從體驗價值架構看香奈兒精品經營模式，研究動機是基於金融危機之下，檢示對奢華產業策略及執行力的衝擊，並透過體驗價值的架構，了解香奈兒精品持續成功的要素。 研究的目的在了解香奈兒的經營策略，並以體驗價值分析香奈兒的創新能力及藝匠精神。 研究的流程除了探討相關的經營策略外，並試圖定義什麼是精品產業。透過香奈兒精品個案予以驗証，並以深度訪談方式，進一步歸納個案的發現，最後做出結論。 節略研究的發現，可分為從經營的角度及從體驗價值的角度分別展開。 從經營的角度，可發現香奈兒的經營準則與價值是： 1. 重視長期的品牌價值增加，而非每年的盈利多寡。 2. 品牌對消費者保持距離。 3. 銷售夢想。 4. 對創新者的推崇。 5. 產地來源的重要。 6. 不做副牌。 7. 不併購它牌。 8. 股票不上市。 從體驗價值則是從五種感官進行分析及結論： 1. 從感覺性體驗價值 (sense)。 2. 從情緒性體驗價值 (feel)。 3. 從知性體驗價值 (think)。 4. 從行動性體驗價值 (act)。 5. 從關聯性體驗價值 (related)。 透過兩種角度的觀察分析，研究的結論可歸納如下： 1. 品牌擁有者與專業經營者在人格特質上的互動。 2. 形塑品牌與體驗價值間距的縮小。 3. 形象的月暈效應對產品線廣度擴大的幫助。 4. 各功能性政策與執行的一致性。 最後建議可節略如下： 1. 創業者的體驗價值需轉化成目標消費者的體驗價值。 2. 體驗價值的豐富化及深度化。 3. 策略與執行的一致性。 4. 專注本業。 5. 堅持度過景氣循環及時尚循環。 6. 產地來源對精品的重要性。 / The motivation to study Chanel strategy and management is wish to understand a company like Chanel to survive from worldwide finance crisis and still can execute its policy. Through Theory of Experience Value to understand better what element to make Chanel succeed. The purpose of study is to understand business strategy of Chanel and use Theory of Experience Value to know the creativity and craftsmanship of the company. The procedure of the study will review not only the business strategy of Chanel, but also to define what luxury industry is and through Chanel as a sample to verify. The case study will use deep interview to find out conclusion. The study is examined through two angles, one is examine case through traditional business management, and one is through Theory of Experience Value. From examine Chanel through traditional business management, the study found: It is focus on enrichment of brand equity instead of just profit. Keep distance in between the brand and target consumer. Sell dream. Importance of creator and creativity. Importance of product of origin. Don’t build sub-brand Do not engage merge. Do not go to public. From examine Chanel through Theory of Experience Value, the study found: Through “sense” to explore relationship in between brand and target consumer. Through “feel” to explore relationship in between brand and target consumer. Through “think” to explore relationship in between brand and target consumer. Through “act” to explore relationship in between brand and target consumer. Through “related” to explore relationship in between brand and target consumer. The study concluded through examines traditional business management and Theory of Experience Value is: The prefect relationship in between brand owner and professional business manager. Narrowing the gap in between brand value and perceived of customer. Good image will increase the successful chance of extension of product range. Consistency in between each management function. And the suggestion from the study is: Experience Value of brand owner need to be agreed and acknowledge by target consumer. Importance of enrichment of Experience Value. Consistency in between strategy and execution. Focus. Do not follow cycle of economic and cycle of trend. Importance of product of origin.

