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Haute couture and design management in the postwar era
Véronique Pouillard

study, but this angle results from a new business history approach and from the unpacking of little explored sources: the haute couture files of the French Ministry of Economy and Finances, the archives of the Chambre Syndicale de la Couture Parisienne, and the archives of the House of Dior. In this chapter, I consider Paris haute couture to be an industrial cluster, as in the works of Michael Porter, Annalee Saxenian, and Enrico Moretti, among others. 9 C. Omnès, Ouvrières parisiennes: Marché du travail et trajectoires professionnelles au 20 e siècle (Paris

in European fashion
The Crystal Palace portrait gallery, c.1854
Jason Edwards

). For more on distant reading, see F. Moretti, Distant Reading (London: Verso, 2013).  2 For an account of the commercial underpinnings of the Palace, see H. Atmore, ‘Utopia Unlimited: The Crystal Palace Company and Joint-Stock Politics, 1854–1856’, Journal of Victorian Culture, 9:2 (2004), 189–215. For a more sensitive analysis of working-class cultures at Sydenham, see D. S. Ryan, ‘Staging the Imperial City: The Pageant of London, 1911’, in F. Driver and D. Gilbert (eds), Imperial Cities: Landscape, Display and Identity (Manchester: Manchester University Press

in After 1851
Exhibitors and their networks
Jasmine Allen

via carriage, rail, and steamboat.76 Of course, accidents happened. The only Italian window exhibited at the Paris 1867 Exposition, 137 Competition and exchange a Coronation of the Virgin by Perugian artist Francesco Moretti (1833–​ 1917), was damaged in transit.77 Upon arrival, stained glass, like other exhibits, was often subject to import duties as well as the costs of packing, insurance, wharfage, and freight (by carriage, rail, and ship). Analysis of Hardman’s Glass Day [Sales] Books reveals that these charges could range from 6 per cent to 20 per cent of

in Windows for the world