White paper on creativity - ebla center

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Chapter 5for Issey Miyake in New York, TadaoAndo for the Teatro Giorgio Armani inMilan, and Massimiliano and DorianaFuksas for the Armani emporia inHong Kong, Shanghai and Tokyo.Showrooms have abandoned thestrictly commercial spirit to becomeplaces for exchanges, culture, and artswhich boost the brand image.Chain stores, low prices, excellentdesign, low quality: the ItalianweaknessThe most successful segment in thedistribution sector is that for youngpeople, who are offered well-designedmedium to low quality products at lowprices. Examples of brands in this caseare the Spanish Zara and Mango, theSwedish H&M, the French Promod,and the American Gap. However, theyhave met with relatively little success inthe Italian distribution sector which,moreover, produced a leader likeBenetton.Exploiting a highly successful formulacombining production and distribution,these large companies are able to veryeffectively monitor changes in youngconsumers’ tastes and to supplyperipheral sales outlets fast enough tocapture and satisfy all nascent demand.The Zara business model has a numberof specific innovative features. Theyinclude very fast lead times in thedesign of new products (around threeweeks), continuous updating onproposed lines informed by the salesstatistics and the almost total absenceof any advertising campaigns.Employing over 200 designers, Zara isable to design, produce and distribute acollection to any shop worldwide twicea week. Sales are made in over 3,000propriety shops in 64 countries,strategically situated in significanturban commercial areas, whose staffdeal at most with the window dressingand the internal display areas. Zara hasalmost 70,000 employees. Retail brandslike Zara and H&M could not existwithout their distribution channels;today H&M has over 1,900 sales pointsin 22 countries and over 50,000employees.If we look at the European scene, wefind no Italian company among thefirst ten in terms of brand value.WHITE PAPER ON CREATIVITY 122
Chapter 5Table 5.5Brand Country SectorBrand Value MillioneurosH&M Sweden Clothing 10.3Carrefour France Large supermarkets 6.6IKEA Sweden House furnishings 6.5Tesco UK Large supermarkets 5.6M&S UK Large supermarkets 5.1Zara Spain Clothing 4.1Source: InterbrandBenetton is a leading Italian globalbrand operating in 120 countries. Thecompany produces over 110 millionarticles per year and its activities aredivided in two separately managedareas:• Casual clothing and sportswearplus accessories and shoes• Sales of raw and semimanufacturedmaterials, industrial andadvertising services.The group owes its worldwide fame toa model of franchising, which was veryinnovative at the time, and itsadvertising campaigns by OlivieroToscani.Milan: a global fashion cityMilan is a world fashion brand. It hasinvented unforgettable symbols and is aplace where strategies, ideas,information, projects, values, economicresources, investments in brands andhigh doses of creativity change hands ata very high rate.The Milan area boasts some of themost prestigious fashion houses withtop-quality, highly attractive brands:Armani, Dolce & Gabbana, Etro,Missoni, Prada, Romeo Gigli, Trussardiand Versace. Moreover, some of themajor Italian design studios are alsolocated in Milan: Boffi, B&B Italia,Cassina, Cappellini and Kartell. It isestimated that in the Milan area thecreative sector has 200,000 jobs, 12,000enterprises, 800 showrooms, 6,000shops, 6,000 interior design companies,and 17 design research institutes(Reinach, 2006; Power and Jansson,2008).• Promotional eventsOne of the most important means ofcommunicating with large buyers andconsumers are the fashion shows, tradefairs and international fashion weeks.WHITE PAPER ON CREATIVITY 123
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White pape
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IndexAcknowledgements .............
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IndexPart III......................
