DOCSLIB.ORG

The Milan Fashion Cluster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

The Milan Fashion Cluster Industry Clusters and Firm Compeveness (6106) Marta Cusinato 41148 Emelie Lin 22788 Isak Nilson 22732 Jannik Tiedemann 41123 Agenda § Macroeconomic Condi3ons § Microeconomic Compe33veness pp. 3-11 Na2onal Framework – Italy § Diamond Model § Italian Fashion Industry § Cluster Map § Cluster Lifecycle § Compe33on with Other Clusters § 7-Gap Model pp. 12-27 Cluster – Milan Fashion § Government Policies § Cluster Performance § Diamond Model § Business Model § Cluster Relaonship pp. 28-31 Company Level – Prada § Strategy § Naonal Level pp. 32-35 Policy Recommenda2ons § Cluster Level 7 March 2017 The fashion cluster in Milan 2 ATer World War II, Italy went through a period of social and economic stabilizaon, but now faces poli3cal and cons3tu3onal disrup3ons Italy – Country Overview1 Country overview Italy and Milan § Language: Italian (in South Tyrol, German and Italian are official languages) § Locaon in South- § Capital: Rome Western Europe Milan § Populaon: 62 million § Close Proximity to § Area: 294.140 square kilometers Europe’s economic § Poli3cal system: Republic (since 2nd June 1946) powerhouses (e.g. Germany & France) § Currency: Euro (since 1st January 1999) § Favorable access to § Member of the European Union since 1957 (founding member) the Mediterranean § Religion: Chris3anity Sea History and legacy Latest developments § Became a naon-state in 1861 § Persistent problems include: sluggish economic growth, high youth and female § Era of parliamentary government abandoned in early 1920s (establishment of unemployment, North-South differences, organized crime and corrup3on fascist dictatorship); alliance with Germany led to defeat in World War II § The referendum on 4th December 2016 to reform the Italian Cons3tu3on § Democrac republic replaced monarchy in 1946, followed by economic revival resulted in the resignaon of the Prime Minister, thus increasing poli3cal instability2 § Member of NATO and European Economic Community (EEC) § Job insecuri3es and low incomes leading to low birth rates (1.39 children on av.) § Frontrunner of European economic and poli3cal unificaon, joining the § Economic and Monetary Union in 1999 Immigraon: Southern Italian island Lampedusa as main point of entry for refugees arriving by sea, leading to large-scale refugee camps in Southern Italy § Tradi3onal heritage of Italian crasmanship in fashion and design 7 March 2017 The fashion cluster in Milan 3 Italy is characterized by low poli3cal effec3veness, a high degree of corrup3on, and great socio-economic differences between the North and the South Italy – Framework Condi2ons Polical effecveness Standard of living Social development measures § Ranked last in Euro Area in 2015 World Bank poli3cal § Ranked 27th in Human Development Index (0.873)2 § Consistently ranked as most corrupted country in effec3veness ranking (index: 0,4)1 § Life expectancy of 83,1 years (above EU average)2 Eurozone, es3mated to cost 4% of GDP5 § Bad percep3on of public services, civil service § Public expenditure on educaon 4.3% of GDP with § Role of women: despite full legal rights under law, independence from poli3cs, & government credibility average of 16 years of schooling2 women face considerable social discriminaon (on 6 § Inefficient legal framework in segling disputes and § Country divided into two parts:4 average earning 23% less than men) transparency of government policy making (ranked § Complex unemployment benefits system rd 2 o Highly industrialized and developed North, 143 worldwide by World Economic Forum) dominated by private firms, approx. producing (differences in eligibility requirements and treatment § One of the highest number of major tax evaders in 75% of the naons wealth duraon) Europe with tax evasion accoun3ng for 7.5% of GDP3 § Social protec3on system fragmented and skewed o Underdeveloped and subsidized agricultural South towards pensioners, burdening younger generaons7 Technological advancement Environmental awareness Rule oF the law § Bureaucracy and difficult access to funding for start- § One of the largest stores of biodiversity, accoun3ng § Ranked 78th place in terms of Judicial independence; ups have caused the small firms’ innovaon creaon for half the plant species and a third of the animal poli3cal effort to ensure judiciary is not to lag far behind other major European countries species in Europe independent2 8 § Only 51% of all Italians have a broadband subscrip- § 0,9% of world’s Co2 emissions, 5,5 tons per capita § Common prac3ce of irregular payments and bribes on, compared with the European average of 71%2 § Separate collec3on of different waste streams is § 135th place in terms of favori3sm in decisions of § Italian government not geng involved in recognized as essen3al for the effec3ve recycling of