Véronique Pouillard | University of Oslo (original) (raw)
Articles by Véronique Pouillard
Revista de Ensino em Artes, Moda e Design, 2024
Revista de Ensino em Artes, Moda e Design, 2024
Creative IPR International Conference
Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM... more Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM, based primarily in Belgium, to a lesser degree the SACEM, based in France, and from the 1960s, the SONECA, in Congo. This research examines the role of the European and the local societies, and the sources of author’s rights revenues, allowing to contextualize the narratives on the emergence of a music industry during the last decade of the Belgian colonial era (the 1950s), and the early postcolonial period, until the beginning of the regime of Mobutu. The activity of musicians in Congo during that period was ranging from traditional music, to genres inspired by a mix of traditional culture, of Anglo-Saxon, and Hispanic influences. Yet other musicians in Congo were engaged in religious music, and in classical music.
During the late colonial and early post-colonial eras in Congo, several, often overlapping legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandates (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks, and attempted at taking into account the indigenous rights (droits coutumiers). Based on sources kept at the Africa Museum in Tervueren, the National Archives of France, and the department of Musicology at the Royal Library of Belgium, the paper examines the nature of the property regime created by the confluence of colonial right, indigenous right, and postcolonial developments. Its contextualization within the framework of a globalization of intellectual property rights in construction is discussed through the study of the participation of the delegates of Congo (and later on Zaïre) in the international conferences that aimed to harmonize intellectual property at the international level during the 1960s and the 1970s.
Fortid, 2020
This paper examines the status of the creative industries, especially textile and music, during t... more This paper examines the status of the creative industries, especially textile and music, during the 1950s, which was the last decade of the colony of Belgian Congo and the Belgian mandates on Ruanda-Urundi. For the colonizers, the arts and crafts of Congo deserved to be preserved as authentic forms of aesthetic expression. In so doing, the colonial authority developed politics of subventions and institutions ranging from ephemeral projects to long-lasting museums. Yet a delicate issue was to be found in the question of how to define the notions of authenticity and of tradition. In order to shed light on the idea of authenticity, the colonizers in charge of art and crafts politics mobilized categories of analysis defined by the disciplines of aesthetics and of ethnography. Politics of conservation were hampered by numerous factors, including the international trafficking and looting of Congolese productions, and the practical and financial challenges of setting up expeditions to record oral traditions, music, and other productions in Congo. Subventions supported, to some extent, the newer and emerging forms of creativity and of art, but the politics of intellectual property were decisive is establishing a regime of authorship for the people in Congo, Ruanda and Urundi who, at that time, did not have access to the franchise. Intellectual property created a small niche that, from the point of view of the legislative framework, gave new, although very limited rights to the Congolese creators and authors. Research for this paper is based on sources that include legal treaties on the Belgian colony of Congo and mandates over Ruanda-Urundi kept at the Royal Library of Belgium, the archives of the Commission pour la Protection des Arts et Métiers Indigènes kept at the Africa Museum in Tervueren, and secondary literature.
Journal of Design History, 2017
Until recently, the protection of fashion creativity and innovation has been substantially differ... more Until recently, the protection of fashion creativity and innovation has been substantially different on both sides of the Atlantic. This has resulted in difficulties for fashion innovators and for makers of authorized copies when trying to protect their investment in design. During the first half of the twentieth century, Paris remained the centre for creativity in women’s fashion design, while New York’s garment industry capitalized on copying French design. The Milton case occupies a central place in the battle waged by Paris fashion industrialists against so-called American piracy. This article examines a case that took place between 1955 and 1962. A group of French couturiers filed a lawsuit in New York against F. L. Milton, an American entrepreneur specializing in making and selling sketches of Paris fashions. Paris couturiers considered this type of venture unfair, although the status of his work was ambiguous in the US markets. The case shows the challenges in an industry that occupied a complex position between high and low authorship. This contribution builds upon the case law of the Milton affair, the business records of plaintiffs and defendants, and the archives of professional associations on both sides of the Atlantic.