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Index14.5 Repercussions on art coll
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AcknowledgementsThe White</
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We would like to thank Michelangelo
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Chapter 1Michelangelo Pistoletto -
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Chapter 1intellectual, literary and
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Chapter 1leisure, entertainment, cu
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Chapter 1systems, in which there is
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Chapter 1territory, a cultural dist
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Chapter 1Social qualitySocial quali
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Chapter 1intangible cultural goods
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Chapter 1and quality certification)
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Chapter 1In the case of “absorpti
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Chapter 1According to this classifi
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Chapter 1Figure 1.3 - The creativit
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Chapter 1Table 1.2 - Value Added an
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Chapter 1Figure 1.5 - Contribution
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Chapter 1Figure 1.6 - Comparison wi
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Chapter 2Chapter 2The Italian model
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Chapter 2interest”. Thus since 20
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Chapter 2intercultural dialogue for
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Chapter 2There is a strong interdep
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Chapter 2On this point the recommen
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Chapter 2edited by Frontier Economi
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Chapter 2measure the sectors of eco
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Chapter 2publishing and architectur
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Charter 3Michelangelo Pistoletto -
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Chapter 3physical setting of our ho
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Chapter 3morphology and peripherals
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Chapter 3moving raw materials, manu
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Chapter 3world. But it is also a ve
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Chapter 3society” also involves t
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Chapter 3outcomes. The problem is n
Page 71 and 72: Chapter 3greatly empowered in terms
Page 73 and 74: Chapter 3widespread crime and pover
Page 75 and 76: Chapter 3The Harvard economist Edwa
Page 77 and 78: Chapter 3This means that consumptio
Page 79 and 80: Chapter 3concentrate in larger and
Page 81 and 82: Chapter 3Cultural openness towards
Page 83 and 84: Chapter 33.7 Concluding remarks :It
Page 85 and 86: Part II
Page 87 and 88: Part IISymbolic goodsThere is no ra
Page 89 and 90: Part IIMaterial culture goods as mi
Page 91 and 92: Part IIobjects. In short, quality d
Page 93 and 94: Chapter 4Michelangelo Pistoletto
Page 95 and 96: Chapter 4accessories has built up t
Page 97 and 98: Chapter 44.2 The roots of Italiande
Page 99 and 100: Chapter 4All of these factors would
Page 101 and 102: Chapter 4business) as most resident
Page 103 and 104: Chapter 4They may collaborate simul
Page 105 and 106: Chapter 4ideas and research to the
Page 107 and 108: Chapter 4Table 4.1 - Companies in t
Page 109 and 110: Chapter 4From an initial interpreta
Page 111 and 112: Chapter 4profession, which combines
Page 115 and 116: Chapter 5but also in generating inc
Page 117 and 118: Chapter 5private institutions, such
Page 119 and 120: Chapter 5of exports to the main mar
Page 121: Chapter 5Croce in Tuscany) and thos
Page 125 and 126: Chapter 5squares - to the equation
Page 127 and 128: Chapter 5A last vitally important e
Page 129 and 130: Chapter 5Worldwide there are around
Page 133 and 134: Chapter 6The taste industry or rath
Page 135 and 136: Chapter 6aim of creating a virtuous
Page 137 and 138: Chapter 6The taste industry has vis
Page 139 and 140: Chapter 6and vegetables (18%). On l
Page 141 and 142: Chapter 6compared to traditional, n
Page 143 and 144: Chapter 6Spelta). Farro is consider
Page 145 and 146: Chapter 6The Italian guidebook, Gam
Page 147 and 148: Chapter 6and the channels of the la
Page 149 and 150: Chapter 6Table 6.3 shows the region
Page 151 and 152: Chapter 6adulterated with methanol,
Page 153 and 154: Part III
Page 155 and 156: Part IIIThe superstar phenomenonWhy
Page 157 and 158: Part IIIis easy to see that such co
Page 159 and 160: Chapter 7Chapter 7Film7.1 Italian c
Page 161 and 162: Chapter 7In the last few years Ital
Page 163 and 164: Chapter 7withdraws to a personal po
Page 165 and 166: Chapter 7market for films in cinema
Page 167 and 168: Chapter 7more films than the USA (i
Page 169 and 170: Chapter 7Figure 7.4 - Average admis
Page 171 and 172: Chapter 7in this situation is Franc
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Chapter 7i.e. films with the best r
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Chapter 7correlated to the capacity
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Chapter 7television in 2000-2005 re
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Chapter 7The difficult relationship
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Chapter 7Figure 7.12 - Italians’
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Chapter 7comedies which were box-of
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Chapter 7Bagnoli, near Naples, whic
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Chapter 77.7 ConclusionsThe Italian
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Chapter 71960 Cannes Golden Palm La
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Chapter 8Michelangelo Pistoletto
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Chapter 88.1 Company sizeBoth in pu
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Chapter 8dynastic line have not alw
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Chapter 8It may be no exaggeration
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Chapter 88.5 The individual sectors
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Chapter 8are many complaints that e
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Chapter 8it has forced smaller comp
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Chapter 8The two large national net
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Chapter 8changes in political power
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Chapter 9Chapter 9Software, Compute
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Chapter 9on its capacity to be a sy
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Chapter 9Some people even talked of
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Chapter 99.3 The Italian caseA prof
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Chapter 9Zetel; SeaSoft S.p.A is a
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Chapter 9On this market, after its
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Chapter 9technologies: 92% of small
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Chapter 9Table 9.5 highlights the m
