 2000, con l’ingresso di Leonardo e Barbara, figli di Mauro, si assiste alla nascita della Alderighi Impianti Srl, un’azienda sempre più strutturata e e dei servizi. affermata a livello nazionale, che può vantare importanti commesse e un successo crescente. Tra gli obiettivi che ci prefissiamo, il rafforzamento della nostra posizione e un’espansione oltre i confini nazionali, nel rispetto dei valori in cui crediamo da sempre: Affidabilità, Qualità, Tecnologia. 2000 Tra il 1976 e il 2000 viene offerto il servizio di manutenzione e Mauro Alderighi costituisce consolidato il rapporto tra i L’ingresso dei figli a Lastra a Signa (Firenze) maggiori fornitori del territorio di Mauro, Leonardo un’azienda individuale e Barbara, porta alla a carattere artigianale e costituzione della clientela locale Alderighi Impianti Srl. 1963 Nasce la F.lli Alderighi Snc, con l’inserimento del fratello 1976 di Mauro, e l’apertura verso il settore industriale e quello terziario ALDERIGHI IMPIANTI 1 CHI SIAMO LA STRUTTURA Alderighi Impianti: Struttura, Sinergia, Crescita Lo sviluppo di Alderighi Impianti è stato particolarmente evidente negli ultimi dieci anni e questo grazie alla dimostrazione di affidabilità che Alderighi Impianti Una storia fatta ha garantito a clienti e progettisti. -
PUMA Relay 2014 Annual Report 2014 Puma Timeline Our Highlights in 2014
PUMA RELAY 2014 Annual Report 2014 PUMA TIMELINE OUR highlights IN 2014 JAN FEB MAR apr maY june julY aUG SEP oct noV DEC evoPOWER Launch “PUMA Lab” Roll-Out World Cup Kit Launch Lexi Thompson’s First Major PUMA Village Closure FIFA World Cup™ in Brazil Arsenal FC Kit Launch “Forever Faster” Campaign Retail Business Relocation Becker OG Release F1-Championship for Hamilton New Global Ambassador Rihanna PUMA introduces its most Together with Foot Locker PUMA reveals the new COBRA PUMA golfer Lexi PUMA continues to optimize The FIFA World Cup™ in PUMA becomes the official kit PUMA’s global ”Forever With the finalization of the PUMA reissues the Becker Lewis Hamilton of PUMA PUMA and Rihanna powerful football boot USA, PUMA starts rolling national kits for its eight Thompson becomes the its organizational setup Brazil proves to be a great partner of top English Premier Faster” campaign, relocation of its Global and OG, the classic mid-top partnered MERCEDES AMG announce a new multi- to date, the evoPOWER. out its “PUMA Lab” retail national football teams second-youngest major – with the closure of the stage for PUMA’s innovative League club Arsenal FC. The the biggest marketing European Retail Organiza- shoe that 17-year-old PETRONAS F1 team wins year partnership, starting Inspired by barefoot concept in over 125 doors heading to the World Cup winner in LPGA Tour PUMA Village Development kits and eye-catching partnership kicks off with the campaign in the company’s tion from Oensingen, Swit- Boris Becker wore during his second drivers’ World January 2015.