Fashion is under the spotlight like never before. Activists call for environmental accountability, and wide-ranging debates highlight exploitation across global supply chains and the reliance on unpaid labour. Digital technology undermines traditional fashion companies, while small-scale independent fashion designers provide radical innovations in design and work in more socially inclusive ways. This book contributes to a new sociology of fashion. Focusing on the working lives of independent designers and based on ethnographic research and interviews carried out in London, Berlin and Milan, the authors consider the urban policy regimes in place in these cities. They analyse how these regimes shape the microenterprises and the emerging political economy, as well as the structures needed for designers to flourish. They also develop several key concepts – the ‘milieu of fashion labour’, ‘social fashion’ and ‘fashion diversity’ – and chart the new world of digital fashion-tech and e-commerce. Drawing on lessons from European initiatives and recognizing the capacity of microenterprises and start-ups to determine fashion’s future, the authors call for the industry to be significantly decentralized to ensure more diversity and less exclusivity.
Contemporary Western societies seem to be marked by a revival of ethics: virtually every actor claims to be doing something ‘good’, or even to be willing to ‘change the world’. Social innovation, sharing economy and ethical business are just few of the tags attached to this manifold cultural trend, which is indicative of the attempt to reintegrate ethical responsibility with economic conduct. But how can entrepreneurship be redefined as the best way to express one’s will to change society? How can people decide to actualise their desire to change how things are by means of a business? Social Entrepreneurship and Neoliberalism: Making Money While Doing Good tackles these questions, offering a critical yet empathetic account of the lifeworld of young social entrepreneurs in London and Milan.
A novel exploration of the threads of continuity, rivalry, and self-conscious borrowing that connect the Baroque innovator with his Renaissance paragon Gianlorenzo Bernini (1598–1680), like all ambitious artists, imitated eminent predecessors. What set him apart was his lifelong and multifaceted focus on Michelangelo Buonarroti—the master of the previous age. Bernini’s Michelangelo is the first comprehensive examination of Bernini’s persistent and wide-ranging imitation of Michelangelo’s canon (his art and its rules). Prevailing accounts submit that Michelangelo’s pervasive, yet controversial, example was overcome during Bernini’s time, when it was rejected as an advantageous model for enterprising artists. Carolina Mangone reconsiders this view, demonstrating how the Baroque innovator formulated his work by emulating his divisive Renaissance forebear’s oeuvre. Such imitation earned him the moniker “Michelangelo of his age.” Investigating Bernini’s “imitatio Buonarroti” in its extraordinary scope and variety, this book identifies principles that pervade his production over seven decades in papal Rome. Close analysis of religious sculptures, tomb monuments, architectural ornament, and the design of New Saint Peter’s reveals how Bernini approached Michelangelo’s art as a surprisingly flexible repertory of precepts and forms that he reconciled—here with daring license, there with creative restraint—to the aesthetic, sacred, and theoretical imperatives of his own era. Situating Bernini’s imitation in dialogue with that by other artists as well as with contemporaneous writings on Michelangelo’s art, Mangone repositions the Renaissance master in the artistic concerns of the Baroque from peripheral to pivotal. Without Michelangelo, there was no Bernini.
This volume looks at the work of Jan Miense Molenaer, an artist of the age of Rembrandt and Vermeer. He was probably a student of Hals and a spiritual heir of Pieter Bruegel the Elder. Essays and plates focus on Molenaer's comic scenes of Dutch peasant life. His versatile work, painted in Haarlem and Amsterdam, also includes: portraits; gene scenes including peasant weddings, theatrical performances, religious narratives and children at school and play; and allegories. 92 colour & 128 b/w illustrations
Contemporary Western societies seem to be marked by a revival of ethics: virtually every actor claims to be doing something ‘good’, or even to be willing to ‘change the world’. Social innovation, sharing economy and ethical business are just few of the tags attached to this manifold cultural trend, which is indicative of the attempt to reintegrate ethical responsibility with economic conduct. But how can entrepreneurship be redefined as the best way to express one’s will to change society? How can people decide to actualise their desire to change how things are by means of a business? Social Entrepreneurship and Neoliberalism: Making Money While Doing Good tackles these questions, offering a critical yet empathetic account of the lifeworld of young social entrepreneurs in London and Milan.
Fashion is under the spotlight like never before. Activists call for social and environmental accountability at every point in the fashion cycle. Wide ranging debates highlight the exploitation of labour across global supply chains and the reliance on unpaid labour. And digital technology undermines the traditional fashion companies, while small-scale independent fashion designers provide radical innovations in design and invent new ways of working in more socially inclusive ways. This book contributes to a new sociology of fashion labour by focusing on the working lives of independent fashion designers. Based on ethnographic research and interviews carried out in London, Berlin and Milan, the authors consider the urban policy regimes in place in these cities, how they shape the micro-enterprises and the emerging political economy, and the facilitating structures needed for the designers to flourish. Widening the lens to investigate fashion's place in urban development, they consider the art and design schools as training regimes, for passionate work in times of precarious labour. They also chart the new world of digital-fashion-tech and e-commerce. Importantly, they develop several key concepts - the 'milieu of fashion labour', 'social fashion', 'feminist fashion and post-Fordist place-making' and 'fashion diversity' – within the context of de-centralising and localising the fashion sector such that it becomes less exclusive and more diverse. Drawing important lessons from European initiatives, the authors call for fashion to be significantly de-centralised with new fashion hubs and centres providing jobs in a much wider range of locations. Recognising the capacity of micro-enterprises and start-ups to shape fashion's future, this timely book will be of interest to students of Media and Cultural Studies, Sociology of Work and Employment, Urban Studies, Fashion Studies, and Creative Entrepreneurship Studies.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.