In the creative industries, managing creativity and business is a complex process. This article e... more In the creative industries, managing creativity and business is a complex process. This article explores the history of the oldest and most prestigious employers’ syndicate in the fashion industry, the Chambre Syndicale de la Couture parisienne (1868) during the interwar period, a time of crisis and change. The study of the private, unpublished archives of the syndicate allows us to understand the tensions between management and creativity. Paris fashion entrepreneurs federated to face external and internal challenges. Two major topics emerge from their concerns: the relations of entrepreneurs with the workforce, and the protection of intellectual property rights. The Chambre Syndicale's members, in response, developed social services, schools for apprentices, lobbied the French institutions, and shared information among themselves. In so doing, the Chambre developed unmatched politics of exclusivity that underline the role of the syndicate as a gatekeeper.
En los sectores creativos, gestionar simultáneamente creatividad y negocio constituye un proceso complejo. Este artículo explora la historia de la asociación patronal más antigua y prestigiosa del sector de la moda, la Cámara Sindical de la Costura Parisina (1868) durante el periodo de entreguerras, que supuso un tiempo de crisis y de cambios. El estudio de los archivos privados e inéditos de la asociación nos permite comprender las tensiones que se produjeron entre la gestión y la creatividad. Los empresarios de la moda parisina se aliaron para hacer frente a las dificultades externas e internas. De entre sus preocupaciones surgieron dos grandes cuestiones: las relaciones de los empresarios con los empleados, y la protección de los derechos de propiedad intelectual. Como respuesta, los miembros de la Cámara Sindical, pusieron en marcha servicios sociales y escuelas de aprendices, y presionaron a las instituciones francesas compartiendo información entre ellos. Con esta labor, la Cámara desarrolló políticas de exclusividad inigualables que destacan el papel supervisor desempeñado por la asociación.
This paper describes the strategies of the French fashion business to authenticate its designs an... more This paper describes the strategies of the French fashion business to authenticate its designs and brands under the challenge of mass-produced ready-to-wear clothing by US manufacturers. It focuses on the 1950s as a pivotal moment in fashion history, as the older model of elite fashion 'trickling down' to the lower strata of garment production made way for a multiplicity of trendsetters and a democratisation of fashion. Starting from a situation in which New York-based manufacturers produced low-price copies of Parisian designs, the paper analyses the various strategies of French fashion producers to get control over the exploitation of their designs. As attempts to secure international copyright for fashion designs failed, Parisian designers brought out tie-in products and boutique lines and managed to shift the authenticity of their work from the design to the brand.
in: S. Chaouche, C. Edouard ed., "European Drama and Performance Studies. Consuming Female Perfor... more in: S. Chaouche, C. Edouard ed., "European Drama and Performance Studies. Consuming Female Performers (1850s-1950s), Paris, Classiques Garnier, 2015, pp. 225-247.
Cette étude porte sur la question des exportations de mode et plus particulièrement de mode franç... more Cette étude porte sur la question des exportations de mode et plus particulièrement de mode française pendant l'entre-deux-guerres, dans un contexte de crise textile et de protectionnisme. 2 Paris est alors le seul centre de création internationalement reconnu. La transmission des modèles de haute couture française joue donc un rôle essentiel dans la circulation des modes. Enjeu économique, pour la France mais également pour les pays importateurs, la haute couture concerne une part économique limitée, mais culturellement très influente, d'un secteur textile qui est, en Belgique, l'une des principales industries. Au milieu des années 1930, le textile est considéré comme le premier secteur industriel en nombre d'ouvriers, soit 18% des travailleurs; sans oublier l'existence d'une main-d'oeuvre souvent non déclarée, travaillant à domicile et éventuellement pour son propre compte. 3 Le contrôle de la diffusion des modèles par la France, mais également l'attitude des importateurs, restent jusqu'ici peu étudiés, souvent faute de documents. 4
Distribution électronique Cairn.info pour Nouveau Monde éditions.
Books by Véronique Pouillard
Oxford University Press, 2020
Revista de Ensino em Artes, Moda e Design, 2024
Revista de Ensino em Artes, Moda e Design, 2024
Creative IPR International Conference
Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM... more Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM, based primarily in Belgium, to a lesser degree the SACEM, based in France, and from the 1960s, the SONECA, in Congo. This research examines the role of the European and the local societies, and the sources of author’s rights revenues, allowing to contextualize the narratives on the emergence of a music industry during the last decade of the Belgian colonial era (the 1950s), and the early postcolonial period, until the beginning of the regime of Mobutu. The activity of musicians in Congo during that period was ranging from traditional music, to genres inspired by a mix of traditional culture, of Anglo-Saxon, and Hispanic influences. Yet other musicians in Congo were engaged in religious music, and in classical music.