Made available in DSpace on 2016-06-02T19:35:47Z (GMT). No. of bitstreams: 1 TeseGCT.pdf: 1546922 bytes, checksum: f7cf12b2458fda28a171e2285d3975cf (MD5) Previous issue date: 2012-11-13 / Financiadora de Estudos e Projetos / The advance of pedagogical thinking supposes beforehand a more intelligible elucidation of the relationship between work and education. In the current sociability, despite the hegemony of industrialism and machinery, the craftsmanship of the past still remains in different ways and plays an important role in the formation of education. Thus, the role played by craftsmanship in Education is the main subject under investigation in this thesis. Also, the general goal is to investigate the purpose, content and form of craftsmanship in contrast with industrial work in order to criticize the aims of the former set by the studies on Education. The main idea is that the precedence of craftsmanship in pedagogical thinking hinders and delays the social function of school education as well as the integral development of generations. This study carried out a literature research that combined the method of investigation with the method of exposition by presenting results intrinsically linked to the corpus. The theoretical perspective is based on the Marxist tradition, in special on the studies conducted by Karl Marx and Antonio Gramsci. The thesis was organized into three chapters: (1) "Craftsmanship in the 'shadows' of industrial work"; (2) "The heritage of craftsmanship in contemporary Education"; and (3) "Challenges for the contemporary pedagogical thinking". The conclusion remits to the identification of three problems: (1) the contradictory aspects of craftsmanship; (2) the allurement of the pedagogical principle based on experience; and (3) the mismatch between the pedagogical principles based on work and experience. Four fundamentals were established following the problems which were pointed out in the conclusion: (1) the great theme of contemporary pedagogy is the relationship between work and education; (2) craftsmanship holds precedence in the contemporary pedagogical thinking; (3) the cursed legacy of craftsmanship jeopardizes the universalist character of pedagogical thinking, risking the social function of school education and the integral development of generations; and (4) as the current pedagogical studies can be understood as an affirmative proposal for human formation and school education and as a mediator between mankind and cultural work, their challenge is to detect the contradictions resulting from this ideological operation and suggest new ways to overcome them. It is also said that work - vital activity and pedagogical principle is an open book for the objectivation of mankind s generic life and for the school education in which the contemporary of our time is formed. / O avanço na formulação do pensamento pedagógico pressupõe tornar sempre mais inteligível a relação entre trabalho e educação. Na sociabilidade contemporânea, o artesanato produto do passado perdura por vias que não aquela incorporada pelo industrialismo e pela maquinaria, interferindo na constituição da educação. Esse é o objeto da tese. O objetivo geral é investigar os fins, o conteúdo e a forma do trabalho de ofício em contraste com o trabalho industrial, procedendo, por conseguinte, a uma crítica aos desígnios que o primeiro recebe no campo da Pedagogia. A ideia principal defendida é que a sobreposição do trabalho artesanal no pensamento pedagógico entrava e atrasa a proposição fim da educação escolar e o desenvolvimento das gerações. Trata-se de uma pesquisa bibliográfica que concilia método de investigação a método de exposição apresentando os resultados intrinsecamente ligados ao corpus do estudo. A tradição marxista é a perspectiva teórica adotada, especialmente em Karl Marx e Antonio Gramsci. A tese está organizada em três capítulos, a saber: O trabalho de ofício nas sombras do trabalho industrial ; A herança da pedagogia das Corporações de ofícios na educação escolar ; e Desafios para o pensamento pedagógico contemporâneo . A conclusão remete para a identificação de três problemas a face contraditória do trabalho artesanal; o engodo do princípio pedagógico da experiência; e a incompatibilidade entre os princípios pedagógicos do trabalho e da experiência na educação escolar ; e, logo, para a sistematização de quatro fundamentos ao objeto em questão: (1) o grande tema da pedagogia contemporânea é a relação entre trabalho e educação; (2) o trabalho de ofício sobrepõe-se no pensamento pedagógico da nossa época ; (3) a herança do trabalho de ofício no pensamento pedagógico compromete o caráter universalista da educação escolar e o desenvolvimento integral das gerações; e (4) o desafio da pedagogia atual, enquanto proposta afirmativa para a formação humana e para a educação escolar como mediação entre os homens e as obras da cultura, é detectar as contradições decorrentes dessa operação ideológica e sugerir a sua superação. Argumenta-se, ainda, que o trabalho atividade vital e princípio pedagógico é um livro aberto para a objetivação da vida genérica do homem e para a educação escolar na qual ele se forma contemporâneo do seu tempo.

