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BERLIN AS A CREATIVE FIELD: DECONSTRUCTING THE ROLE OF THE URBAN CONTEXT IN CREATIVE PRODUCTION

100%
Copercini M.
Quaestiones Geographicae
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2016
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vol. 35
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issue 4
121-132
EN
The relation between creative activities and the cities in which they are concentrated is that of mutual influence and dependence. This kind of dynamics is well described by the concept of the creative field by Scott (2006, 2008, 2010, 2014). According to this concept, there is a shared relational context among creative actors in a given place, as well as between them and the local socio-economic-institutional context. Consequently, the economic profile and innovation capacity of a city are determined by the main sectors based there. In this paper, I discuss the role of the creative field in developing the relation between the city of Berlin and creative actors of the fashion design sector, as well as elements of the creative field that are considered relevant by fashion designers in their creative work. This perspective allows the underscoring of some relevant drivers that have made Berlin one of the most relevant places for fashion design in Germany and the whole of Europe. This research has been supported by administrative data from the period 1990–2015, along with personal interviews in the fashion design sector. Shown are not only the existing relations between the urban context and the creative activities of designers, but also how the development of the creative field of the city might be influenced. Consequently, the creative work of fashion designers and their location decisions have to be considered in relation to the creative field as a dynamic combination of variable elements that influence, and are influenced by, each other.
2
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Copyright – an Ally for Fashion in the Intellectual Property Rights System?

100%
Jankowska M.
Contemporary Central and East European Law
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2019
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issue 1 (133)
64-74
EN
In the Internet society, we are accustomed to the originators of creative works asserting strong protection of their output. Similarly, we witness extremely casual appropriation of works that is easier than ever to discover. Fashion products are an interesting case in this regard – through the relatively short history of the industry, protection of works has tended to be quite loose. Until recently, the consequences of copying in the fashion sector were not particularly serious, but the emergence of the connected society and the increased speed and scale of this copying threaten to cause more noticeable damage. The awareness that new threats call for a more serious approach to protection of creations requires examination of how and whether the familiar principles of copyright law can be applied to fashion designs and products, and to what extent. This paper outlines the background to such protections in the fashion industry, including examples of both strong and relaxed approaches by industry players. There is a brief presentation of case law that demonstrates how copyright principles can be applied to fashion, while also noting the role of society in applying the norms that determine the extent to which laws, once written, can actually be applied.
3
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Počátky modrotiskové oděvní tvorby v Československu. Vývoj v letech 1948-1953

88%
Jurková K.
Národopisný věstník
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2019
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vol. 36_(78)
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issue 2
5-35
EN
The study deals with the modern development of blueprinting technique in Czechoslovakia, which reflected the shift away from traditional forms. It focusses on the specific work with blueprint, and on the creation of professional textile and fashion designers, whereby the beginnings of that creation date back to the second half of the 1930s. Attention is mostly paid to the subsequent stage limited by the years 1948-1953. After the Communist coup d ́état, blueprint fashion design developed in a setting formed by the governing ideology. As a consequence thereof, higher attention began to be paid to traditional folk textiles, among which the blueprinting technique reached a distinctive position. Artists specialized in different fields created diverse, mutually disparate and undoubtedly inspiring projects, which dealt with designs of modern women ́s apparels. Most designs were experimental and they searched for a suitable perception at the time of a new way of labour. The activities within the observed period laid the foundations of the follow-up systematic designer ́s activity in the field of blueprint apparels, which has been evolving to date. The study deals with a topic that has not been treated yet; it is based on thorough investigation of professional period journals and archival materials.
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