government officials2 procurement of advanced technology, limi3ng the the different components of municipal waste § Ranked 132nd in terms of organized crime technological development in the public sector (e.g. § Issues of ineffec3ve and irregular public waste (especially Southern Italy)2 data storage and handling) management, especially in Southern Italy 7 March 2017 The fashion cluster in Milan 4 The Italian economy has been severely hit by the financial crisis and high unemployment rates in the South paralyze economic effec3veness Italy – Macroeconomic Condi2ons GDP per capita and inflaon Unemployment Italian GDP per capita1 in EUR and InflaKon2 in percent (expected figures from 2016-2020)3 Italian unemployment4 and youth unemployment5 in percent (expected figures from 2016-2020)3 32.500 17.200 20,7% 9,5% 40,000 1.6% 50% North South 1.4% 45% 35,000 North South 40% 30,000 1.2% 35% 1.0% 25,000 30% 0.8% 20,000 25% 0.6% 15,000 20% 0.4% 15% 10,000 0.2% 10% 5,000 0.0% 5% 0 -0.2% 0% 2010 2011 2012 2013 2014 2015 2016E 2017E 2018E 2019E 2020E 2010 2011 2012 2013 2014 2015 2016E 2017E 2018E 2019E 2020E GDP per capita Inflaon Unemployment Youth unemployment § Italian economic perFormance heavily hit by the financial crisis § Average unemployment rate stable at around 10% § Significant North-South divide in GDP per capita (85% difference) § Unemployment rate much higher in South than in North (> 2x) § Infla2on development within European Central Bank targets (0% - 2%) § Very high youth unemployment (40% in 2015 vs. 18% in EU on average2) 7 March 2017 The fashion cluster in Milan 5 With the highest density of luxury firms in the world, a confusing tax system and unavailability of credit cause Italy to have the lowest ease of doing business compared with compe3ng host countries Italy – Microeconomic Compe22veness (1/3) Overview of the major host countries for luxury firms Ease of doing business for countries hosng fashion firms Home countries of worldwide largest 100 luxury companies as per 2013 revenues1 Ranking of economies on the ease of starKng and operaKng local firms, from 1 (easy) to 190 (uneasy)2 Country Number of firms 140 ∅ 4 29 50 32 31 7 8 120 Hongkong 7 100 France 11 80 60 Italy 29 40 Spain 5 20 Switzerland 11 0 Hongkong France Italy Spain Switzerland UK USA UK 6 Star3ng a business Dealing w/ const. permits Registering property USA 15 Geng credit Paying taxes Trading across borders Enforcing contracts § 84 of largest 100 luxury firms located in 7 countries § Italy lacking behind countries with compe2ng Fashion firms § Italy with the largest share of luxury companies § Very high perceived difficules in contact with public authories, including § Naonal compe22veness has to be compared with the 6 biggest compe2ng paying taxes and enforcing contracts host naons For luxury firms § Limited availability of funding for firms 7 March 2017 The fashion cluster in Milan 6 While Italian educaon is advanced, efficiency in leveraging the available labor force is low Italy – Microeconomic Compe22veness (2/3) Italian compe22veness Labor market efficiency IndicaKon of naKonal compeKKveness, from 1 (non-compeKKve) to 7 (compeKKve)1 Labor market efficiency, from 1 (non-compeKKve) to 7 (compeKKve)1 Instuons 7 ∅ 5,6 4,4 3,5 4,0 5,8 5,3 5,4 Innovaon 6 Infrastructure 5 Business 4 Macroeconomic sophiscaon 3 development 2 1 Health and primary Market size 0 educaon Technological Higher educaon and readiness training Hongkong France Italy Spain Switzerland UK USA Financial market Goods market development efficiency Flexibility Efficient use of talent Labor market efficiency § Advanced educa2on system, especially regarding primary educa2on § Difficules to match labor supply and demand, resulng in low efficiency § Fairly advanced inFrastructure § Parcularly low rang (3,1) for “Efficient use of talent” § Underdeveloped financial markets § Labor oen available, but unused by firms (due to unawareness of availability) 7 March 2017 The fashion cluster in Milan 7 Italian firms are internaonally compe33ve, but miss innovaon opportuni3es as they lack collaboraon with research and fail to apply engineers’ exper3se Italy – Microeconomic Compe22veness (3/3) Business sophiscaon Innovaon Business sophisKcaKon, from 1 (non-compeKKve) to 7 (compeKKve)1 InnovaKon, from 1 (non-compeKKve) to 7 (compeKKve)1 ∅ 5,2 5,1 4,8 4,5 5,8 5,5 5,6 ∅ 4,4 4,9 3,9 3,7 5,8 5,0 5,6 Hongkong France Italy Spain Switzerland UK USA Hongkong France Italy Spain Switzerland UK USA Capacity for innovaon Quality of scien.research inst. Local supplier quan3ty Local supplier quality State of cluster development Company spending on R&D University-industry collaboraon in R&D Nature of comp. advantage Control of int. distribu3on Prod. process sophis3caon Availability of scien3sts and engineers § Fairly high business sophis2ca2on, resul2ng
Recommended publications
  • Charitably Chic Lynn Willis

