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Rytuały mody. Struktura, praktyki i znaczenie pokazów mody

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Raciniewska A.
Prace Etnograficzne
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2014
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vol. 42
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issue 2
95–108
EN
The subject of interest in this paper is the topic of social features of the fashion show, treated as an important ritual and institution of the clothing industry. The first aim of the article is the analysis of the structure of the fashion shows, treated as a specific art form and social organisation; second - an indication of the most important social functions of fashion shows in modern Western societies.
2
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Otwarte kody źródłowe i moda

100%
Raciniewska A.
Człowiek i Społeczeństwo
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2015
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vol. 40
157-173
PL
The impact of the Internet and digital technologies on the contemporary fashion system is undeniable and evident in almost every aspect of its operation – in the techniques of design, material production, sales and distribution, methods of communication, consumption and, finally, the fashion education. There is no place to discuss all these areas in this article, so therefore, I will focus on the issue relatively poorly discussed in our country, which is the application of the open source philosophy in fashion. In the first part of this article the most important assumptions of the open source movement is presented. The second discusses the most important actors and practices of open source in fashion. The final part of the article is devoted to the evaluation of the analyzed phenomenon.
3

Poor Chic. Estetyka Ubóstwa W Modzie Epoki Postindustrialnej

100%
Raciniewska A.
Kultura i Społeczeństwo
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2013
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vol. 57
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issue 4
83-100
EN
Fashion embodies the paradoxes of the contemporary world; its relations with poverty have been fairly perplexing for a long time. The author considers haute couture’s romance with the aesthetics of poverty since the emergence ofmodern capitalist society. She devotes particular attention to the period at the turn of the 20th to 21st centuries, when major social, economic, and cultural transformations brought changes to the fashion world. The first aim of the article is to show fashion’s aesthetic revolution, which was initiated by avant-garde designers in the 1980s and 1990s. Its second is to describe the structural changes that led to a blurring of categories in the fashion system over the past two decades. And its final, most important aim is to present fashion’s popular aesthetic of poverty and to interpret the significance of ‘poor chic’ in contemporary post-industrial society.
4
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Prawo własności intelektualnej w modzie. Historyczny rozwój prawnej ochrony producentów mody

100%
Raciniewska A.
Ruch Prawniczy, Ekonomiczny i Socjologiczny
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2015
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vol. 77
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issue 2
193-207
EN
Since the beginning of modern fashion industry, fashion producers have been victims of unauthorized copying and unfair competition. However, with the rise of a fast fashion segment and the development of digital technology, the Internet and social media, this process is even more dynamic and fashion piracy is now a multi-billion dollar industry. The complexity of the problem, the specifics of the apparel industry as well as an ambivalent attitude of fashion manufacturers to copyright are reflected in frequent discussions among fashion professionals, lawyers, journalists and academics concerned about fashion piracy. However, while on the one hand fashion industry is getting closer to become subject to protection by vesting rights in designers and fashion designs, there are also voices suggesting positive effects of piracy in the apparel industry, which question the legitimacy of copyright law in fashion. The purpose of this article is to show the past process of building complex relationships between fashion and the law in modern societies and to discuss different perceptions of intellectual property in the industry.
PL
Od początków istnienia nowoczesnej branży odzieżowej, producenci mody byli ofiarami nieautoryzowanego kopiowania i nieuczciwej konkurencji. Jednakże wraz z powstaniem segmentu szybkiej mody, rozwojem technologii cyfrowych, Internetu i mediów społecznościowych proces ten się nasilił, a piractwo modowe stanowi obecnie zorganizowany przemysł wart miliardy dolarów. Złożoność problemu, specyfika branży odzieżowej i ambiwalencja samych producentów mody w kwestii kopiowania powodują, że piractwo w modzie jest kwestią często dyskutowaną wśród modowych profesjonalistów, prawników, dziennikarzy i naukowców. Mimo nasilającego się trendu obejmowania prawem projektantów i wzornictwa modowego, obserwujemy również próby kwestionowania zasadności wprowadzania prawa autorskiego do mody i wskazywania pozytywnych skutków piractwa w specyficznej branży odzieżowej. Celem niniejszego artykułu jest ukazanie historycznego procesu budowania złożonych relacji między modą i prawem w społeczeństwach nowoczesnych oraz omówienie różnych sposób postrzegania kwestii prawa własności intelektualnej w tej branży.
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