co-creativity; new ways of understanding 1950's fashion angela partington university of the...
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Co-creativity; new ways of understanding 1950's fashion
Angela Partington University of the West of England
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Co-creativity: new ways of understanding 1950’s fashion
• creativity: contextualised and collaborative
• collaborative interactions with consumers
• innovations in design practice derive from the relationships between practitioners and consumers
• the convergence of academic research and marketing
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The democratisation of creative production?
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Art and everyday life
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Consumers have always used objects to transform themselves
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Design has always been consumer-led
• Fashion ‘forecasting’• Cool-hunting• ‘bubble-up’ fashion-adoption • Stylistic proliferation
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Understanding the production of meaning: post-critical methodologies
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‘mass market’ fashion?
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pleasures of spectacle: audience identity
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Glamour vs Utility
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Rita Hayworth 1940’s Dior’s New Look 1947
The Wild One 1953Chevrolet 1957Dracula 1958
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‘Ruby Gentry’ 1952
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Letty Lytton 1932
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‘Written on the Wind’ 1956
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Consumption: selective, eclectic and unpredictableIntertextuality: an effect of consumption
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Creativity and Commerce‘Half a century of marketing science has had no impact on the 95%failure rate of new products’ (Brown, S., ‘Postmodern Marketing’, 1995)
‘Guitar music is on the way out’ Sony Walkman (1980) Teenage Mutant
(Decca Records 1962) Ninja Turtles (1992)
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The C21st creative professional is a collaborator and mediator, a ‘hybrid manager’ who can ‘operate across disciplines’ (Cox Review 2005)
Hella Jongerius Dominic Anciano
M/M
Damien Hirst