“Dior and I”: understanding the combination of creativity and economy in fashion industry
TL;DR: In this article, Tcheng's Dior and I documentary brings the viewer inside the storied world of the Christian Dior fashion house with a look at the creation of Raf Simons' first haute couture collection as its new artistic director.
Abstract: Purpose
Fashion documentaries are many. Although their behind-the-scene access presents some undeniable interest, the author suggests that while revealing information about the creative process, the economic priorities are understated.
Design/methodology/approach
The author reviews Frederic Tcheng’s Dior and I documentary, which brings the viewer inside the storied world of the Christian Dior fashion house with a look at the creation of Raf Simons’ first haute couture collection as its new artistic director.
Findings
The author analyses the documentary with the literature on tensions between creativity and economy to bring some light into the observed frictions. Digging deeper, the literature is also used to reveal several issues that are overlooked in the documentary, small glimpse of the organization.
Originality/value
The paper voices what is easily silenced around creative work in the fashion industry, as well as and more globally in creative industries.
Citations
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TL;DR: In this paper, the authors examined the impact of the three dimensions of materialism, namely, possessiveness, envy and non-generosity along with attitude on the purchase intention of sustainable luxury products.
Abstract: Purpose:
This study aims to examine the impact of the three dimensions of materialism, namely, possessiveness, envy and non-generosity along with attitude on the purchase intention of sustainable luxury products.
Design/methodology/approach:
The research study contains a descriptive approach to research with a quantitative analysis done with exploratory and confirmatory factor analysis with 229 respondents. Findings – The findings of the results contribute to research by extending the model of the theory of planned behavior with the material dimensions as an add-on.
Research limitations/implications:
The same could have been extended to all major metro cities of Indian where luxury brands are present in malls.
Practical implications:
This shows that the consumer with a high level of materialism trait would be a very prospective segment for sustainable luxury brands.
Originality/value:
The study shows that the three dimensions of materialism do impact the purchase intention of sustainable luxury producers and these findings will be crucial for devising consumer behaviorbased strategies for sustainable luxury brands.
15 citations
TL;DR: In this article, the authors explore multichannel and creative marketing communication and how they can be effectively integrated to strengthen fashion and luxury branding, and propose a more agile approach to harness the possibilities within dynamic, marketing channels while maintaining the creative brand image.
Abstract: Whereas the need to optimize and coordinate digital marketing communications across multiple channels has been given much attention in recent decades, its integration with creativity has not. For trendsetting fashion and luxury brands, radical creativity is frequently at the core of their brand as well as their marketing communications. Marketing messages have always tended to be highly visual, building surreal dream environments for target groups to aspire to, visionary worlds unlikely to derive from user data. In today’s complex omnichannel environments, where many dominant channels are user-driven, this is no longer sufficient to maintain a consistent brand image. A more agile approach is needed to harness the possibilities within dynamic, marketing channels while maintaining the creative brand image. In this chapter we explore multichannel and creative marketing communication, and how they can be effectively integrated to strengthen fashion and luxury branding.
2 citations
31 Jul 2019
TL;DR: Deconstrucism is a fashion style which displays strong fashion character which contains statement and high originality as mentioned in this paper, it represents fashion which has strong concept and character as a differentiator of other fashion that displays revolutionary fashion as every work has colementnfrontative collection.
Abstract: Creative industri one of it is fashion is a backbone filled with steadily ideas creation requiring and competetitive dinamic innovation offering. Fashion is built through fashion design creative process to initiate bright idea will be accepted by market. The essence of fashion design is creativity. Creativity, Artistic as well as Innovation aim at how originally an object is built conceptually or through design. Creativity implies world new introductory but not for performing an existing design. Fashion design is claimed to represent new elements or genuin solution for problems for globalized competetive. The presence of deconstrucism is a contemporary culture which stipulates novelty and contemporary. Deconstrucism is a fashion style which displays strong fashion character which contains statement and high originality. Deconstructivism represents different attitude in work, represents fashion which has strong concept and character as a differentiator of other fashion that displays revolutionary fashion as every work has colementnfrontative collection. Through library research, ideas exploration and fashion design creation find creative construction to gain essential aspect in the creative process to prepare visual which contains ‘novelty’ in it. The Aspect and chategory discussed are manners that is prosecuted in fashion work deconstrucism.
1 citations
Additional excerpts
...One of the stages in fashion design is pointing out the creative design process which successfully applied to fullfill the market needs by considering trends and posessing problem solving [10]....
