Capital Cultural = moda como modo

A partir desta breve explicação sobre a construção e distinção do conhecimento, e que o mesmo é organizado na instuição escolar.
Apresento aqui um argumento que pode parecer exagerado ... Que esta distinção e construção do capital cultural também se apoderará da performance corporal, pois é algo que apreendemos de dentro pra fora, sendo organizada e classificada por grupos e atividades.
Classificando aquele que 'sabe'se vestir; Que organiza as vestimentas da forma 'esperada' sobre o corpo, atendendo as expectativas do grupo. O qual por certas vezes, ordena marcas, cortes e estilos.

A concorrência no mercado de moda.

Semana passada estilistas das grandes marcas foram a Justiça americana requerer seus direitos. Pelo o que brigavam? Um havia roubado a cor do outro! E portanto, Yves Saint Laurent, o réu, estava sendo julgado pelo sr. Christian Louboutin por usar na sola dos sapatos da última coleção a mesma cor - VERMELHA. Nos seguintes modelos : Tributo, Taboo, Palais e Woodstock.

O juiz se recusou a concessão da liminar solicitada por Christian Louboutin contra a Yves Saint Laurent, que estava sendo acusado de violação de marca de sapatos que usou solas vermelhas semelhantes aos de Louboutin. A decisão não só abriu o caminho para Saint Laurent para continuar produzindo seus sapatos, mas também pareceu dar cobertura a outros fabricantes de calçados que podem querer adicionar uma base escarlate no que desenvolverem.

A justificativa do judiciário foi:

"Porque a cor na indústria da moda esta como função ornamental e estética, situação vital e robusta na concorrência do mercado", (...) " considerando que Louboutin não será capaz de provar que sua marca, tem direito à proteção especial para marca e cor da marca, mesmo que já tenha mercado"
(tradução livre)



foto.
http://runway.blogs.nytimes.com/2011/08/10/red-faces-at-louboutin/?ref=fashion

Thorstein Veblen (1857-1929)

Não tem nada mais animador para um pesquisador, neste caso, eu! Encontrar novos textos, novos livros e autores que podem discutir assuntos que nos interessa, só que observado com outro olhar.

Pois é, acabo de descobrir o livro do Thorstein Veblen 'The Theory of the Leisure Class'(1899), em inglês. O capítulo que mais me interessei foi o 'Dress as an Expression of the Pecuniary Culture'.

Thorstein Veblen (1857-1929) tinha dupla nacionalidade americano-norueguês, era sociólogo e liderou o movimento da economia institucional. Sua trajetória, bem como, a época em que viveu as teorias pra explicar a sociedade esbarram pela ótica darwinista.

'Paraguaios disputam lugar de bolivianos no Bom Retiro'

No processo de produção das roupas, raramente se encontra larga produção de dados sobre quem coloca a mão na massa, ou melhor, quem costura quem faz a junção dos tecidos, com o corte com idéia que alguém concebeu.
Pois bem, neste último domingo a Folha de São Paulo publicou uma matéria com no seguinte título 'Paraguaios disputam lugar de bolivianos no Bom Retiro'.

No passado este movimento migratório foi iniciciado com italianos e judeus, os últimos anos boa parte eram bolivianos e agora é a vez dos paraguaios, que bucam melhoria de situação financeira e social.

Abaixo segue trechos da matéria.

(...)
Na garagem de uma casa antiga do Bom Retiro (região central de São Paulo), um sorriso tímido e desconfiado surge atrás de uma máquina de costura.
(...)
BOM RETIRO
Nos últimos anos, os paraguaios têm ocupado muito espaço nas confecções do Bom Retiro. Eles formam a nova onda de migração do bairro, conhecido por receber comunidades de várias partes do mundo (no século 20, recepcionou comunidades como a italiana e a judaica).
Muitos paraguaios chegam e vão trabalhar para os bolivianos, ainda maioria como donos das confecções. Mas, quando a situação melhora um pouco, eles abrem seu próprio negócio. Todos que resolvem emigrar para o Brasil fazem isso por motivos econômicos.
Estimativas da associação Brasil-Paraguai Japayke (palavra em guarani que significa despertar) indicam a chegada de dez paraguaios por dia à Grande São Paulo. Eles somam um contingente de 60 mil pessoas. Só 10%, aproximadamente, tem os documentos em dia.