    Charitably Chic Lynn Willis

    Philadelphia University Spring 2007 development of (PRODUCT) RED, a campaign significantly embraced by the fashion community. Companies working with Focus on . Alumni Focus on . Industry News (PRODUCT) RED donate a large percentage of their profits to the Global Fund to fight Lynn Willis Charitably Chic AIDS. For example, Emporio Armani’s line donates 40 percent of the gross profit By Sara Wetterlin and Chaisley Lussier By Kelsey Rose, Erin Satchell and Holly Ronan margin from its sales and the GAP donates Lynn Willis 50 percent. Additionally, American Express, Trends in fashion come and go, but graduated perhaps the first large company to join the fashions that promote important social from campaign, offers customers its RED card, causes are today’s “it” items. By working where one percent of a user’s purchases Philadelphia with charitable organizations, designers, University in goes toward funding AIDS research and companies and celebrities alike are jumping treatment. Motorola and Apple have also 1994 with on the bandwagon to help promote AIDS a Bachelor created red versions of their electronics and cancer awareness. that benefit the cause. The results from of Science In previous years, Ralph Lauren has the (PRODUCT) RED campaign have been in Fashion offered his time and millions of dollars to significant, with contributions totaling over Design. Willis breast cancer research and treatment, which $1.25 million in May 2006. is senior includes the establishment of health centers Despite the fashion industry’s focus on director for the disease. Now, Lauren has taken image, think about what you can do for of public his philanthropy further by lending his someone else when purchasing clothes relations Polo logo to the breast cancer cause with and other items.
  • Impact Investing in the Creative Economy: Diving Deep Into Ethical Fashion, Sustainable Food and Social Impact Media

    Impact Investing in the Creative Economy: Diving Deep Into Ethical Fashion, Sustainable Food and Social Impact Media