L’identification et la définition des acteurs du verre italien actuel est complexe dans la mesure où leur situation est paradoxale : ils sont à la fois emblématiques et relativement absents dans l’art du verre « libre » actuel. Ce « mouvement » qui prit son essor dans le courant des années soixante aux États-Unis expérimenta à la fois de nouvelles pratiques et formes sculpturales, ainsi que des structures plus petites et plus souples que le traditionnel atelier-manufacture. En outre, cette révolution du Studio Glass Movement se produit aux prémices d’une postmodernité durant laquelle les arts sont eux aussi en pleine mutation, ce qui rend d’autant plus épineuse l’étude des relations qu’entretiennent l’industrie ou l’artisanat du verre avec les arts.Une première partie intitulée « Environnement et histoire, la question du modèle » constitue une approche historique suivant un fil chronologique. Elle décrit les évolutions techniques du verre ainsi que les développements particuliers à Venise et Murano. Elle permet en outre de caractériser les différents acteurs : manufactures et maestri, artisans, designers et plasticiens.La deuxième partie est consacrée aux œuvres et artefacts, leurs environnements économiques et matériels. Le propos se porte d’abord sur l’évolution des différentes productions (objets usuels, sculptures, etc.) d’un point de vue typologique et stylistique. Leur réception critique est étudiée, ainsi que leurs modes de diffusion depuis les boutiques de souvenirs à Venise jusqu’aux grandes expositions, qu’elles soient spécialisées ou non.La troisième et dernière partie (« Ontologie du verre : principes esthétiques et exigences métaphysiques ») interroge la place de l’artisanat et de la tradition du verre dans la postmodernité. Elle pose la question du matériau et de ses pratiques d’un point de vue esthétique et phénoménologique, ce qui renvoie aux conditions et moyens de sa fabrication. / The identification and definition of the actors of the contemporary Italian glass is complex insofar as their situation is paradoxical: they are both iconic and relatively setback from “free” glass art. This "movement" that took off in the course of the sixties in the United States experimented with both new practices and sculptural forms, as well as smaller and more flexible workshops than the traditional factory. In addition, the Studio Glass Movement’s revolution occurs at the beginnings of postmodernism in which the arts are also changing, making more difficult the study of the relationship between glass crafts and industries with the arts.The first part entitled "Environment and history, the issue of model" is a historical approach in chronological thread. It describes the technical developments of the glass as well as its specific developments in Venice and Murano. It also allows to characterize the different actors: factories and maestri, craftsmen, designers and artists.The second part is devoted to works and artifacts, economic and physical environments. At first, it approach the evolution of various productions (everyday objects, sculptures, etc..) with a typological and stylistic point of view. Their critical reception is studied, as well as their terms of sales from Venice’s souvenir shops to large exhibitions, specialized or not.The third and last part ("Glass ontology: aesthetic principles and metaphysical requirements") deals with the role of craft and tradition of glass in postmodernity. It also concerns the question of the material and its practices with an aesthetical and phenomenological point of view, which refers to the conditions and resources of production.

La presente investigación analiza la transformación del lenguaje visual del estilo de mate burilado de Huancayo a partir de los cambios en su funcionalidad en los últimos diez años. Se parte de la hipótesis que, debido a la necesidad de abarcar un nuevo mercado, los materos de Huancayo han cambiado el lenguaje visual de los mates burilados, empleando también el tema transcultural navideño. Asimismo, estos mates burilados cumplen una nueva funcionalidad a causa del nuevo lenguaje visual. La investigación se centró en el estudio cualitativo. El tipo de muestreo fue por conveniencia. Los criterios fueron la localidad, el lenguaje visual y la temporalidad. Asimismo, los resultados obtenidos en el análisis descriptivo fueron complementados con la realización de entrevistas a informantes claves, los mismos artesanos, quienes fueron seleccionados por su localidad, participación y experiencia. Entre los principales resultados se encontraron cinco formas de interpretación de las transformaciones según cómo las representaciones integran elementos transculturales, como los navideños. Primero, se encuentran los mates con agregados transculturales; segundo, los mates transculturales; tercero, los mates parcialmente transculturales; cuarto, los mates mestizos navideños y; quinto, híbridos entre subcategorías. Se concluyó que estamos frente a una manifestación neoartesanal, ya que se encontró una hibridación cultural y una necesidad de satisfacer un mercado. Asimismo, se llegó a la conclusión que la forma del mate influye en otorgar una nueva función, la forma será el principal factor que va determinar si se puede introducir una nueva función y no la transformación del lenguaje visual. / This research analyzes the transformation of the visual language of Huancayo burilared mate style from the changes in its functionality in the last ten years. It is based on the hypothesis that, due to the need to encompass a new market, the mats have changed the visual language of the chipped mates, also using the cross-cultural Christmas theme. Likewise, these chipped mattes fulfill a new functionality due to the new visual language. The research focused on the qualitative study. The type of sampling was for convenience. The criteria were locality, visual language, and temporality. Likewise, the results obtained in the descriptive analysis were complemented by conducting interviews with key informants, the artisans themselves, who were selected for their location, participation and experience. Among the main results, five ways of interpreting the transformations were found according to how the representations integrate cross-cultural elements, such as Christmas. First, there are the mates with cross-cultural aggregates; second, the cross-cultural mates; third, the partially cross-cultural mates; fourth, the Christmas mestizo mates and; fifth, hybrids between subcategories. It was concluded that we are facing a neo-artisanal manifestation, since a cultural hybridization and a need to satisfy a market was found. Likewise, it was concluded that the shape of the mate influences granting a new function, the shape will be the main factor that will determine whether a new function can be introduced and not the transformation of the visual language. / Trabajo de investigación

