The book was published on 2011. It was written by Eve Blossom, a designer who owns Lulan Artisans. It is a business that partners itself with cooperatives. Aside from Lulan Artisans, the book also mentions different entrepreneurs who may not be all managing social businesses, however, they operate with a clear social vision in mind.
Eve Blossom has a background in architecture, design, business development, and marketing. She is well versed in the field of design and it is her passion. In 1992, she went to a marketplace in Hanoi, North Vietnam. There was still a provision in the country called “Trading with the Enemy Act”, an act that limits the countries’ trading with the United States; this act was not lifted until 1994. Tourism was not as rich as it is now. During her visit there, she saw a section filled with fabrics, sarongs, and scarves of every color and texture. She saw traditional fabrics and it intrigued her. The market for antique textiles had just started to pick up among French, Japanese, and other Asian travelers, and she saw an opportunity while looking at these fabrics. In the marketplace, with the use of translations and hand signals, she communicated with the woman selling these fabrics, Anh. From Anh, Eve learned that there are entire villages in Southeast Asia organized around agriculture and weaving. She wanted to see these places and meet the artisans that made the fabrics she saw, fabrics she could only think of as masterpieces. Anh volunteered to take her to a village, and Eve claims that this trip
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Yes, it has a social problem that it wish to solve (give healthcare to underserved areas), and it is sustainable. However, they do not provide enough empowerment to their vision entrepreneurs. They give their vision entrepreneurs training in basic eye care and business management, and receive ongoing support but it was not stated whether they had much say in the running of the
Christine Lan Thi Nguyen is a practicing artist and currently a student studying at UC Berkeley to receive her B.A degree in Sociology and Practice of Arts. She is interested in collaging, drawing, painting and utilizing anything that she gets her hands on. On her free time, she loves to explore and spend time with her family, friends and love ones. Her works mostly consist of kois and she has recently been drawn to working on self-portraits and enjoys discovering the effect of colors, lines, mark making and how it interacts with a new medium. Her work was recently displayed at the Worth Ryder Art Gallery, located in Berkeley, California.
As a result of the Silk Road’s rise in importance, third- wave civilizations valued women and merchants more than their ancestors. This was because women were needed for the production of silk and other luxury
Analyzing Barbara J. Anello’s Long Son Pagoda American photographer, Barbara J. Anello, has traveled to Southeast Asia documenting the historical aspects of traditional art and culture. Anello’s collection, “Photographs of Southeast Asia and Morocco”, focuses on the domestic architecture of rural areas and cultures. Anello’s photograph Long Son Pagoda was taken in Na Trang, Vietnam on March 3, 2008.
Osberb, S. (2015, October 17). What Makes Social Entrepreneurs Successful? (S. G. Carmichael, Interviewer) Podcast. Podcast retrieved from http://feeds.harvardbusiness.org/harvardbusiness/ideacast Sally Osberg, president and CEO of the Skoll Foundation and author of “Getting Beyond Better” with Roger Martin.
The book, “Where Am I Wearing?”, by Kelsey Timmerman tells the journey that Timmerman embarked on to discover where his clothes were made and who made them. He traveled to rare places like Honduras, Bangladesh, Cambodia, and China to talk to the people behind his clothing in an attempt to better understand globalization and to minimize the difference between small-scale and large-scale stories and processes. “Where Am I Wearing?”, connects themes from Geography 2750 such as population dynamics, urbanization, and economics through small-scale stories and puts emphasis on how they affect large-scale processes. In the book, Timmerman helps explain the themes of population dynamics on page 172 of his book.
Judy Chicago’s “The Dinner Party” at the Brooklyn Museum seamlessly blends the boundaries between art and craft. In the past, crafts have been categorized as minor arts, decorative arts, and applied arts. These terms sought to somehow distance crafts from the art family. Indubitably, Judy Chicago values crafts and art equally. Through “ The Dinner Party” display Chicago seemingly rebuffs those who stigmatize the combination of the two.