    Impact Investing in the Creative Economy: diving deep into Ethical Fashion, Sustainable Food and Social Impact Media Creatve people solve problems. Increasingly, In an efort to demystfy the creatve economy they are doing it beyond the studio, the for impact investors, impact fund managers and theater and the concert hall. Creatve people other stakeholders, this report dives deep into are harnessing the power of business and the three large and growing consumer industries marketplace to scale and sustain their ideas. within the creatve economy: fashion, food and media. These industries share the capacity to Many of the businesses that artsts, designers intrigue, engage, educate and actvate more and other creatves start balance fnancial mindful consumers so that the benefts of proftability with concern for the planet, ethical and sustainable supply chains and the their workers, and their community. These full power of media to drive positve change can socially-focused companies seek capital from be realized. impact investors who understand the power of art, design, culture, heritage and creatvity to Creatve Economy Defned drive positve environmental and social impact. Together, investors and entrepreneurs can The “creatve economy” was defned by John grow the creatve economy to become more Howkins in 2001 as a new way of thinking and inclusive, equitable and sustainable. doing that revitalizes manufacturing, services, retailing, and entertainment industries with A Creatvity Lens: Impact Investng in the Creatve Economy 1 a focus on individual talent or skill, and art, The Opportunity culture, design, and innovaton. Concern by consumers about how their food, Today, creatve economy defnitons are clothes and entertainment are produced has typically ted to eforts to measure economic grown signifcantly in recent years.
  • Puma Kylie Rihanna 1

    Puma Kylie Rihanna 1

    Buzz Queens Why Rihanna and Kylie Jenner are critical to Puma’s ambitious new women’s push. By Sheena Butler-Young GE CHINSEE R O E S: G R THE O L AL AND; R B F O Y S E T R U O C : BU AM J OCK; ST R SHUTTE X Behind S: LEPORE: RE the scenes ofO a recent FentyOT design meetingPH ver Easter weekend, why Puma is making the trendset- are nothing new, but the German Rihanna was relishing ting songstress a cornerstone of its footwear-and-apparel maker’s col- a rare few hours of business strategy. laborations with two of pop culture’s O downtime in New But the brand isn’t stopping there. most influential women are not of Last week, the highly anticipated the garden variety. from her Anti World Tour. Scores sneaker from Puma’s campaign with Rihanna, Puma’s women’s creative of paparazzi snapped flicks of the Kylie Jenner hit stores, fueling a new director since December 2014, and UMA P star as she ran errands in a black wave of buzz after the queen of social Kylie Jenner, the brand’s newest F O Vetements hoodie and fur slides media teased her partnership for the ambassador, represent a strategic Y S E T from her Fenty x Puma collection. past month on Instagram. R U O Make no mistake about it: Puma to the women’s market in an unprec- C S: Rihanna’s every fashion move is a is serious about girl power. edented way. O OT statement for the masses.
  • Grin and Bear It

    Grin and Bear It

    AMERICAN ANTHEM MADE IN THE USA IS SEEING A RESURGENCE AND IT’S A KEY POLITICAL ISSUE. SECTION II MALE MAKEOVER BERGDORF GOODMAN UNVEILS A REMODELED MEN’S DEPARTMENT. PAGE 3 LUXURY LAWSUITS Hermès Sues LVMH, LVMH Sues Hermès By JOELLE DIDERICH PARIS — Let the hostilities resume. Hermès International and LVMH Moët Hennessy Louis Vuitton said Tuesday they were heading to court over their ongoing dispute regarding LVMH’s WEDNESDAY, SEPTEMBER 5, 2012 ■ $3.00 ■ WOMEN’S WEAR D acquisition of a 22.3 percent stake in the maker of Birkin bags and silk scarves. WWD Hermès confi rmed that on July 10, it lodged a com- plaint with a Paris court against LVMH, which sur- prised markets by revealing in October 2010 that it had amassed a 17.1 percent stake in Hermès via cash- settled equity swaps that allowed it to circumvent the usual market rules requiring fi rms to declare share Grin and purchases. The world’s biggest luxury group has since steadily increased its stake, a move seen by Hermès offi cials as an attempt at a creeping takeover, despite reassur- Bear It ances from LVMH chairman and chief executive offi - cer Bernard Arnault that he is not seeking full control. With more than 50 “This complaint concerns the terms of LVMH’s ac- quisition of stock in Hermès International,” Hermès collections under her low- said in a two-line statement. It is accusing LVMH of slung belt, Donna Karan, insider trading, collusion and manipulating stock shown here in her studio, prices, according to a source familiar with the issue, who declined to be named for confi dentiality reasons.
  • Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte

    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte

    Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern
  • Architecting Intellectual Property Protection for the Fashion Industry by Ashlee Froese Gilbert’S LLP