During the late colonial and early post-colonial eras in Congo, several, often overlapping legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandates (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks, and attempted at taking into account the indigenous rights (droits coutumiers). Based on sources kept at the Africa Museum in Tervueren, the National Archives of France, and the department of Musicology at the Royal Library of Belgium, the paper examines the nature of the property regime created by the confluence of colonial right, indigenous right, and postcolonial developments. Its contextualization within the framework of a globalization of intellectual property rights in construction is discussed through the study of the participation of the delegates of Congo (and later on Zaïre) in the international conferences that aimed to harmonize intellectual property at the international level during the 1960s and the 1970s.
Fortid, 2020
This paper examines the status of the creative industries, especially textile and music, during t... more This paper examines the status of the creative industries, especially textile and music, during the 1950s, which was the last decade of the colony of Belgian Congo and the Belgian mandates on Ruanda-Urundi. For the colonizers, the arts and crafts of Congo deserved to be preserved as authentic forms of aesthetic expression. In so doing, the colonial authority developed politics of subventions and institutions ranging from ephemeral projects to long-lasting museums. Yet a delicate issue was to be found in the question of how to define the notions of authenticity and of tradition. In order to shed light on the idea of authenticity, the colonizers in charge of art and crafts politics mobilized categories of analysis defined by the disciplines of aesthetics and of ethnography. Politics of conservation were hampered by numerous factors, including the international trafficking and looting of Congolese productions, and the practical and financial challenges of setting up expeditions to record oral traditions, music, and other productions in Congo. Subventions supported, to some extent, the newer and emerging forms of creativity and of art, but the politics of intellectual property were decisive is establishing a regime of authorship for the people in Congo, Ruanda and Urundi who, at that time, did not have access to the franchise. Intellectual property created a small niche that, from the point of view of the legislative framework, gave new, although very limited rights to the Congolese creators and authors. Research for this paper is based on sources that include legal treaties on the Belgian colony of Congo and mandates over Ruanda-Urundi kept at the Royal Library of Belgium, the archives of the Commission pour la Protection des Arts et Métiers Indigènes kept at the Africa Museum in Tervueren, and secondary literature.
Journal of Design History, 2017
Until recently, the protection of fashion creativity and innovation has been substantially differ... more Until recently, the protection of fashion creativity and innovation has been substantially different on both sides of the Atlantic. This has resulted in difficulties for fashion innovators and for makers of authorized copies when trying to protect their investment in design. During the first half of the twentieth century, Paris remained the centre for creativity in women’s fashion design, while New York’s garment industry capitalized on copying French design. The Milton case occupies a central place in the battle waged by Paris fashion industrialists against so-called American piracy. This article examines a case that took place between 1955 and 1962. A group of French couturiers filed a lawsuit in New York against F. L. Milton, an American entrepreneur specializing in making and selling sketches of Paris fashions. Paris couturiers considered this type of venture unfair, although the status of his work was ambiguous in the US markets. The case shows the challenges in an industry that occupied a complex position between high and low authorship. This contribution builds upon the case law of the Milton affair, the business records of plaintiffs and defendants, and the archives of professional associations on both sides of the Atlantic.
In the creative industries, managing creativity and business is a complex process. This article e... more In the creative industries, managing creativity and business is a complex process. This article explores the history of the oldest and most prestigious employers’ syndicate in the fashion industry, the Chambre Syndicale de la Couture parisienne (1868) during the interwar period, a time of crisis and change. The study of the private, unpublished archives of the syndicate allows us to understand the tensions between management and creativity. Paris fashion entrepreneurs federated to face external and internal challenges. Two major topics emerge from their concerns: the relations of entrepreneurs with the workforce, and the protection of intellectual property rights. The Chambre Syndicale's members, in response, developed social services, schools for apprentices, lobbied the French institutions, and shared information among themselves. In so doing, the Chambre developed unmatched politics of exclusivity that underline the role of the syndicate as a gatekeeper.