TRABALHO
Imigrantes paraguaios ouvidos pela Folha afirmam que as condições de trabalho ofertadas pelos seus conterrâneos é diferente. Por causa das jornadas extensas e dos raros dias de folga, eles dizem que ter patrão boliviano ou sul-coreano é pior.
(...)

Fonte:
Folha de São Paulo. EDUARDO GERAQUE. São Paulo, domingo, 07 de agosto de 2011

European vs American luxury: is there a difference?

by Vanessa Friedman

Is there a difference between European and American luxury? And if so, does it have to do with aesthetics, or markets?

I’ve been pondering this ever since the news broke that, after a year of rumours, Andrew Rosen, the great NY garmento who founded Theory and re-invented Helmut Lang, and John Howard of Irving Place Capitol (a fashion-focused private equity fund) plus a few other investors, finally bought Permira’s stake in US brand Proenza Schouler. Proenza, of course, is perhaps the hottest of all the new generation of American fashion names. It is designed by Jack McCullough and Lazaro Hernandez, who have won designer of the year at the Council of Fashion Designers of America awards twice, and it has been 45 per cent owned by Valentino Fashion Group since 2007.

Conventional wisdom always had it that Valentino bought the brand with an eye toward installing Mssrs McCullough and Hernandez at the group’s eponymous brand, but when the European private equity firm Permira bought VFG that didn’t happen. Proenza has sat strangely in the portfolio ever since: far away and far undersized compared to Valentino and Hugo Boss (also part of VFG) with a buzz that dwarfed its revenues. Permira never seemed to know what to do with it.

Enter Mr Rosen and Mr Howard, who apparently have an idea. “We believe that the Proenza business is the future of American luxury, and uniquely poised to compete in a global marketplace, which is currently dominated by European designers,” they announced in an official release. (Note: they bought their Proenza stake, for an undisclosed sum, as private investors.)

Now, let’s consider that statement. Why didn’t they say “the future of luxury” full stop? Why qualify it with “American”?

On first glance you’d think it would have to do with style, that the point of difference for the brand was some sort of Yankee aesthetic that set it apart from those “European” designers and identified it as American. But Proenza often seems more design-led than many of its NY fashion week peers such as The Row, Jason Wu, and Derek Lam, which are more rooted in the American sports wear tradition of combining super-luxurious materials with super-uncomplicated shapes (that are actually very complicated to proportion correctly – but we’ll leave that for now). This is one of the reasons VFG bought them it the first place; its work does not, in fact, scream “American!” It sort of whispers “cool chic.”

I think the thing that makes Proenza American is: it is based in the US. Which sounds like a ridiculous distinction, but when it comes to launching a fashion business and negotiating issues of production, factories, distribution, copyright protection, retail relationships are meaningful. It is, in fact, one of the reasons so many American brands find it hard to crack Europe, and why so many European brands still see their US business as in the early stages. The logistics of the markets are different, and complicated to parse.

At one point, this might have been behind Proenza’s decision to team up with VFG – a European investor should theoretically be able to help a US brand crack Europe – but you clearly need a critical mass first, which Proenza didn’t have. By contrast, to have a backer who knows the NY fashion world from 7th Avenue up, is probably a faster route to developing a business, and on the base of a solid local business is international expansion built. In a world where young fashion businesses often receive outsize attention, it’s a worthy lesson for us all.

No pun intended.

http://blogs.ft.com/material-world/2011/08/01/european-vs-american-luxury-is-there-a-difference/#axzz1TrTBdeIM

$39,000 numa bolsa?

A marca The Row, lançou em sua última coleção 2 bolsas que custam em torno de 39 mil dólres!
Can you believe?
Do que elas são feitas?
Elas são feitas em couro de jacaré

O preço não está publicizado no site, mas se desejar a bolsa, objeto raro, deve contatá-los por email. A previsão de entrega é até novembro de 2011.