    Architecting Intellectual Property Protection for the Fashion Industry by Ashlee Froese Gilbert’S LLP

    Fashioning Protection For Canada’s Most Fabulous: Architecting Intellectual Property Protection for the Fashion Industry By Ashlee Froese Gilbert’s LLP 1. Introduction Fashion matriarch Coco Chanel once famously stated that imitation is the highest form of flattery. I wonder if renowned shoe designer Christian Louboutin, who has been embroiled in trade-mark litigation in America and France for the last few years over his red-bottomed shoes, would agree. In the legal world, counterfeiting has long been acknowledged as a serious and costly piranha to the fashion industry. This is not the only hurdle facing the fashion designer. Less recognized yet arguably just as pervasive, fashion design piracy can be devastating to the livelihood of the fashion designer. This legal doctrine, however, has had slow traction in Canada. This paper examines the concept of fashion design piracy and provides strategies on how fashion designers can best protect their fashion designs within the confines of the Canadian intellectual property framework. 2. Canada’s Fashion Industry Canada’s roots are deeply entrenched in the fashion industry. Canada’s fur trade was the leading resource-based export for Canada during its inception, making it a foundation of the burgeoning economy. The fur trade continues to be a significant contributor to the Canadian economy.1 In fact, the Fur Institute of Canada estimates that the fur industry contributes $800 million to the Canadian 2 economy. 1 No animals were harmed during the writing of this paper. 2 Fur Institute of Canada “Canada’s Fur Trade at a Glance” http://www.fur.ca/files/fur_trade_at_a_glance.pdf 2 Perhaps more palatable to animal lovers, Canada’s fashion industry has become more well-rounded.
  • Emerging Consumer Trend in China: “Guochao”

    Emerging Consumer Trend in China: “Guochao”

    Emerging Consumer Trend in China: “Guochao” Sol Ahn, CFA, Portfolio Manager March 2021 The rise of homegrown Chinese brands seems to be one of the strongest trends in China. “Guochao” has become a buzzword ever since China’s sportswear brand Li Ning’s successful debut at New York fashion week in 2018. Its “Wudao( 悟道)” collection is embedded with traditional Chinese culture, the four big Chinese characters 中國李寧, or China Li Ning in English, are believed to be a symbol of cultural confidence which has its roots in China’s rapid rise over the past few decades. Young Chinese consumers have grown up in a period of strong economic growth and thus are very proud of their country. Their parent’s generation preferred foreign brands and products over local brands with a general perception that foreign products were of better quality. Today, this perception has changed, and many young consumers feel no difference whether it is local or foreign and prefer whichever brand is trendier. Additionally, the escalating tensions between China and the US have accelerated domestic substitution as strengthening patriotism pushes more Chinese people to shop local brands. Lastly, booming e-commerce platforms in China play an essential role in the process. A digital world makes domestic brands’ penetration easier and faster. Key opinion leaders rely on Alibaba’s Taobao platform, Tiktok, and Kuaishou to promote and sell goods through live streaming. Domestic brands are adopting digital trends faster than their foreign competitors. We believe this “Guochao” trend is likely to last as long as domestic brands continue to adapt to consumer preferences and improve their products accordingly.
  • Final Thesis

