Между Парижем и Нью-Йорком. Трансатлантическая индустрия моды в XX веке - Вероник Пуйяр

48–49; Stiglitz J. E. Globalization and Its Discontents. New York: W. W. Norton & Company, 2002; Burke J. Bangladesh Factory Collapse Leaves Trail of Shattered Lives // The Guardian. 2013. June 6 [электронный ресурс]. www.theguardian.com/world/2013/jun/06/bangladesh-factory-building-collapse-community; Sinkovics N., Ferdous Hoque S., Sinkovics R. R. Rana Plaza Collapse Aftermath: Are CSR Compliance and Auditing Pressures Effective? // Accounting, Auditing & Accountability Journal. 2016. Vol. 29. № 4. P. 624–625; D’Ambrogio E. Workers’ Conditions in the Textile and Clothing Sector: Just an Asian Affair? Issues at Stake after the Rana Plaza Tragedy // European Parliament Briefing Paper, August 2014 [электронный ресурс]. www.europarl.europa.eu/EPRS/140841REV1-Workers-conditions-in-the-textile-and-clothing-sector-just-an-Asian-affair-FINAL.pdf; Taplin I. M. Who Is to Blame? A Re-examination of Fast Fashion after the 2013 Factory Disaster in Bangladesh // Critical Perspectives on International Business. 2014. Vol. 10. № 1/2. P. 77–79.

17

Sinkovics, Hoque, and Sinkovics. Rana Plaza Collapse Aftermath. P. 624; Davidson A. Economic Recovery, Made in Bangladesh? // The New York Times. 2013. May 14. P. MM16; Kloosterman R., van der Leun J., Rath J. Across the Border: Immigrants’ Economic Opportunities, Social Capital, and Informal Business Activities // Journal of Ethnic and Migration Studies. 1998. Vol. 24. № 2. 1998. P. 249–268; Green N. Ready-to-Wear. London: Routledge, 1997; Bender D. E., Greenwald R. A. (eds) Sweatshop USA: The American Sweatshop in Historical and Global Perspective. London: Routledge, 2003; Stiglitz. Globalization and Its Discontents; Sluiter. Clean Clothes.

18

Sluiter. Clean Clothes. P. 12, 71; Taplin I. M. Who Is to Blame? P. 76; Sen S., Battacharya C. B. Does Doing Good Always Lead to Doing Better? Consumer Reactions to Corporate Social Responsibility // Journal of Marketing Research. 2001. Vol. 38. № 2. P. 240.

19

Lund-Thomsen P., Lindgreen A. Corporate Social Responsibility in Global Value Chains: Where Are We Now and Where Are We Going? // Journal of Business Ethics. 2014. Vol. 123. № 1. P. 13; Mikalsen K.‑E. Nordea-sjef: Dette ville en skjorte kostet om fabrikkarbeiderne i Bangladesh skulle fått en levelig lønn // Aftenposten. 2017. June 2. [электронный ресурс]. www.aftenposten.no/okonomi/Nordea-sjef-Dette-ville-en-skjorte-kostet-om-fabrikkarbeiderne-i-Bangladesh-skulle-fatt-en-levelig-lonn-622467b.html.

20

Le Zotte. Goodwill to Grunge. P. 239–243; Eisenmann T. R., Winig L. Rent the Runway, Case Study № 812–077, Harvard Business School, November 2011 [rev. December 2012]; Hirschman A. O. Exit, Voice, and Loyalty: Responses to Decline in Firms, Organizations, and States. Harvard University Press, 1972; Barrett P. M., Baumann-Pauly D. Made in Ethiopia: Challenges in the Garment Industry’s New Frontier. NYU Stern Center for Business and Human Rights, 2019.

21

Taplin. Who Is to Blame? P. 78. Rafael R. Is This Sewing Robot the Future of Fashion? // Fast Company. 2017. January 24 [электронный ресурс]. www.fastcompany.com/ 3067149/is-this-sewing-robot-the-future-of-fashion; Godley. Selling the Sewing Machine; Hoskins T. Robot factories could threaten jobs of millions of garment workers // The Guardian. 2016. July 16 [электронный ресурс]. www.theguardian.com/sustainable-business/2016/jul/16/robot-factories-threaten-jobs-millions-garment-workers-south-east-asia-women.

