For more than one hundred years, from the last decade of the thirteenth century to the late fourteenth, Paris was the only western European town north of the Mediterranean basin to produce luxury silk cloth. What was the nature of the Parisian silk industry? How did it get there? And what do the answers to these questions tell us? According to Sharon Farmer, the key to the manufacture of silk lies not just with the availability and importation of raw materials but with the importation of labor as well. Farmer demonstrates the essential role that skilled Mediterranean immigrants played in the formation of Paris's population and in its emergence as a major center of luxury production. She highlights the unique opportunities that silk production offered to women and the rise of women entrepreneurs in Paris to the very pinnacles of their profession. The Silk Industries of Medieval Paris illuminates aspects of intercultural and interreligious interactions that took place in silk workshops and in the homes and businesses of Jewish and Italian pawnbrokers. Drawing on the evidence of tax assessments, aristocratic account books, and guild statutes, Farmer explores the economic and technological contributions that Mediterranean immigrants made to Parisian society, adding new perspectives to our understanding of medieval French history, luxury trade, and gendered work.

This book of essays, which draws on the expertise of leading textile scholars in Britain and the United States, focuses on the problem of and responses to foreign competition in textiles from the late nineteenth century to the present day. A short introductory essay by the editor is followed by a survey of the debates surrounding the British cotton industry, foreign competition and competitive advantage. The other essays consider various aspects of that competition, including textile machine-making, Lancashire perceptions of the rise of Japan during the inter-war period and responses to foreign competition in the British cotton industry since 1945, whilst others deal with the decline and rise of merchanting in UK textiles and European competition in woollen yarn and cloth from 1870 to 1914. A recurring theme in a number of the essays is Japanese competitive advantage in textiles. The book is unique since although there are numerous books dealing with the problems of British staple industries, none focuses primarily on the issue of competition, its sources and responses, nor on textiles in general rather than a single industry. Moreover, since the scope is international rather than limited only to the UK, it follows recent trends in British busines history away from single company case studies towards a more thematic, comparative approach. In addition, the international authorship of these papers gives this book, first published in 1991, wide appeal.

An innovative history of the fashion industry, focusing on the connections between Paris and New York, art and finance, and design and manufacturing. Fashion is one of the most dynamic industries in the world, with an annual retail value of $3 trillion and globally recognized icons like Coco Chanel, Christian Dior, and Yves Saint Laurent. How did this industry generate such economic and symbolic capital? Focusing on the roles of entrepreneurs, designers, and institutions in fashion’s two most important twentieth-century centers, Paris to New York tells the history of the industry as a negotiation between art and commerce. In the late nineteenth century, Paris-based firms set the tone for a global fashion culture nurtured by artistic visionaries. In the burgeoning New York industry, however, the focus was on mass production. American buyers, trend scouts, and designers crossed the Atlantic to attend couture openings, where they were inspired by, and often accused of counterfeiting, designs made in Paris. For their part, Paris couturiers traveled to New York to understand what American consumers wanted and to make deals with local manufacturers for whom they designed exclusive garments and accessories. The cooperation and competition between the two continents transformed the fashion industry in the early and mid-twentieth century, producing a hybrid of art and commodity. Véronique Pouillard shows how the Paris–New York connection gave way in the 1960s to a network of widely distributed design and manufacturing centers. Since then, fashion has diversified. Tastes are no longer set by elites alone, but come from the street and from countercultures, and the business of fashion has transformed into a global enterprise.