    Final Thesis

    AN EXAMINATION OF INDIVIDUAL DIFFERENCES IN ITALIAN AND AMERICAN FASHION CULTURES: PAST, PRESENT, AND PROJECTIONS FOR THE FUTURE BY: MARY LOUISE HOTZE TC 660H PLAN II HONORS PROGRAM THE UNIVERSITY OF TEXAS AT AUSTIN MAY 10, 2018 ______________________________ JESSICA CIARLA DEPARTMENT OF TEXTILES AND APPAREL SUPERVISING PROFESSOR ______________________________ ANTONELLA DEL FATTORE-OLSON DEPARTMENT OF FRENCH AND ITALIAN SECOND READER TABLE OF CONTENTS Abstract…………………………………………….…………………………………………….…………………………………… 3 Acknowledgements………………………………………….…………………………………………….…………..……….. 4 Introduction………………………………………….…………………………………………….…………………….…….…. 5 Part 1: History of Italian Fashion……...……...……..……...……...……...……...……...……...……...... 9 – 47 AnCiEnt Rome and thE HoLy Roman EmpirE…………………………………………………….……….…... 9 ThE MiddLE AgEs………………………………………….……………………………………………………….…….. 17 ThE REnaissanCE……………………………………….……………………………………………………………...… 24 NeoCLassism to RomantiCism……………………………………….…………………………………….……….. 32 FasCist to REpubLiCan Italy……………………………………….…………………………………….……………. 37 Part 2: History of American Fashion…………………………………………….……………………………… 48 – 76 ThE ColoniaL PEriod……………………………………….……………………………………………………………. 48 ThE IndustriaL PEriod……………………………………….……………………………………………………….…. 52 ThE CiviL War and Post-War PEriod……………………………………….……………………………………. 58 ThE EarLy 20th Century……………………………………….………………………………………………….……. 63 ThE Mid 20th Century……………………………………….…………………………………………………………. 67 ThE LatE 20th Century……………………………………….………………………………………………………… 72 Part 3: Discussion of Individual
  • Grazia International @ MILAN FASHION WEEK February 2012

    Grazia International @ MILAN FASHION WEEK February 2012

    Grazia International @ MILAN FASHION WEEK February 2012 Celebrating Grazia SOUTH AFRICA and SLOVENIA Walking down the street WHITE fashion exhibition 1-Eureka Zandberg (Grazia South Africa ADV Sales Director), Danielle Weakley (Grazia SA Editor-in-chief), Erika Fantauzzi (Grazia SA Brand Manager), Liezl De Swardt (Grazia SA Publisher), Sandra Gotelli (International Publisher). 2-Liezl De Swardt and Carla Vanni (Grazia International Editor-in-chief) 1 2 Im fuga. Nequis dias dignam que WELCOME NEW EDITIONS sust quia sunt ut ...we’are 20! iumendant faciet Grazia International Network inaugurated the MFW with the launch party for its 2 future editions: Grazia South Africa and Grazia Slovenia reaching the goal of 20 editions worldwide. For the occasion Grazia International Network organized a cocktail party at the exclusive Armani Bamboo bar. The event had an overwhelming response from major advertising clients as well as from Grazia Family in town for fashion week. Easy chic, in Grazia style! 6 1-Jackie Ji (Grazia China Mktg Manager). 2-Lara Milanovic and Svetlana Preradovic (Grazia Serbia). 3-Mario Boselli(President 7 of Camera della Moda Italiana). 8 4-Aeffe team with 5 Mattia Mondani 1 (ADV International 2 Manager). 5-Tamu 3 McPherson (Head of Grazia.it). 4 6-Mattia Mondani, Patrizia Migliorini and Riccardo Sciutto (Tod’s Group).7- Vera MOntanari (Grazia Italy Editor-in- chief), Patrizia Migliorini and Ugo Tizzani (Who‘s Who). 8-Julia Chayko (Grazia Russia Fashion Editor), Dragana Andjic (Grazia Brand Manager), Amalia Mariotti (Sales Manager), Aliona Peneva (Grazia Russia Editor-in-chief). Conquering the streets at MFW STREET MARKETING DAY ONE Grazia International Network kick started the fashion week with a colourful “attack”! The lenses of the numerous photographers were all for our seven models who made their street runaway in front of the main Milanese catwalks, holding each a pink fluorescent letter composing Grazia International Network logo.
  • Curriculum Vitae Al 31 Dicembre 2020 1

