Figure 1 - uploaded by Simona segre reinach
Content may be subject to copyright.
Source publication
Similar publications
Trend Thrifting semakin marak di kalangan mahasiswa Perguruan Tinggi Bogor, menjadi sarana presentasi diri yang efektif. Penelitian Ini bertujuan mengetahui Fashion Esensial Trend Thrifting Mahasiswa Perguruan Tinggi Bogor Dengan Analisis Peirce. Metode kualitatif digunakan melalui observasi dan wawancara terhadap tiga informan penelitian dengan an...
span lang="EN-US">Video saliency detection is a major growing field with quite few contributions to it. The general method available today is to conduct frame wise saliency detection and this leads to several complications, including an incoherent pixel-based saliency map, making it not so useful. This paper provides a novel solution to saliency de...
This research aims to explore the barriers and enablers of clothing repair and repurpose in UK citizens. Using the Behaviour Change Wheel approach, the study aims to develop am intervention to encourage repair and repurpose, which can ultimately contribute to slow and sustainable fashion consumption. This study also investigates the impact of Covid...
Citations
... In today's globalized landscape, where consumer choices span the globe, COO holds considerable significance (Al-Sulaiti and Baker 1998;Usunier 2006). It encompasses not only the image, reputation, and stereotypes associated with a country's products but also the set of beliefs consumers hold about the countries themselves (Cecere, Izzo, and Terraferma 2022;Kotler and Gertner 2002;Nagashima 1970;Roth and Romeo 1992;Segre Reinach 2015;Strutton, True, and Rody 1995). The COO construct manifests in consumers' evaluations of the intrinsic qualities of a specific product based on its origin, shaping their perceptions and attitudes toward associated brands (Cecere, Izzo, and Terraferma 2022: 28). ...
... Moreover, the concept of the "label of origin" does not adhere to a rigid framework; instead, it possesses the adaptability to align with contemporary trends and consumer demands. Nonetheless, consumers have acquired the ability to discern a distinct identity, such as that embodied by the "made in Italy" label, which emerges from the creative process and it is intertwined with specific stylistic elements, commercial interactions, as well as cultural, economic, and historical contexts (Segre Reinach 2015). ...
The paper explores the use of country-related stereotypes associated with Italian identity in the social media communication of 21 Italian fashion brands on Instagram. Focusing on the concept of “made in Italy”, the research employs image content analysis to identify how the selected sample of brands communicates Italian identity globally. The theoretical framework emphasizes the importance of the Country of Origin (COO) concept, indicating that “made in Italy” extends beyond a manufacturing label to encompass cultural, historical, and esthetic dimensions. The analysis reveals Italian fashion brands’ deliberate use of stereotypes, iconic objects, and cultural references to shape and reinforce Italian identity in their digital communication. It highlights the intertwining of these elements, contributing to a multifaceted narrative that extends beyond product promotion. Moreover, it underscores the role of social media, particularly Instagram, in enabling brands to project their Italian identity globally, perpetuating esthetics associated with the concept of “dolce vita”. The study emphasizes the importance of holistic brand communication and the powerful role of Instagram in shaping and reinforcing the global image of “made in Italy”. It also offers insights on utilizing stereotypes and cultural symbols to enhance brand identity, aligning with perceptions associated with Italian culture.
... Over the last few years, a wide literature has investigated the characteristics and evolution of the fashion industry and the 'Made in Italy' label (Santagata 2009(Santagata , 2010Belfanti 2015;Reinach 2015;Lazzeretti and Capone 2020). The topic has been studied from several points of view. ...
... He includes among these sectors Fashion, Industrial design and crafts, Food and the wine industry. 'Made in Italy' represents a group of products with a high degree of cultural content that reflects the values and heritage of a specific territory (Reinach 2015). It expresses the beautiful and high quality of Italian products, designed for a large global market but not standardized (Balicco 2015). ...
... Production was still at the tailoring level more than being factory produced (Merlo and Polese 2006). In the decade between 1960 and 1970 Florence lost its supremacy because it lacked the infrastructure to support production on an industrial scale while the increasingly close relationship between the textile industry and service sectors remained insufficient (Reinach 2015). Accordingly, increasing competition for fashion supremacy between Italian cities, particularly Florence, Rome and Milan, led to a change in Italian fashion geography. ...
... It is noticed that there is a good relationship between the development of the Italian economic system and that of the project activities system (CONTI, 2012). Thus, the dynamics of this model is a direct consequence of the intense and profound relationship (of exchange and collaboration) between companies and the productive capacity of high qualitative content in the value chain: from raw material to stylistic range; from technology to final distribution; to the consumer (SEGRE REINACH, 2015). However, in the current competitive and globalized world, international competition has become more complex. ...