En los sectores creativos, gestionar simultáneamente creatividad y negocio constituye un proceso complejo. Este artículo explora la historia de la asociación patronal más antigua y prestigiosa del sector de la moda, la Cámara Sindical de la Costura Parisina (1868) durante el periodo de entreguerras, que supuso un tiempo de crisis y de cambios. El estudio de los archivos privados e inéditos de la asociación nos permite comprender las tensiones que se produjeron entre la gestión y la creatividad. Los empresarios de la moda parisina se aliaron para hacer frente a las dificultades externas e internas. De entre sus preocupaciones surgieron dos grandes cuestiones: las relaciones de los empresarios con los empleados, y la protección de los derechos de propiedad intelectual. Como respuesta, los miembros de la Cámara Sindical, pusieron en marcha servicios sociales y escuelas de aprendices, y presionaron a las instituciones francesas compartiendo información entre ellos. Con esta labor, la Cámara desarrolló políticas de exclusividad inigualables que destacan el papel supervisor desempeñado por la asociación.
This paper describes the strategies of the French fashion business to authenticate its designs an... more This paper describes the strategies of the French fashion business to authenticate its designs and brands under the challenge of mass-produced ready-to-wear clothing by US manufacturers. It focuses on the 1950s as a pivotal moment in fashion history, as the older model of elite fashion 'trickling down' to the lower strata of garment production made way for a multiplicity of trendsetters and a democratisation of fashion. Starting from a situation in which New York-based manufacturers produced low-price copies of Parisian designs, the paper analyses the various strategies of French fashion producers to get control over the exploitation of their designs. As attempts to secure international copyright for fashion designs failed, Parisian designers brought out tie-in products and boutique lines and managed to shift the authenticity of their work from the design to the brand.
in: S. Chaouche, C. Edouard ed., "European Drama and Performance Studies. Consuming Female Perfor... more in: S. Chaouche, C. Edouard ed., "European Drama and Performance Studies. Consuming Female Performers (1850s-1950s), Paris, Classiques Garnier, 2015, pp. 225-247.
Cette étude porte sur la question des exportations de mode et plus particulièrement de mode franç... more Cette étude porte sur la question des exportations de mode et plus particulièrement de mode française pendant l'entre-deux-guerres, dans un contexte de crise textile et de protectionnisme. 2 Paris est alors le seul centre de création internationalement reconnu. La transmission des modèles de haute couture française joue donc un rôle essentiel dans la circulation des modes. Enjeu économique, pour la France mais également pour les pays importateurs, la haute couture concerne une part économique limitée, mais culturellement très influente, d'un secteur textile qui est, en Belgique, l'une des principales industries. Au milieu des années 1930, le textile est considéré comme le premier secteur industriel en nombre d'ouvriers, soit 18% des travailleurs; sans oublier l'existence d'une main-d'oeuvre souvent non déclarée, travaillant à domicile et éventuellement pour son propre compte. 3 Le contrôle de la diffusion des modèles par la France, mais également l'attitude des importateurs, restent jusqu'ici peu étudiés, souvent faute de documents. 4
Distribution électronique Cairn.info pour Nouveau Monde éditions.
Oxford University Press, 2020
Journal of Design History, 2017
Vingtieme Siecle-revue D Histoire, 2009
The Silent Peacemaker: Intellectual Property Rights and the Interwar International Legal Order, 1919–1939, P. Sean Morris ed., Brill, 2024
The Routledge History of Fashion and Dress, 1800 to the present, Véronique Pouillard, Vincent Dubé-Senécal eds., 2023
The Oxford Handbook of Luxury Business, Pierre-Yves Donzé, Véronique Pouillard, Joanne Roberts eds., Oxford University Press, 2020
Jean Stengers, Belgique, Europe, Afrique, Deux siècles d'histoire contemporaine, 2005
The End of Fashion
Attitudes to fashion have changed radically in the twenty-first century. Dress is increasingly ap... more Attitudes to fashion have changed radically in the twenty-first century. Dress is increasingly approached as a means of self-expression, rather than as a signifier of status or profession, and designers are increasingly treated as “artists”, as fashion moves towards art and enters the gallery, museum, and retail space. This book is the first to fully explore the causes and implications of this shift, examining the impact of technological innovation, globalization, and the growth of the internet. The End of Fashion focuses on the ways in which our understanding of fashion and the fashion system have transformed as mass mediation and digitization continue to broaden the way that contemporary fashion is perceived and consumed. Exploring everything from the rise of online shopping to the emergence of bloggers as power elites who have revolutionized the terrain of traditional fashion reportage, this volume anatomizes a world in which runway shows now compete with live-streaming, digital ...
