Step into the world where fashion meets law, where innovation intertwines with tradition, and where haute couture unveils its secrets. In the 10th volume of the Series of the Center for Design, Fashion, and Advertisement Law (University of Silesia in Katowice), embark on a journey that delves deep into the long-forgotten haute couture ateliers. From groundbreaking marketing strategies to pioneering legal frameworks, from intricate technical designs to unparalleled branding techniques, this volume uncovers the multifaceted innovations that have shaped the landscape of fashion and beyond. Join us as we explore the intersection of creativity and legality, where every stitch tells a story of ingenuity and inspiration.

Step into the pulsating heart of contemporary fashion law as Volume 11 of the Series of the Center for Design, Fashion, and Advertisement Law (University of Silesia in Katowice) unfolds its pages. With a focus on France, the epitome of haute couture, immerse yourself in the rich tapestry of French copyright law as it interplays with the vibrant world of fashion. From renowned fashion houses to cutting-edge designers, explore captivating case studies that illuminate the intricate dance between creativity and legal protection. Delve deep into the nuances of copyright law, gaining invaluable insights into the legal landscape shaping the future of fashion. Join us on this enlightening expedition as we uncover the legal fabric that weaves together the threads of innovation, culture, and style at the forefront of the fashion universe.

"An unprecedented examination of the impact of fashion on society in France throughout the Great War. This fascinating exploration of French women's fashion during World War I is the first in-depth consideration of the role that fashion played in the upheaval of French society between 1914 and 1918. As the fashion industry-the second largest industry in the country-mobilized to help the war effort, Parisian couture houses introduced new styles, aggressively disseminated information through magazines, and strengthened their propaganda efforts overseas. Women of all social classes adapted their garments to the wartime lifestyle, and practicality was increasingly introduced in the form of pockets and "sportswear" textiles like jersey. While women were heralded for contributing to the war effort, the clothes they wore while doing so often provoked debates, particularly when their attire was seen as too masculine or militaristic. With focused studies of wartime garments such as skirt suits, nurse's uniforms, work overalls, and mourning clothes, this volume brings to life the passionate debates that roiled the French fashion industry and reveals the extent to which fashion was a hotly contested topic and a barometer for social tensions throughout this tumultuous era. Maude Bass-Krueger is postdoctoral fellow at the Center for the Arts in Society at Leiden University. Sophie Kurkdjian is a research fellow at l'Institut d'histoire du temps prâesent (IHTP-CNRS)"--

The fashion aesthetic of handsome, aristocratic Hubert de Givenchy combined the traditions of haute couture—creative, luxurious, and perfectionist—with a modern entrepreneurial sensibility. In a career spanning 40 years, he created the most glamorous of evening dresses, developed the influential “sack” dress, and produced debonair daytime suits that have never gone out of fashion. He also famously defined the sartorial image of Audrey Hepburn—both onscreen and off—designing the little black dress for Breakfast at Tiffany’s. Created by the editors of British Vogue, Vogue on Hubert de Givenchy features biography and history studded with more than 80 images from their unique archive of images taken by leading photographers such as Irving Penn, Patrick Demarchelier, and Cecil Beaton.

On November 28, 1973, the world's social elite gathered at the Palace of Versailles for an international fashion show. By the time the curtain came down on the evening's spectacle, history had been made and the industry had been forever transformed. This is that story. Conceived as a fund-raiser for the restoration of King Louis XIV's palace, in the late fall of 1973, five top American designers faced off against five top French designers in an over-the-top runway extravaganza. An audience filled with celebrities and international jet-setters, including Princess Grace of Monaco, the Duchess of Windsor, Paloma Picasso, and Andy Warhol, were treated to an opulent performance featuring Liza Minnelli, Josephine Baker, and Rudolph Nureyev. What they saw would forever alter the history of fashion. The Americans at the Battle of Versailles– Oscar de la Renta, Bill Blass, Anne Klein, Halston, and Stephen Burrows – showed their work against the five French designers considered the best in the world – Yves Saint Laurent, Hubert de Givenchy, Pierre Cardin, Emanuel Ungaro, and Marc Bohan of Christian Dior. Plagued by in-fighting, outsized egos, shoestring budgets, and innumerable technical difficulties, the American contingent had little chance of meeting the European's exquisite and refined standards. But against all odds, the American energy and the domination by the fearless models (ten of whom, in a groundbreaking move, were African American) sent the audience reeling. By the end of the evening, the Americans had officially taken their place on the world's stage, prompting a major shift in the way race, gender, sexuality, and economics would be treated in fashion for decades to come. As the curtain came down on The Battle of Versailles, American fashion was born; no longer would the world look to Europe to determine the stylistic trends of the day, from here forward, American sensibility and taste would command the world's attention. Pulitzer-Prize winning fashion journalist Robin Givhan offers a lively and meticulously well-researched account of this unique event. The Battle of Versailles is a sharp, engaging cultural history; this intimate examination of a single moment shows us how the world of fashion as we know it came to be.

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

The copyright/design interface for a wider, non-specialist audience, taking as a starting point the notion of industrial design derived from design studies, on the border between art and science.