Resumo O objetivo deste artigo é investigar a visão sistêmica do conceito Made in Italy, como conjunto de princípios e valores (tangíveis e intangíveis) inter-relacionados, orientado para inward-looking (foco nas próprias operações) versus outward-looking (contexto competitivo) no âmbito do Design Culture. Considerado um fenômeno policêntrico, a performance do Made in Italy é resultante da conexão entre as empresas e da competência produtiva existente na cadeia de valor, desde a matéria prima até o consumidor final. Assim, atualmente, parece oportuno analisar o Made in Italy sob o viés do Design Culture, uma vez que há uma modificação em termos qualitativos na maneira como o Design é praticado, circulado e percebido. Neste prisma, o produto de moda é considerado um produto híbrido, no qual os elementos materiais são valorizados em razão da formatação de referências culturais, criativas e comunicacionais. A abordagem de investigação adotada foi sistêmico-construtivista e de natureza qualitativa. ¶ Palavras-chave: Made in Italy, Visão Sistêmica, Design de Moda. ¶ ¶ Abstract The objective of this article is to investigate the systemic vision of the Made in Italy concept as a set of interrelated principles and values (tangible and intangible) oriented towards inward-looking (focus on the operations themselves) versus outward-looking (focus on the competitive context) in the scope of Design Culture. Considered a polycentric phenomenon, the performance of Made in Italy results from the connection between companies and the productive competence existing in the value chain, from the raw material to the final consumer. Thus, currently, it seems appropriate to analyze Made in Italy from the perspective of Design Culture since there is a qualitative change in the way Design is practiced, circulated, and perceived. In this prism, the fashion product is considered a hybrid product, in which material elements are valued due to the formatting of cultural, creative, and communicational references. The research approach adopted was systemic-constructivist and of a qualitative nature.
... Over the last few years, a wide literature has investigated the characteristics and evolution of the fashion industry and the 'Made in Italy' label (Santagata 2009(Santagata , 2010Belfanti 2015;Reinach 2015;Lazzeretti and Capone 2020). The topic has been studied from several points of view. ...
... He includes among these sectors Fashion, Industrial design and crafts, Food and the wine industry. 'Made in Italy' represents a group of products with a high degree of cultural content that reflects the values and heritage of a specific territory (Reinach 2015). It expresses the beautiful and high quality of Italian products, designed for a large global market but not standardized (Balicco 2015). ...
... Production was still at the tailoring level more than being factory produced (Merlo and Polese 2006). In the decade between 1960 and 1970 Florence lost its supremacy because it lacked the infrastructure to support production on an industrial scale while the increasingly close relationship between the textile industry and service sectors remained insufficient (Reinach 2015). Accordingly, increasing competition for fashion supremacy between Italian cities, particularly Florence, Rome and Milan, led to a change in Italian fashion geography. ...
The first high fashion show organized in Florence in 1951 represented an important event for the development of the Italian fashion sector, increasing the importance of the fashion industry in international trade. Research in economic business history has identified this period as crucial for the advent of the ‘Made in Italy’ label. The article aims to understand if and how the high fashion shows organized in Florence between 1951 and 1967 influenced the emergence of the Italian fashion industry and the concept of ‘Made in Italy’. Supported by data collected from the historical archive ‘Italian Fashion Archive of Giovanni Battista Giorgini’ and three online archives of digitalized books and newspapers, the analysis sheds light on the perception of the national and international press on the cultural phenomena of Italian fashion and ‘Made in Italy’. Results reveal an increasing trend in the frequency of terms related to the Italian fashion industry coinciding with the years of the Florentine events. The analysis evidences the crucial role of the entrepreneurial activity of Giovanni Battista Giorgini, buyer and organizer of the first Italian high fashion show in Florence, for the emergence of the Italian fashion industry and ‘Made in Italy’.
The Wereldmuseum Rotterdam is planning to hold an exhibition on China in 2023 in which fashion and design are one of the exhibiting categories. In preparation for the event, the museum is proposing to use the cliché Made in China as a provocative title for the exhibition. A workshop with the museum curators was held in 2021 to question the materiality central to the stereotypes associated with the proposed phrase to inform the curatorial direction of the forthcoming exhibition. As a workshop contributor invited to address the inquiry, I have, in this article, examined the phrase itself and China as a place, heritage and concept. The country-of-origin effect of the “made in” label was taken to analyze the phrase. While the negative connotations of Made in China in the exhibition title might have an impact on the perception of the exhibition, two interlocking components—transcultural dynamics and a site of friction—arising from the labeling system constitute a curatorial concept within which Chineseness embedded in the museum fashion and design artifacts are the offspring of the typified multifaceted “China” exchange, connection, and transformation.
A story that begins with a pair of chopsticks, pizza, spaghetti and a cannolo and comes towards its close with models waiting at a partially abandoned dress rehearsal, the saga of the Dolce & Gabbana ‘The Great Show’ is one of digitisation and conflictual interactions between an international luxury fashion brand, Chinese and international media, and consumers. This paper aims to explore these conflicts. Adopting Bourdieu’s field theory, it interprets the interactions between actors involved in the development of the incident. By analysing the timeline of events and actors’ framing, it explains how consumers, social media influencers, established media, and the brand negotiated variant forms of capital in the field of global luxury fashion and its Chinese market. It proposes that the capital held by certain actors engaged in the global luxury fashion industry was converted during November 2018 and provides a framework for understanding these developments that may be translated to analyse similar events.