In: Hartmut Berghoff, Thomas Kuehne, Globalizing Beauty: Consumerism and Body Aesthetics in the T... more In: Hartmut Berghoff, Thomas Kuehne, Globalizing Beauty: Consumerism and Body Aesthetics in the Twentieth Century, Palgrave, 2013, pp. 151-169.
European Fashion, 2018
Pierre Cardin, a young Parisian couturier born in Italy, designed the coat dress on the cover of ... more Pierre Cardin, a young Parisian couturier born in Italy, designed the coat dress on the cover of this book (figure 1.1). In his early years, Cardin had been the director of tailoring at the house of Christian Dior, the firm that helped to orchestrate the comeback of haute couture during the postwar era. In 1948, when it became apparent that Christian Dior's designs were being leaked to mass-market garment manufacturers, the French police interrogated Cardin at length. The young designer was found innocent, but he was deeply offended by the episode. When starting his own business in the 1950s, Cardin innovated and designed fashions that embodied a hopeful future for the postwar consumer. In 1959, he was banned from the prestigious Chambre Syndicale de la Couture Parisienne-the trade association for the haute couture industry that had been established in 1868-for having designed for All Printemps, one of the large department stores on boulevard Haussmann in Paris. Although Cardin was eventually welcomed back to the Chambre Syndicale, his eyes were fixed on a broader clientele. In the transformative times of the 1950s and 1960s, the old system of haute couture was challenged by the demands of consumer culture. Cardin licensed his brand more widely than any couturier before him, putting the name of Pierre Cardin before the masses. 1 Our cover photo from February 1961 is more than a picture of an outfit designed by Pierre Cardin. The image embodies the complexities of the European fashion system and speaks to its place in the new global order that was in its infancy in the postwar years. At first glance, the picture looks to be a publicity photograph taken in a well-heeled Paris suburb to advertise a new collection. However, the picture is not from the archive of Pierre Cardin, but from the vast collection of business records from the American chemical giant, E. I. du Pont de Nemours and Company, of Wilmington, Delaware. As the world's largest manufacturer
Commerce, Culture, and Consumers, 2008
in: K. Sogner, E. Lie, H.B. Aven, Entreprenørskap i næringsliv og politikk, Festskrift til Even L... more in: K. Sogner, E. Lie, H.B. Aven, Entreprenørskap i næringsliv og politikk, Festskrift til Even Lange, Oslo: Novus Forlag, 2016, pp. 189-210.
in K.H. Nordberg, H. Roll-Hansen, E. Sandmo, H. Sandvik ed., Myndighet og medborgerskap. Festskri... more in K.H. Nordberg, H. Roll-Hansen, E. Sandmo, H. Sandvik ed., Myndighet og medborgerskap. Festskrift til Gro Hagemann pa 70-arsdagen 3. september 2015, Oslo, Novus Forlag, 2015, pp. 293-309.
Responsable du service des archives historiques, Société générale, Paris Sébastien DURAND Doctora... more Responsable du service des archives historiques, Société générale, Paris Sébastien DURAND Doctorant en histoire, université Michel de Montaigne Bordeaux 3, Centre aquitaine d'histoire moderne et contemporaine Éric GODEAU Doctorant en histoire, université Paris I Panthéon-Sorbonne, IDHE 8 Christian HOTTIN Conservateur du Patrimoine, Centre des archives du monde du travail (CAMT), Roubaix Coralie IMMELÉ Doctorante en histoire, université Lumière Lyon 2, Laboratoire de recherche historique Rhône-Alpes (LARHRA) Madeleine JACQUEMIN Attachée scientifique aux Archives générales du Royaume, Bruxelles
Au XX e siècle, la publicité européenne se développe comme une technique nouvelle, pourvoyeuse d'... more Au XX e siècle, la publicité européenne se développe comme une technique nouvelle, pourvoyeuse d'un succès commercial aux promesses illimitées. Certains publicitaires deviennent théoriciens et substituent, aux pratiques anciennes de la réclame, la publicité nouvelle. Elle était le fait des annonceurs et des médias, elle devient le fruit du travail d'un intermédiaire qui s'érige en expert, en professionnel : le publicitaire 1 . Dans la foulée, les pionniers de la publicité en viennent à la définir comme une science, et cette science s'accompagne le plus souvent du qualificatif d'américaine.