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01 Jan 2021
TL;DR: In this article, the authors analyze the critical success factors of the Carolina Herrera brand to recognize it internationally as an icon-brand and study the entrepreneurial spirit of the company to be an example for new generations.
Abstract: The fashion industry employs more than 300 million workers in the world with a turnover of more than a trillion dollars, which is equivalent to being the seventh economic power on the planet. The presence of Latin America and the Caribbean in this industry is growing, where Carolina Herrera is of fundamental importance. The objective of this chapter is to analyze the critical success factors of this company to recognize it internationally as an icon-brand and to study the entrepreneurial spirit of the company to be an example for new generations (and even to competitors). A SWOT analysis will be made complemented by a PESTEL analysis to achieve these goals. The chapter ends with conclusions and perspectives after COVID-19.
References
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Book•
01 Jan 2005TL;DR: A century after the publication of Max Weber's The Protestant Ethic and the "Spirit" of Capitalism, a major new work examines network-based organization, employee autonomy and post-Fordist horizontal work structures.
Abstract: A century after the publication of Max Weber's The Protestant Ethic and the "Spirit" of Capitalism, a major new work examines network-based organization, employee autonomy and post-Fordist horizontal work structures.
2,892 citations
Book•
30 Jun 2000
TL;DR: In this paper, the economic properties of creative activities are discussed, including the following: 1. Artists as Apprentices 2. Artists, Dealers, and Deals 3. Artist and Gatekeeper: Trade Books, Popular Records, and Classical Music 4. Artists and Starving and Well-Fed Part II: Supplying Complex Creative Goods 5. The Hollywood Studios Disintegrate 6. Contracts for Creative Products: Films and Plays 7. Guilds, Unions, and Faulty Contracts 8. The Nurture of Ten-Ton Turkeys 9. Creative Products Go to Market
Abstract: Preface Introduction: Economic Properties of Creative Activities Part I: Supplying Simple Creative Goods 1. Artists as Apprentices 2. Artists, Dealers, and Deals 3. Artist and Gatekeeper: Trade Books, Popular Records, and Classical Music 4. Artists, Starving and Well-Fed Part II: Supplying Complex Creative Goods 5. The Hollywood Studios Disintegrate 6. Contracts for Creative Products: Films and Plays 7. Guilds, Unions, and Faulty Contracts 8. The Nurture of Ten-Ton Turkeys 9. Creative Products Go to Market: Books and Records 10. Creative Products Go to Market: Films Part III: Demand for Creative Goods 11. Buffs, Buzz, and Educated Tastes 12. Consumers, Critics, and Certifiers 13. Innovation, Fads, and Fashions Part IV: Cost Conundrums 14. Covering High Fixed Costs 15. Donor-Supported Nonprofit Organizations in the Performing Arts 16. Cost Disease and Its Analgesics Part V: The Test of Time 17. Durable Creative Goods: Rents Pursued through Time and Space 18. Payola 19. Organizing to Collect Rents: Music Copyrights 20. Entertainment Conglomerates and the Quest for Rents 21. Filtering and Storing Durable Creative Goods: Visual Arts 22. New versus Old Art: Boulez Meets Beethoven Epilogue Notes Index
2,122 citations
Posted Content•
TL;DR: A century after the publication of Max Weber's The Protestant Ethic and the "Spirit" of Capitalism, a major new work examines network-based organization, employee autonomy and post-Fordist horizontal work structures.
Abstract: A century after the publication of Max Weber's The Protestant Ethic and the "Spirit" of Capitalism, a major new work examines network-based organization, employee autonomy and post-Fordist horizontal work structures.
1,718 citations
TL;DR: In this paper, the authors explore how the construction of a cultural institution's identity is related to the development of strategic capabilities and resources, and propose a model that explicates how the creation of core capabilities lies at the intersection of identification and interpretive processes in organizations.
Abstract: In this qualitative field study, I explore how the construction of a cultural institution's identity is related to the construction of strategic capabilities and resources. I investigated the 1996 musicians' strike at the Atlanta Symphony Orchestra (ASO), which revealed embedded and latent identity conflicts. The multifaceted and specialized identity of the ASO was reinforced by different professional groups in the organization: the ideologies of musicians and administrators emphasized institutional resource allocations consistent with the legitimating values of their professions, i.e., artistic excellence versus economic utility. These identity claims, made under organizational crisis, accounted for variations in the construction of core competencies. I propose a model that explicates how the construction of core capabilities lies at the intersection of identification and interpretive processes in organizations. Implications are discussed for defining firm capabilities in cultural institutions and for managing organizational forms characterized by competing claims over institutional identity, resources, and core capabilities.
753 citations