Vorträge Vorschau
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Intellectual Property in the Fashion Industry: from Vionnet to Dior
Online > 05.03.2021, 14.30 - 15.30 CET
This is a live online event hosted by The Research Forum at The Courtauld.
This talk examines how fashion designers have used intellectual property rights to protect their creations from piracy, and to advertise the authenticity of their products. Among the numerous couturiers that have participated in this effort, the archives-based research presented in this talk focuses on the examples of Madeleine Vionnet and Christian Dior, who, along with their legal teams, pioneered the development of extensive intellectual property rights portfolios. These designers used various legal tools to protect and to market their work, including trademark, copyright, patent, trade dress, and anti-competition laws. During the interwar period, most of Vionnet’s legal action remained centred in France, but the post-war case of Dior shows how, later on, such strategies could be used on international markets. Finally, the talk questions the advantages and inconveniences of using law as a commercial instrument in the creative industries.
Véronique Pouillard is a professor of international history at the University of Oslo. She holds a PhD in history from the Université Libre de Bruxelles, and she was a Harvard-Newcomen Fellow at the Harvard Business School. She is a co-editor of the Oxford Handbook of Luxury Business. Her next book, Paris to New York. The Transatlantic Fashion Industry in the Twentieth Century, is forthcoming with Harvard University Press in May. Véronique currently leads the ERC-funded project Creative IPR: The History of Intellectual Property Rights in the Creative Industries.
The Art of Fashion Illustration
Online > 13.03.2021, 1.00 AM – 2.00 AM CET
Fashion illustrator Audrey Schilt discusses her notable career sketching and designing for some of the most revered names in fashion history
Fashion illustrator Audrey Schilt discusses her notable career sketching and designing for some of the most revered names in fashion history. Artist, designer, and illustrator, Audrey Schilt has worked with Halston, Ralph Lauren, and other leading fashion houses. Remember Jackie Kennedy’s pillbox hat? Schilt was responsible for that. Other style icons who have embraced her astonishing talent include Princess Diana, Gwyneth Paltrow, and Julianne Moore. Schilt also excels as a fine artist in other genres such as watercolor and portraiture.
Wie ziehe ich mich an in Eretz Israel? Kleidung, Mode und Nationenbildung zwischen Diaspora und Neuanfang, 1880-1948
Online > 16.03.2021, 19.00 Uhr
Wie geplant wechselt sich der virtuelle Jour fixe des Netzwerks mode textil e.V. mit Vorträgen ab. Hiermit laden wir herzlich zu einem weiteren Vortrag aus der von Helen Przibilla organisierten Reihe "Religion, Liturgie, Bewegungen und Kleidung/ Textilien" ein. Dr. Svenja Bethke (University of Leicester) wird an diesem Abend ihre Forschung zum Thema „Wie ziehe ich mich an in Eretz Israel? Kleidung, Mode und Nationenbildung zwischen Diaspora und Neuanfang, 1880-1948“ vorstellen.
Hinweis: Der Zoom-Link wurde allen Mitgliedern per Email zugesandt.
Helen Przibilla, die die Vorträge und den Jour fixe organisiert, würde sich sehr über weitere Anregungen, Vorschlägen und sonstige Beiträgefreuen (h.przibilla@netzwerk-mode-textil.de).
The Shop Girl in Movies and Fine Art
Online > 26.04.2021, 18.00 - 19.30 CEST
This is a live online event in the 'The Moving Image as Subject and Practice in American Art, 1900-1990' series.
Session 2: Katherine Manthorne, ‘The Shop Girl in Movies and Fine Art’
Elizabeth Sparhawk-Jones (1885-1968) established her reputation depicting working class women -- especially shop girls-- in paintings like Shoe Shop (1911). Lois Weber (1879-1939) was a leading silent filmmaker whose Shoes (1916) follows five and dime clerk Eva Meyer. Unable to afford decent footwear, Eva succumbed to male advances and “sold out for a pair of shoes.” Examining the shared focus of painter and filmmaker on the young, single women flooding the labour force, this paper analyses visual strategies they formulated to convey experiences of labour and longing from the perspective of their female protagonists.
Katherine Manthorne lectures and publishes widely on the Art-Film dynamic including Film and Modern American Art: The Dialogue Between Cinema and Painting (New York & London: Routledge, 2019; paperback, 2020) and several related essays: “Mexican Muralism and Moving Pictures,” “John Sloan’s Cinematic Eye,” “Experiencing Nature in Early Film: Dialogues with Church’s Niagara and Homer’s Seascapes,” “John Sloan, Moving Pictures, and Celtic Spirits,” and “Made in New Mexico: Modern Art & the Movies.” She teaches art history at the Graduate Center, City University of New York.
Bright Young Things? Fashion in the 1920s
Online > 12.05.2021, 15.00 CEST
The shortened hemlines favoured by the 'Flapper girl' of the 1920s were a logical next step in the 20th-century fashion revolution, but they bore the weight of social anxieties concerning the war's perceived effects on the relationship between the sexes.
Join Georgina Ripley, Senior Curator of Modern & Contemporary Fashion and Textiles at National Museums Scotland, to explore how the fashionable image of this era has reverberated throughout popular culture. Georgina is the editor of a forthcoming publication on the little black dress which will accompany a major temporary exhibition that opens with Coco Chanel's famous LBD of 1926, described in American Vogue as ‘the frock that all the world will wear’. Georgina is responsible for the museum's collection of fashion post-1850 and was the lead curator for the Fashion and Style gallery, which opened in 2016.