The Business History Review, 2024
Technology and Culture, 2024
African Studies Review, 2024
The Business History Review, 2017
The Business History Review, 2022
The Business History Review, 2019
Fashion is often studied from a purely theoretical perspective, from a costume history or dress h... more Fashion is often studied from a purely theoretical perspective, from a costume history or dress history viewpoint, or from a popular media-driven vantage point. 'The Enterprise of Culture: international structures and connections in the fashion industry since 1945' breaks new ground, using the fashion business to examine how various types of cultural encounters – between 'core' fashion cities such as Paris and London and 'peripheral' areas such as Sweden and Scotland, between style labs and the high street, and between fibre makers, clothing manufacturers, and retailers – stimulated innovation, and created a new and competitive industry. This European Union-funded project involves researchers from the universities of Leeds, Erasmus Rotterdam, Oslo, Newcastle, St Andrews, and Heriot-Watt, and from the Victoria and Albert Museum and the Centre for Business History Stockholm.
HIS1300 MET From the Congo Free State to the Belgian Colony, 2019
The New School, Parsons Paris site, 2016, 2016
Two sessions on the history of the haute couture trade
What we choose to consume, and what we refuse to consume, has become an important part of how we ... more What we choose to consume, and what we refuse to consume, has become an important part of how we define ourselves. Consumer activists, for example in anti-sweatshops movements have contributed to give high visibility to consumer advocacy. It is, however, hardly a recent political cause. Why and when did we start speaking of consumption society? How has consumption become central in defining human activity? What is a citizen-consumer?
In this course we will explore the emergence of new forms of consumption from the late 19th century, and read about the critiques addressed to them. Answering critiques, enterprises and public institutions have in turn developed skills to communicate with the consumer. The line between information and persuasion will be a topic of debate in the course, as well as the transfers and exchanges in know-how and experts. Cases will approach the history of multinational advertising agencies, the evolution of marketing and propaganda techniques under totalitarian regimes, and renewed forms of consumers’ activism. These questions will be further explored up to and including the Cold War.
CREATIVE IPR International Conference, 2022
This roundtable focuses on dress fashion as an object of study in history, paying particular atte... more This roundtable focuses on dress fashion as an object of study in history, paying particular attention to its multi-faceted influence and the contexts underlying its creation and dissemination. Beyond a history of fashion styles, the panelists will discuss the business of fashion and its relationship to intellectual property as well as its national, international and transnational contexts. At the heart of this discussion, the roundtable will revolve around the three books recently published by each panelist on the subject of fashion but each rooted in a different perspective. In turn, this will serve as a stepping-stone to highlight both the advantages and limits of each perspective in order to analyse fashion with the end goal being to look at the way each perspective can nourish one another to better grasp this object of study.
The books that will be at the roots of the discussions have all been published in 2021 and look at fashion from a distinct perspective. First, Audrey Millet’s Le livre noir de la mode. Création, production, manipulation (Paris: Les Pérégrines) looks at fashion from a critical perspective through the lens of social and economic history as well as the history of technology. Second, Véronique Pouillard’s Paris to New York: The Transatlantic Fashion Industry in the Twentieth Century (Cambridge, MA: Harvard University Press) studies fashion from the vantage point of business history, looking at the roles of entrepreneurs, designers, and institutions. Third, Vincent Dubé-Senécal’s La mode française. Vecteur d’influence aux États-Unis (1946-1960) (Paris: Hermann) analyses fashion and its influence from the point of view of the history of international relations, looking at the diplomatic influence of fashion.
The three participants will discuss their own book by each answering the same set of five questions to serve as a starting point for a short exchange of views between the panelists and closing with questions from the public.
Le Mouvement social, 2007
Zeitschrift für Unternehmensgeschichte, 2023
The Journal of Modern History, 2023
Advertising, Propaganda and War Finance France and the US during WWI, 2006