Intrigante.
A pergunta é: O que os desenvolvedores da marca pensaram ao conceber um objeto feito em pele animal e com preço distintivo?

Especialista dizem que o poder aquisitivo de objetos de luxo esta em crescimento, pois é, podemos verificar isso não só por parte dos compradores, mas também pela exploração de uma marca.


Fotos
http://www.therow.com/

Prada Is Making Fashion in China

It's good to know about the fashion economy*!

It follows under:
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Prada SpA is busy in China these days. It's not just listing its shares on the Hong Kong stock exchange Friday and opening stores across the mainland. It is also increasingly manufacturing its high-end fashion there.

About 20% of Prada's collections—which range from bags and shoes to clothes for men and women—are made in China. The Milan-based company manufactures outside Italy in other cheaper countries such as Vietnam, Turkey and Romania, according to the IPO prospectus. In addition to the main Prada label, the company also owns Miu Miu, Church's and Car Shoe.

View Full Image

European Pressphoto Agency

About 20% of Prada's collections are made in China. Above, a Prada shop in Hong Kong last month.

"Sooner or later, it will happen to everyone because [Chinese manufacturing] is so good," Prada designer Miuccia Prada said in an interview. She added that the Chinese are particularly good with shoes.

European luxury fashion labels such as Prada, Gucci and Louis Vuitton have built their reputations on goods crafted at home in France and Italy. Manufacturing skills there in part justify the high prices.

The temptation to move some production abroad is growing, however. The financial crisis put pressure on the industry's operating margins. British label Burberry PLC, for instance, came under fire for closing a factory at home and moving production to Asia.

And production capacity in Europe is limited. Hermès is constantly recruiting new workers in France who undergo a two-year training program. Vuitton is opening its 12th production site in France this month, but it had to close some stores early in the day last year because it was running low on stock.

But there's more than just the bottom line at stake. In Prada's home country, "Made in Italy" has become a political issue. Santo Versace, an owner of the Versace fashion house and an Italian senator, last year lobbied for a "Made in Italy" law that called for an elaborate labeling system to make a clothing item's origin more transparent. The law is awaiting approval from the European Commission.

To be labeled "Made in Italy," only a majority of the cost of an item's production must take place within the country's borders. Manufacturing in China could also backfire with the customers that brands like Prada are trying to appeal to in Asia. "Chinese consumers are ready to pay higher prices for luxury brands, but they want products not to be manufactured in China," says luxury-goods consultant Armando Branchini.

Prada's "Made in China" items aren't priced any differently than products made in Italy. A pair of woven wedge shoes were recently available for $455, the same price as Italian-made sandals.

Last year, Prada provoked debate about manufacturing abroad by announcing it would make small collections in India, Peru, Japan and Scotland. Woven ballet flats from India, Scottish tartans and alpaca sweaters sought to challenge the idea that the best products came from Italy.

Yet it was an anecdotal experiment compared with the rest of Prada's manufacturing outside Italy. Prada owns 10 factories in Italy and one in the UK, primarily for Church's shoes. Yet 80% of its goods are made by a network of 480 external manufacturers, according to documents issued for Prada's stock market debut. About 20% of the external manufacturers are located abroad.

Prada sneakers are made in Vietnam, which has developed specialized know-how in athletic shoes. Many Miu Miu bags bear a "Made in Turkey" label. Clothing such as shirts and dresses often comes from nearby countries like Romania.

Prada, which raised 16.7 billion Hong Kong dollars (US$2.15 billion) from its initial public offering last Friday, fell 2.9% in "gray-market" trading Thursday amid general market weakness.

Hong Kong-based trading firm PhillipMart's gray-market session, open to both retail and institutional investors, runs from 4:30 to 6 p.m. local time the day before a company's shares start trading on the stock exchange. Prada closed at HK$38.35 (US$4.92), below its IPO price of HK$39.50, according to PhillipMart, which said HK$9.7 million in shares changed hands."

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So, Sometimes I don't have time to scan and write interesting news. Now I decided that I will published the entire news.