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Chapter 9Table 9.7 highlights a ver
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Chapter 9figures concerning small c
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Chapter 10Cittadellarte - “Italy
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Chapter 10and ultimately also consu
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Chapter 10been little explored by c
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Chapter 10advertising, re-launched
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Chapter 10Current creative practice
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Chapter 10Communications and creati
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Chapter 10Creativity and communicat
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Chapter 10Public relations and corp
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Chapter 10In Italy political commun
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Chapter 10on research conducted by
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Chapter 10flags in the past). But a
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Part IVThe historical and artistic
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Part IVLastly, the intangible goods
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Chapter 11Chapter 11The Cultural He
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Chapter 11requires processes of co-
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Chapter 11potential in 153 communal
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Chapter 11image and a primary sourc
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Chapter 11important for the success
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Chapter 11meticulous process of gat
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Chapter 11cultural institutes to ac
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Chapter 11in cultural consumption -
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Chapter 11period of 8%. Someone mig
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Chapter 1111.6 ConclusionsAs we hav
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Chapter 12Chapter 12Architecture12.
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Chapter 12Architectural quality and
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Chapter 12sustainability. In this c
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Chapter 12works published in at lea
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Chapter 12Figure 12.3 Technical fir
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Chapter 1212.4 The bricks of creati
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Chapter 12individuals, then the gre
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Chapter 12designs. Exchanging ideas
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Chapter 12periods abroad thanks to
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Chapter 12harmonious insertion of a
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Chapter 12work, linking up and inte
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Chapter 13Chapter 13The Performing
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Chapter 13photostories, soap operas
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Chapter 13These experiments, seen a
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Chapter 13Table 13.2 - Diversificat
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Chapter 13Figure 13.1 presents the
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Chapter 1313.5 The performing arts:
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Chapter 13developments. Moreover, t
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Chapter 13programmes to changed soc
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Chapter 13education colleges”) pr
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Chapter 13Table 13.5 - The Italian
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Chapter 13emblematic. The company r
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Chapter 14Chapter 14Contemporary Ar
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Chapter 14similar phenomena are now
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Chapter 14driving the growth of gal
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Chapter 14income for the state woul
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Chapter 14Table 14.1 - Accademie di
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Chapter 14and the perception of the
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Chapter 14situation. With very few
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Chapter 14completely. In other word
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Chapter 14find one’s find bearing
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Chapter 14Centro per l’ArteContem
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Charter 15Michelangelo Pistoletto
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Chapter 15Ambitions and Key Decisio
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Chapter 15Key decision 4On the dema
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Chapter 15Ambition 8. Culture and d
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Chapter 15Ambition 10. Express an I
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Chapter 15Creative cities and local
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Chapter 15Action 4 : Organise inter
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Chapter 15so hard in recent years t
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Chapter 15system. As the “global
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Chapter 15ObjectiveEncourage the en
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Chapter 15• stop agricultural and
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Chapter 152 Publishing, Radio and T
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Chapter 153 Computer, Software and
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Chapter 15ObjectiveRedesign the rel
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Chapter 15visitors but also taking
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Chapter 15ObjectiveSupport the inte
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Chapter 15local authorities in orde
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Chapter 15important invitation (for
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Notescountries must incorporate the
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Notesxlviii The Doxa-Mercury-Tourin
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Noteslxxv A recent study (D. Urruti
Page 381 and 382:
BibliographyAntonelli, C. e Barbiel
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BibliographyCreplet F., Dupouet O.,
Page 385 and 386:
BibliographyHall P. (1998), Cities
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Morelli M. (2003), Teoria e tecnich
Page 389 and 390:
BibliographySacco, P.L., Tavano Ble
Page 391 and 392:
BibliographyTorino Internazionale,
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AuthorsAuthorsPriscilla Altili - Pr
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AppendixAppendixWHITE PAPER ON CREA
Page 397 and 398:
AppendixConception andProductionDis
Page 399 and 400:
AppendixPUBLISHINGConception andPro
Page 401:
AppendixConceptionand ProductionARC
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