    Curriculum Vitae Al 31 Dicembre 2020 1

    marco eugenio di giandomenico curriculum vitae al 31 dicembre 2020 1 marco eugenio di giandomenico 00077-777joy.inv./medg/records/2020 2 INDEX I. Professional Records II. Professional Records: some current professional positions III. Professional Records: some previous professional and scientific positions IV. Expertise Plan di MEDG V. Elencazione Non Esaustiva delle Pubblicazioni VI. Convegni, Seminari ed Eventi in Qualità di Relatore e/o Chairman VII. Principali Apparizioni e Interventi Televisivi e Cinematografici VIII. Iniziative di Project Management IX. Sitografia Rilevante X. Interviste e Riconoscimenti a Marco Eugenio Di Giandomenico I PROFESSIONAL RECORDS Marco Eugenio Di Giandomenico (born in Italy November 15, 1965, and living in Milan) 3 (Education: High School Diploma at Liceo Classico in Italy, Bachelor’s Degree in Economics and Business in Italy, Master Infor-IPSOA in Milan-Italy, in-depth studies in philosophy, theology and history of art) Scrittore, Critico ed Economista della Sostenibilità dell’Arte e della Cultura, Opinionista Televisivo, Esperto di Media & Entertainment, di CSR e del Terzo Settore, Personaggio Pubblico, Lifestyle Influencer *********** Dottore Commercialista e Revisore Ufficiale dei Conti Curatore Fallimentare, Consulente Tecnico per il Tribunale (Sezione Civile e Penale) VICE PRESIDENTE DEL CENTRO INTERACCADEMICO PER LE SCIENZE ATTUARIALI E LA GESTIONE DEI RISCHI (CISA) DI FIRENZE Docente di Logica e Organizzazione di Impresa nel corso di Laurea Magistrale in Product Design presso l’Accademia di Belle
  • Italian Fashion & Innovation

    Italian Fashion & Innovation

    Italian Fashion & Innovation Derek Pante Azmina Karimi Morgan Taylor Russell Taylor Introduction In Spring 2008, the Italia Design team researched the fashion industry in Italy, and discussed briefly how it fits into Italy’s overall innovation. The global public’s perception of Italy and Italian Design rests to some degree on the visibility and success of Fashion Design. The fashion and design industries account for a large percentage of Milan’s total economic output— as Milan goes economically, so goes Italy (Foot, 2001). Fashion Design clearly contributes to “brand Italia,” as well as to Italian culture generally. Yet, fashion is not our focus in this study: innovation and design is. Fashion’s goals are not the same as design. For one, fashion operates on “style,” design works on “language,” and style to a serious designer is usually the opposite of good design. Yet to ignore the area possibly creates a blind spot. With the resource this year of some students with great interest in this area it was decided that we should begin to investigate how fashion in Italy contributes to innovation, and how fashion in Milan and other centers in the North of Italy sustain “Creative Centers” where measurable agglomeration (a sign of innovation) occurs. Delving into Italian Fashion allowed us to rethink certain paradigms. For one, how we look at Florence as a design center. Florence has very little Industrial Design and, because of the city’s UNESCO World Heritage designation, has very little contemporary architectural culture. This reality became clear after four years of returning to the Renaissance city.
  • Walking Away from the Runway

    Walking Away from the Runway

    Walking Away from the Runway Thesis – One Year Master Textile Manage ment Christina Christodoulou Year: 2015. Thesis id number: 2015.11.06 Acknowledgements I would like to wholeheartedly thank my supervisor David Goldsmith for his guidance and knowledge and most of all for his positive spirit. Also, I would like to thank my parents who really supported me the whole year with their love under any circumstances. Thanks to the designers who accepted to participate in my group discussion and enlightened my thesis with their ideas. Lastly, the paper is dedicated to my favourite uncle that I lost during the master thesis. He was a smiley person who loved to be educated. English title: Walking Away from the Runway Year of publication: 2015 Author/s: Christina Christodoulou Supervisor: David Goldsmith Abstract Fashion shows in a common western context were focused on the garments that were presented. Albeit, the latest decades a shift has been observed from what is presented to how it is presented to the audiences. Particular designers are the leaders of this evolution. Does this phenomenon imply something long term for the fashion system and how fashion is displayed? The purpose of the research is to inquire into the metamorphosis of the runway presentations from the expected status quo to new forms. The compass of this exploration is an observation about fashion shows in retrospect and a focus group discussion with fashion designers master students from the Swedish School of Textiles. It contributes an insight into designers’ approach towards fashion presentations, yet it is used as tool to enable them illustrate their vision on their future presentations.