La Tunisie est un État d’Afrique du Nord appartenant à l’Union du Maghreb Arabe. Malgré sa petite superficie par rapport aux pays voisins, elle possède un patrimoine riche et diversifié. Grâce à son emplacement géographique, le patrimoine en question est l’héritage des différentes civilisations qui se sont installées dans le pays durant son histoire. Le pays est constitué de 24 gouvernorats dont chacun présente des savoir-faire artisanaux ancestraux profondément spécifiques, identitaires et uniques à chaque région. Toutefois, en dépit de la richesse du patrimoine tunisien et de son potentiel socio-économique, l’artisanat tunisien connaît une situation difficile depuis la crise économique du printemps arabe en 2011. Dans le but de préserver l’héritage culturel matériel et immatériel du pays, ainsi qu’encourager son développement socio-économique, des collaborations entre designer et artisan s’organisant autour de la création de produits contemporains inspirés des savoirs et savoir-faire ancestraux locaux sont fortement encouragées par le gouvernement et l’office national de l’artisanat tunisien. Cette étude explore les enjeux, la portée et les limites de ce type de collaboration. Dans un premier temps, elle répertorie différentes stratégies mises en oeuvre à travers le monde, avec un focus particulier sur le cas de la Tunisie, pour préserver l’héritage culturel. Dans un second temps, elle s’intéresse plus précisément au rapport designer-artisan en s’appuyant sur la littérature et une enquête de terrain. Des entretiens auprès de trois designers oeuvrant dans de petites et moyennes entreprises tunisiennes et de huit artisans ayant collaboré avec eux ont été réalisés. Des entrevues supplémentaires avec trois artisanes ont suivi, afin de mieux documenter leurs diverses expériences. Leurs dynamiques collaboratives sont caractérisées par de nombreux écueils. Il existe entre ces acteurs une importante différence de points de vue et de visions concernant la contribution de chacun. / Tunisia is a North African state belonging to the Arab Maghreb Union. Despite its small size compared to its neighboring countries, it has a rich and diversified heritage. Thanks to its geographical location, the heritage in question is the legacy of the different civilizations that settled in the country during its history. The country is made up of 24 governorates, each of them have an ancestral craft skill that are deeply specific, identity-based and unique. However, despite the richness of the Tunisian heritage and its socio-economic potential, Tunisian handicrafts are experiencing a difficult situation since the economic crisis of the Arab Spring in 2011. The government and the National Office of Tunisian Handicrafts strongly encourage the collaborations between designers and craftsmen that are organized along the creation of contemporary products inspired by local ancestral knowledge and know-how. These endeavours are made to preserve the country's tangible and intangible cultural heritage, also to encourage its socio-economic development. This research explores the issues, scope and limits of this collaboration. First of all, it identifies different strategies implemented around the world, with a particular focus on Tunisia, to preserve cultural heritage. Then, it looks more specifically at the designer-craftsmen relationship, based on literature and a field survey. Interviews have been realised with three designer’s owner of SME in Tunisia and eight craftsmen who have been collaborated with them. Additional interviews with three craftswomen followed, to better document their various experiences. Their collaborative dynamics are characterized by many pitfalls. Indeed, there are different point of views and visions between these actors regarding the contribution of each.

This exploratory study is a first attempt to translate the Indian cultural context from a socio-cultural, and legal perspective by identifying the values attributed to Indian textile craftsmanship by Indian textile and fashion stakeholders, and how their perspective is influenced by the global recognition and perception of Indian textile crafts and connotation of “Made in India”. At the same time the study investigates the meaning of “sustainability” in the Indian cultural context, in relation to textile craftsmanship, and how this relates to the Western concept of “sustainability”. Through field research in conjunction with a series of in-depth unstructured interviews, this study reveals that Cultural Sustainability is the dominating narrative in the Indian cultural context due to the prevalence of culturally embedded sustainability practices and the role of textile craftsmanship in sustaining livelihood, being a unique exercise of positioning Indian textile craftsmanship within a framework of cultural heritage as a valuable source of knowledge for sustainable practices in the fashion and textile industry. Unique about this study are the India-centric approach combined with the ethnicity of the subjects interviewed - who are, without exception, Indian nationals, whose work, voice and reputation are shaping India's contemporary textile craft -sustainability narrative (being referred to as the “Indian textiles and fashion elite”) and the framing of traditional craftsmanship from a legal perspective, introducing the notion of legal protection of traditional textile knowledge and traditional cultural expressions.

No description available.