22

WTO. World Trade Organization Reports: Top Ten Exporters of Clothing. Geneva: WTO, 2017; Godart F., Galunic C. Explaining the popularity of cultural elements: Networks, culture, and the structural embeddedness of high fashion trends // Organization Science. 2019. Vol. 30. № 1. P. 151–168; Godart F. Culture, Structure, and the Market Interface: Exploring the networks of stylistic elements and houses in fashion // Poetics. 2018. Vol. 68 (June). P. 72–88; Rivoli. Travels of a T-shirt. P. 160–170.

23

Van Dyk L., Fraley K. A. Patrick Kelly: Fashion’s Great Black Hope // Fashion, Style and Popular Culture. 2015. Vol. 2. № 3. P. 333–350; Blum D. Patrick Kelly: Runway of Love. Philadelphia Museum of Art, 2014; Way E. Immigration and the Making of Fashion in Paris and New York. Paris Capital of Fashion Symposium. Fashion Institute of Technology, New York, 18 October 2019; Wilson E. Adorned in Dreams: Fashion and Modernity. London: I. B. Tauris, 2003. P. 196–201; Font L. Un rêve devenu réalité: Les créateurs américains à Paris // Fashion Mix: Mode d’ici, créateurs d’ailleurs / Ed. Olivier Saillard. Paris: Flammarion, 2014. P. 151–153.

24

Historique Christian Dior New York (далее – CDNY) file, Brief History, DSAA; Bomsel O. L’économie immatérielle: Industries et marchés d’expériences. Paris: Gallimard, 2010; Kapferer J.‑N., Bastien V. The Luxury Strategy: Break the Rules of Marketing to Build Luxury Brands. London: Kogan Page, 2009.

25

Müller F. Yves Saint Laurent. Paris: La Martinière, 2010; Benaïm L. Le pantalon: Une histoire en marche. Paris: Éditions de l’Amateur, 1999; Bard C. Les Garçonnes: Modes et fantasmes des années folles. Paris: Flammarion, 1998; Nowinski E. Yves Saint Laurent et l’exotisme dans les années 1960. De l’exception insolente à la naissance du métissage dans la haute couture // La mode des sixties: L’entrée dans la modernité / Ed. Dominique Veillon and Michelle Ruffat. Paris: Autrement, 2007.

26

Rockwell J. (ed.) The Times of the Sixties: The Culture, Politics and Personalities That Shaped the Decade. New York: New York Times Publications, 1968; Müller F., Chenoune F. Yves Saint Laurent. Paris La Martinière, 2010. P. 40, 54, 226–232.

27

Okawa T. Licensing Practices at Maison Dior // Producing Fashion: Commerce, Culture, and Consumers / Ed. Regina Lee Blaszczyk. Philadelphia: University of Pennsylvania Press, 2008. P. 93–95, 99.

28

Memo on Dior licenses (1987), 1, CDNY, DSAA.

29

Republic of France, Sénat, report of proceedings, 18 September 2007 [электронный ресурс]. www.senat.fr/seances/s200709/s20070918/s20070918001.html; Jones G. G., Pouillard V. Christian Dior: A New Look for Haute Couture, Case Study № 809-159, Harvard Business School, 2009 [rev. 2017]; Okawa. Licensing Practices. P. 82–107; Palmer A. Dior: A New Look, a New Enterprise (1947–57). London: Victoria and Albert Museum, 2009; Pochna M.‑F. Christian Dior. Paris: Flammarion, 2004; Porter M. E. The Competitive Advantage of Nations. New York: Free Press, 1990. P. 35–40.

30

Jones and Pouillard, Christian Dior: A New Look; Donzé P.‑Y. Les patrons horlogers de La Chaux-de-Fonds (1840–1920): Dynamique sociale d’une élite industrielle. Neuchâtel: Alphil, 2009 (2007).

31

Historique Christian Dior New York, Brief History. Memo on Dior licenses (1987), 1. Legal, 1, CDNY, DSAA; Palfrey J. G. Intellectual Property Strategy. Cambridge, MA: MIT Press, 2012. P. 33.

32

Legal, 1, CDNY, DSAA.

33

Couture-Création files by couturier, F12 10505, FNA; Portfolio of haute couture labels // Vogue. 1950. February; Standard licensee contract with name of licensee left in blank, 1–2, CDNY, DSAA.

34

Christian Dior USA box, Historique file, «Brief History» (недатированная заметка около середины 1980‑х годов), CDNY, DSAA.