W Amp;w Fashion

[Sear Sommerfeldt]

N2The objective of this paper is to examine the relationship between business model innovation, corporate sustainability, and the underlying organisational values. Moreover, the paper examines how the three dimensions correlate with corporate financial performance. It is concluded that companies with innovative business models are more likely to address corporate sustainability and that business model innovation and corporate sustainability alike are typically found in organisations rooted in values of flexibility and discretion. Business model innovation and corporate sustainability thus seem to have their origin in the fundamental principles guiding the organisation. In addition, the study also finds a positive relationship between the core organisational values and financial performance. The analysis of the paper is based on survey responses from 492 managers within the Swedish fashion industry.

AB - The objective of this paper is to examine the relationship between business model innovation, corporate sustainability, and the underlying organisational values. Moreover, the paper examines how the three dimensions correlate with corporate financial performance. It is concluded that companies with innovative business models are more likely to address corporate sustainability and that business model innovation and corporate sustainability alike are typically found in organisations rooted in values of flexibility and discretion. Business model innovation and corporate sustainability thus seem to have their origin in the fundamental principles guiding the organisation. In addition, the study also finds a positive relationship between the core organisational values and financial performance. The analysis of the paper is based on survey responses from 492 managers within the Swedish fashion industry.

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Her more classic personal style aside, Jenner also happens to be one of the most sought-after international supermodels of the now. In other words? On high-fashion runways and magazine covers alike, the 818 founder truly steps outside of her comfort zone.

W fashion is a leading European manufacturer and distributor of affordable clothing and merchandise. We are a full-service company that specialises in private label clothing, designer clothing, licensed textile products and accessories.

Every year W fashion products reach millions of consumers in Europe. Thanks to our permanent supply, we are able to deliver high quality products at the best price quickly.

We welcome you to visit our showroom in Maastricht. Here you will immediately get a clear picture of all the possibilities that W fashion offers. During an initial introduction we will create an inventory of your wishes. We look at your target group, the assortment, the dimensions, but also into fabrics, colours, packaging, styling and numbers.

You will then receive a customised offer. Depending on your requirements, we will produce a sample, sales sample and a pre-production sample. Are you satisfied? And are we 100% satisfied with the product? Then we continue on to the actual production together! We also take care of transport and all import handling, so that you can focus fully on the styling and sales.

At W fashion a team of driven professionals develop your specific wishes in the field of clothing and merchandise into a representative product for your company. We do this based on the latest designs and production methods with specific attention to packaging and presentation. We offer service that fits you, from the first sketch to the final delivery. Flexibility, integrity and clear communication are the key values of our services. From our headquarters in Maastricht, the heart of the Euregion, we provide the most renowned department stores, discounters and hypermarket chains in Europe with exclusively designed textile products and accessories.

Thanks to our extensive network of own offices and certified suppliers in Asia, W fashion has grown over the years into a leading producer and distributor in the field of affordable private label, brand and licensed merchandise & clothing.

Modesty is practiced by people regardless of their class, sexuality, gender, race, or religion. However, there is an association between modesty, Islam, and the Islamic veil (or hijab). Hijab is an Islamic garment that is meant for Muslim women to wear if they choose to do so. Vast interpretations of Islamic texts produce variability in the definitions and understandings surrounding modesty. Veiled Muslim women practice modesty by concealing their hair, skin, and body. The veil is a signifier of their religious affiliation and modest lifestyle. This paper is a study of performance and visual enactment within the photos and videos posted by a sample of veiled Muslim women influencers, which include Nawal Sari and Rawdah Mohamed. Hijabi influencers, or hijabistas, are veiled Muslim women who are consistent with fashion trends and hijab styles in an online context. This article uses visual rhetorical analysis to examine the captions and the clothing, pose, background, symbols, colours and textures present in the photos and videos. By doing this, this paper seeks to examine how hijabi influencers define Islamic modesty through the photos and videos uploaded on their visual social media platforms. Theoretical frameworks, such as post-colonial feminism, orientalism, and creative labour support the interpretation of the data. This research demonstrates that the definition of Islamic modesty can be understood beyond a binary perspective.

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Is your dream job in the fashion industry? Interested in product development, merchandising, buying, or retail management? Start your career off by studying Retail and Fashion Merchandising.

Retail and Fashion Merchandising is offered as both a major and a minor. Learn more about the minor in Retail and Fashion Merchandising.

The Retail and Fashion Merchandising curriculum offers coursework in both creative (Adobe Photoshop/Illustrator, Product Development, and Promotion) and analytical (buying and planning, Excel, and statistical reasoning) areas of merchandising, with a focus on fashion products. Through this program, students learn how to navigate a career path in a fast-paced, dynamic industry. Supervision, leadership, and management activities, in the context of fashion and retail careers, are emphasized.

N2 - [Extract]We are interested in the intersection between IP and fashion design. We have addressed theoretical and comparative issues in this sphere in previous publications concerning copyright, designs, trade marks and unfair competition law.1The role of IP in fashion has been controversial at the most general conceptual and policy level. Sprigman and Raustiala have posited that IP rights (IPRs) have no useful role to play in encouraging creativity in fashion as in the USA the creative churn is already very intense in the near absence of IPRs.2 Their thesis has been countered by others, but there is no telling empirical evidence to support definitive conclusions either way.3The relevance of the broader conundrum is not confined to the fashion industry: fashion can be seen as a proxy for universal questions about cause and effect and the real need for IPRs, given that they constitute a quasi-monopolistic brake on normal competitive and imitative practices. Do they perhaps hinder competition, including imitation, more than they help dynamic competition? Do they encourage quantity of innovation at the expense of quality? Does tweaking of the scope of rights make any real difference in the light of background systemic or sectorial factors?

AB - [Extract]We are interested in the intersection between IP and fashion design. We have addressed theoretical and comparative issues in this sphere in previous publications concerning copyright, designs, trade marks and unfair competition law.1The role of IP in fashion has been controversial at the most general conceptual and policy level. Sprigman and Raustiala have posited that IP rights (IPRs) have no useful role to play in encouraging creativity in fashion as in the USA the creative churn is already very intense in the near absence of IPRs.2 Their thesis has been countered by others, but there is no telling empirical evidence to support definitive conclusions either way.3The relevance of the broader conundrum is not confined to the fashion industry: fashion can be seen as a proxy for universal questions about cause and effect and the real need for IPRs, given that they constitute a quasi-monopolistic brake on normal competitive and imitative practices. Do they perhaps hinder competition, including imitation, more than they help dynamic competition? Do they encourage quantity of innovation at the expense of quality? Does tweaking of the scope of rights make any real difference in the light of background systemic or sectorial factors?

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