My dissertation examines the interaction between transformation, development of traditional culture and modern one under the background of China's rapid modernization. Its focus is on the porcelain craftsmanship culture from the famous "porcelain capital", Jingdezhen. Although the relationship between the traditional and the modern has always been widely concerned and discussed in academia, especially in sociology and anthropology. Yet, it should be noted that in existing literature we rarely investigate the reconstruction and re-creation of traditional craftsmanship culture that has been taken for granted in former socialist countries where the spread of modernization into social development came much later than its Western counterparts. This research begins to fill the gap by extending an art anthropological and contextualized perspective on what endows the traditional craftsmanship culture with a multitude of modern values in Jingdezhen, and with what structural driving forces. It showcases that what endows the traditional porcelain industry in Jingdezhen with numerous modern characteristics are the adaptation of individualized traditional craftsmanship to modern technological society; the happy marriage of humanizing traditional craftsmanship with mass tourism, and a successful cross-border...

To farm more sustainably, some farmers are rediscovering and innovating knowledge, skills, and technologies that were used before the modernisation of agriculture in the 1950s. One such 'retro-innovation' is the use of draft animals as a source of labour on farms. As modern farming and agronomy pay little attention to 'retro-innovations', not much is known about why and how farmers reintroduce draft animals on their farms. Therefore, the potential of draft power to contribute to the sustainable development of agriculture also remains unclear.   To fill this gap, this study uses interviews and participant observation with seven draft animals’ farmers in Northern Italy. Results indicate that these farmers are organic small-scale farmers using both draft animals and tractors. Engaging in multiple farming activities is an important aspect of these farms. Although draft animals are primarily used in vegetable growing, they can, among others, be involved in logging, marketing the farm production, and used for horse-riding. Their reintroduction as source of labour aligns with the so-called “peasant logic” to farming. This style of farming is reflected in farmers’ craftsmanship, co-production, and autonomy, and the use of draft animals as a skill-oriented technology. Farmers engaged in a peasant style of farming use draft animals as: (1) a technology to increase the farm autonomy and sustainability; (2) work companions with whom they collaborate and develop a strong relationship; and (3) a retro-innovation that is motivated by their self-perception as local stewards.   The study indicates that the relationship between farmers and their draft animals is the most rewarding aspect of animal traction, confirming the meaningful role of non-humans in farm practices and emphasising the central role animals can take in a peasant logic of farming. Future research should continue exploring the role of retro-innovation and of relationships between humans and non-humans for sustainable agricultural development.

Detta arbete är en uppgift som är mottagen från SNA Europe och genomförd under vårterminen 2018. SNA Europe är en europeisk tillverkare av framförallt handverktyg med huvudsaklig produktion i Europa med en internationell marknad. Syftet med arbetet är att förse SNA Europe med underlag i form av fakta, analyser och slutligen ett förslag på ett produktkoncept. Förslaget på produktkonceptet gäller en sk snabbvinkel, ett markerings- och mätverktyg baserat på Swansons Tools original Speed Square. Snabbvinkeln är mycket populär i USA men används inte i Europa, därför av intresse för SNA Europe. Arbetet planerades upp i fyra faser över en tio veckors period där faserna strukturerades upp i ingående underfaser. Det initiala arbetet har gått ut på att leta fakta om och analysera uppgiften för att kunna bygga en grund för en konceptframtagning. Då tillräcklig information erhållits påbörjades design- och utvecklingsarbetet av ett produktkoncept med en fastställd konceptdefinition. Slutligen efter CAD-modellering och prototypframtagning resulterade arbetet i en så gott som fullt färdigt produktkoncept som SNA Europe kan tillverka i egen fabrik. Framarbetat produktkoncept förverkligades i form av en slutgiltig prototyp tillverkad av SNA Europe. / This work is a task received from SNA Europe and completed during the spring term of 2018. SNA Europe is a European manufacturer of mainly hand tools with main production in Europe with an international market. The purpose of the work is to provide SNA Europe with a basis in the form of facts, analyses and finally a proposal for a product concept. The proposal for the product concept concerns a so-called rafter square, a marking and measurement tool based on Swansons Tools original Speed Square. The rafter square is very popular in the United States but is not used in Europe, therefore of interest to SNA Europe to make a own design. The work was planned in four phases over a ten week period, where the phases were structured into in-depth phases. The initial work has been to search for facts and analyse the task in order to build a foundation for a conceptualization. When sufficient information was obtained, the design and development work began with a product concept with a defined concept definition. Finally, after CAD modelling and prototype production, the work resulted in an almost complete product concept that SNA Europe can manufacture in its own factory. Developed product concepts were implemented in the form of a final prototype manufactured by SNA Europe.