This organization believes that the best way to achieve this is to have permanent free clinics in underserved locations in Latin America, so that the children in these regions who are not able to access eye care through other ways, will receive regular eye care through treatment, education, and if needed rehabilitation. Through this proposed project, the organization will be able to improve the ability to deliver permanent eye care to five strategic locations in Latin America. The five clinics that will be built will improve the infrastructure in the chosen underserved regions. This project will strengthen the organizational and human capacity of Fundación para la Salud Visual Infantil: Providing Permanent Eye Care to children in underserved communities in Latin America.
None of her machinations ultimately make Eve happy in “All about Eve”. Discuss. “All about Eve”, directed by Joseph Mankiewicz involves a series of machinations by the character Eve Harrington, in order to wedge herself into an affluent and famous lifestyle. Produced in 1950, the play represents Eve’s desperations to become accepted in the theatre as it was considered the pinnacle of existence. Eve achieved contentment for a brief period through her scheme, however finally lost all happiness by the conclusion of the film.
Clara Shih definitely has tenacity, vision and self-belief. When she talk about the time when she and her partner started Hearsay Social she remembers long days and hard work. She mention that there was no time for vacations or sick days. At first they didn’t have an office so they worked in her living room. She says that when start-ups succeeds, it happens against all odds and if you want to win you have to work hard from the beginning.
This shows that Grès was able to design ordinary pieces as well as venture in the opposite direction and create more unique designs. Madame Grès also adopted some of her fashion techniques from another culture, which made her designs both sophisticated and interesting in the eyes of consumers as well as other designers. Grès’s unique style makes her the amazing designer she is remembered as
He believes that “In many ways, design in America is sterile and dead, lacking in valid context and cultural relevance” (Rice 221). By “lacking cultural relevance” he means that there are little markers of contemporary state of culture, in contemporary design. He goes further with “lacking in valid context”, meaning that when any is applied, it has been appropriated. Detached from context, it loses importance and power. They have been too watered down by the narrow forms of production, which have been implemented by the same designers.
Right after the war, there were economic problems arising to the point where people were limited economically. Some fashion designers grew up during this time and their connection is very strong that, it is seen through some designs that they have created. Bonnie English wrote the book “Japanese Fashion Designers”, where she also talks about how certain designers uniquely created pieces inspired by Post-WWII. For example, she mentions how two designers, Yamamoto and Kawakubo took poverty and transformed it into something totally beautiful. According to English, “A ‘deconstruction’ of style was the term later applied to these garments, a postmodernist term commonly used to describe the breaking down of elements, traditions and ideas in a fine art context” (English, pg.38).
Therefore, the dependency on the stuff in the handbags, backpacks, and totes is high; especially, when we are long hours away from home at work, school, or participating in various events and activities. In the seventeenth century young girls were taught embroidery as a necessary skill to make their own purse for public display of chic and originality. By the eighteenth century, the women’s clothing silhouettes got sleeker and simpler, without any room for pockets, as women began to carry decorative reticules embellished with needlework and embroidery.
Art is culture-bound and is often determined though its period and its current beliefs, theories and interests. For example, through our current age of ‘less is more’, minimalism has become popular in all forms of design and art from open concept spaces, to simple design in fashion, graphics and product. During the period of when Joanne created Directional Carpet, the exploration and movement from realism and conceptualism was a response to the political, economic and societal circumstances that were occurring during this time. Abstraction became a popular way of expressing this during this decade by modifying and culling existing situations, advertisements, pieces of art and media. Tod was aware of this method and its rhetheoical power and impact it made.
For Laver, if a 150 years old trend is applied at present, it will embody the most beautiful form of style. Notwithstanding this seemingly stagnant process, there is still innovation in fashion, because modern designers have different approach in re-establishing previous styles of the centuries. This kind of viewpoint is in line with Benjamin’s concept of ‘reauratization’. Reproduction has the ability to recall the past without disregarding the present. Thus, the old come to be eternal and the ‘dialectics of the old and the new’ turn to be the ‘dialectics of the eternal and the new’.