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At the 2004 fashion week, Liang Zi's collections with the theme of " water" stirred up sensations. This time, she presented her new creations on the theme of "harmony" which reflected the oriental spirit of humanity. "I wish to express my wishes for peace, simplicity and joy and pray for world peace and stability by my collections," said Liang Zi. The brand of "Tangy" symbolizes peace, health and beauty which constitute fundamental elements of all her fashion shows. Natural materials, bright…  相似文献   

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The 4th China Jewelry Design Competition was concluded In Beijing last November. The competition, with the theme of "Colorful Time: Orlginality China", was jointly organized by China Gem and Jade Stone Association, the Jewelry and Jade Stone Ornaments Administration Center of the Ministry of Land and Resources and CHJ Jewelry Co, Lid CPPCC Vice Chairman Li Guixian, Land and Resources Minister Sun Wensheng as well as celebrities and designers from jewelry, fashion and entertainment circles attended the prize-granting ceremony.  相似文献   

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<正>At the state dinner hosted by US President Barack in honor of visiting Chinese President Hu Jintao at the White House,First Lady Michelle Obama wore a bright...  相似文献   

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In the end of 2008, China's top luxury brand NE.TIGER released its update haute couture series of Hua Fu [literarily translated as Chinese fashion] at the 2nd China-Japan-South Korea Super Model Competition in Tokyo, thus kicking off this brand name's global tour. It was the first overseas showcase of NE.TIGER's Hua Fu series following its debut show at the 2009 China International Fashion Week in Beijing. This fashion show manifested the splendid tradition of Chinese garment, reflecting NE.TIGER's ambition in reviving the Chinese luxury tradition.  相似文献   

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On the evening of November 2, 2009, the global fashion circle's attention focused on the Golden Hall of Beijing Hotel, where NEoTIGER, China's leading luxury brand,raised the curtain on China Fashion Week for the eighth successive year as the opening show,  相似文献   

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Since before the 1997 General Election, New Labour has repeatedly emphasized the importance of the creative industries in underpinning the national economy and as an engine of economic growth. The Creative Industries Task Force Mapping Documents of 1998 and 2001 sought to define and quantify in broad terms economic activity across 13 distinct creative industries. More detailed estimates have been published by the Department for Culture, Media and Sport (DCMS) in successive annual Creative Industries Economic Estimates.

An assessment is provided of the way in which the creative industries have been measured using the Office of National Statistics' Standard Industrial and Standard Occupational classifications (SIC and SOC). These classifications have themselves been revised since the early 1990s, and further revisions are in prospect from 2007. In this analysis particular focus is given to the ‘Designer Fashion’ sector, illustrated by a number of tables and data analyses.

These actual and proposed revisions have helped in documenting the rapidly emerging creative industries, which have reportedly grown at two to three times the rate of the UK economy as a whole. However, as the Regional Culture Data Framework published in 2002 records, serious problems remain in providing valid assessments of the creative industries sectors from ‘official’ published sources, even for the UK as a whole, let alone at the regional level emphasized by the Regional Culture Data Framework's regional sponsors. In any case, often the ‘scaling factors’ applied to official SIC codes to define creative industries appear arbitrary.

Many of the Regional Culture Data Framework's recommendations, notably the adoption of a more comprehensive ‘supply-chain’ approach to documenting the cultural sector, make further demands upon the existing official structural classifications and the data bases underpinning them. Even where all elements in the ‘supply chain’ are well documented, there are still questions about the validity of this approach. For example, should wholesale and retail distribution of creative industry products be regarded as part of the ‘Cultural Cycle’?

In conclusion, it is suggested that the ‘official’ data has marked limitations in documenting the creative industries and does not realistically or adequately capture the more interesting and dynamic elements of an industry like ‘Designer Fashion’. This is disappointing in a context where central government has placed increasing emphasis upon evidence-based policy to support the development of the creative industries, and where the British ‘Designer Fashion’ sector has lamented the lack of central support in comparison with the French or Italian industries. It is suggested that a more customized approach to collecting data about the creative industries is needed if the results are to usefully inform the further development and profile of these sectors.  相似文献   


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裴登峰 《寻根》2002,(6):17-20
战国是我国历史上社会急剧变革、思想空前活跃的一个时代。与春秋相比,战国在某些方面有了很大的变化,顾炎武《日知录·周末风俗》做了如此概括:“如春秋时,犹尊礼重信,而七国则绝不言王矣;春秋时,犹严祭祀,重聘享,而七国则无其事矣;春秋时,犹论宗姓氏族,而七国则无一言及之矣;春秋时,犹宴会赋诗,而七国则不闻矣;春秋时,犹有赴告策书,而七国则无有矣。邦无定交,士无定主。”因而王夫之《读通鉴论》称战国为“古今一大变革之会”。的确,战国出现了许多前所未有的新气象。的感情。一旦要离开时,便有割舍不开的眷恋。《孟…  相似文献   

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On the evening of Nov. 5th, 2008, in the Golden Hall of Beijing Hotel, NE.TIGER raised the curtain on CHINA FASHION WEEK for the seventh successive year. As the architect of Chinese-inspired Fashion, NE.TIGER continued on last year's theme of "The national beauty in China's national dress". The 2009 collection took as its theme "the national beauty captured in Hua Fu", presenting an embodiment of the quest for renaissance and innovation of Chinese luxury expressed by the words of NE-TIGER founder Mr. Zhang Zhifeng: "infused by a single source, integrating a world of styles……  相似文献   

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