License to tweak: Artistic license at first-tier Indian apparel suppliers

Hoppe, Alexander D.

doi:10.1016/j.poetic.2019.05.001

Cited by 6 publications

(6 citation statements)

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“…Designers rely on both institutional and organizational sources of inspiration. Aided by weak intellectual property laws, buyers and designers use artistic license to "tweak" existing designs (Hoppe 2019). In the sites I studied, when export-oriented designers reference "the runway" as a source of inspiration, they mean the high-end luxury shows in fashion capitals (Crane 1997).…”

Section: Exploration and Associationmentioning

confidence: 99%

“…The typically bubbly design director, Amrita, grows bored when discussing limits: “We have a cap on R&D, but it is not a strict one. R&D in every business has to keep flowing if you want to keep new buyers coming in.” Brands are usually provided design work free of charge—a service which is sometimes exploited (Hoppe 2019)—but Amrita waves off any notion of expense, saying that “the [design] samples are too small to worry about.” Creative work is also separated from time pressures. “I want the design team to be relaxed,” says Vaasu.…”

Section: The Insulated Openness Of Designmentioning

confidence: 99%

“…Inspiration is part of a charismatic occupational “license” in art and design because it is future‐oriented, individualized, and uncontaminated by the routinization and quantification of modern administration (cf. Hoppe 2019; Weber [1905] 2002). Advertising agents downplay the influence of their colleagues; chefs acknowledge inspiration from cookbook pictures but not recipe texts (Koppman 2014; Leschziner 2015:79–87).…”

Section: Inspiration and The Culture Of Productionmentioning

confidence: 99%

“…There are significant differences in terms of marketing and strategic positioning (e.g., the structural analysis of Porter 1980) as well as history and regional clustering(Khaire 2011;Tewari 2008), but these lie outside the scope of the current paper. Brand positioning and market niches seem to have a topdown impact on some aspects of design(Hoppe 2020), but mostly after the processes described here; see for example the "tweaking" initiated by buyers inHoppe (2019). Further, decisions about costing and outsourcing involve personnel from marketing and factory planning departments.…”

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confidence: 91%

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Before Creativity: Inspiration as a Micro Foundation for Action*

Hoppe

2022

Sociological Forum

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Creative, robust, and "moody" theories of action seek to modify a traditional voluntarism by attending to perception (broadly considered). Consolidating these theories as variants of an aesthetic sociology, I consider inspiration as one of the earliest stages in a larger theory of social action. Inspiration is narrower than creativity-it does not depend on audience recognition or valuation-but it offers a window into the prior dynamics of receptivity and anticipation. Close empirical study is possible. Drawing on ethnographic fieldwork with fashion designers, I analyze the spatial and material infrastructure of inspiration. I show how designers engage with space and materiality in their work, as well as how they utilize artistic license to tweak existing runway designs. I conclude with possibilities for future research and argue for the role of inspiration as a micro foundation of action.

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Section: Exploration and Associationmentioning

confidence: 99%

Section: The Insulated Openness Of Designmentioning

confidence: 99%

Section: Inspiration and The Culture Of Productionmentioning

confidence: 99%

mentioning

confidence: 91%

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Before Creativity: Inspiration as a Micro Foundation for Action*

Hoppe

2022

Sociological Forum

Self Cite

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“…Interactions in these collaborative circles are a key driving force of innovations (Accominotti, 2009). Through exposure to other creative producers' work, producers often make incremental innovations by “tweaking” other producers' products, such as the case of globally produced fashion design (Hoppe, 2019), or they innovate by combining elements from multiple sources (Lee, 2016; Leschziner, 2015).…”

Section: How Face‐to‐face Interaction Shapes Creative Productionmentioning

confidence: 99%

Innovation and creativity in creative industries

Wohl

2021

Sociology Compass

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Creativity is the intentional combination of symbols, ideas, or objects in a way that is unexpected for a given audience.While creativity is a process, innovation is the outcome of this process. Moving from the macro-level to the micro-level, I survey the literature on innovation and creativity in creative industries, spanning cultural, economic, and organizational sociology as well as management studies. As a broader market force, uncertainty over innovativeness results in powerful status orders with each creative industry. Within these markets, creative producers work to situate their products as innovative within certain categories and breadths of categories. Creative producers' social network configurations and their face-to-face interactions within these networks shape both the process of creative collaboration and the resulting innovations. Producers' moment-to-moment valuations, modes of cognition, and interactions with material properties of creative products also influence the creative process. I argue that future research should give more attention to how decisions in the creative process evolve over time and are relationally shaped.

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Fashion

Aspers

Godart

2019

The Blackwell Encyclopedia of Sociology

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As a sociological phenomenon par excellence, fashion has drawn the attention of prominent social theorists. A simple way to characterize fashion is “being first with the latest.” It is an inherently social and relational phenomenon not restricted to particular domains, although most research on fashion is concerned with dress. Fashion has been economically and socially salient since the Renaissance but its role has been amplified with the emergence of the mass market and product differentiation facilitated by mass production. Fashion is about change but not necessarily innovation, notably because of its cyclical nature – styles from the past get a new life. Fashion cannot be imposed; it emerges via a social process in which actors imitate one another and new fashions are diffused in society. Largely neglected until the mid‐1990s, in the twenty‐first century “fashion studies” have witnessed exciting developments, opening new avenues for research.

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License to tweak: Artistic license at first-tier Indian apparel suppliers

Cited by 6 publications

References 61 publications

Before Creativity: Inspiration as a Micro Foundation for Action*

Before Creativity: Inspiration as a Micro Foundation for Action*

Innovation and creativity in creative industries

Fashion

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