Books by Véronique Pouillard
Oxford University Press, 2020
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Special issues by Véronique Pouillard
Vingtieme Siecle-revue D Histoire, 2009
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Articles by Véronique Pouillard
Business History, 2024
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Creative IPR International Conference
Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM... more Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM, based primarily in Belgium, to a lesser degree the SACEM, based in France, and from the 1960s, the SONECA, in Congo. This research examines the role of the European and the local societies, and the sources of author’s rights revenues, allowing to contextualize the narratives on the emergence of a music industry during the last decade of the Belgian colonial era (the 1950s), and the early postcolonial period, until the beginning of the regime of Mobutu. The activity of musicians in Congo during that period was ranging from traditional music, to genres inspired by a mix of traditional culture, of Anglo-Saxon, and Hispanic influences. Yet other musicians in Congo were engaged in religious music, and in classical music.
During the late colonial and early post-colonial eras in Congo, several, often overlapping legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandates (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks, and attempted at taking into account the indigenous rights (droits coutumiers). Based on sources kept at the Africa Museum in Tervueren, the National Archives of France, and the department of Musicology at the Royal Library of Belgium, the paper examines the nature of the property regime created by the confluence of colonial right, indigenous right, and postcolonial developments. Its contextualization within the framework of a globalization of intellectual property rights in construction is discussed through the study of the participation of the delegates of Congo (and later on Zaïre) in the international conferences that aimed to harmonize intellectual property at the international level during the 1960s and the 1970s.
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Fortid, 2020
This paper examines the status of the creative industries, especially textile and music, during t... more This paper examines the status of the creative industries, especially textile and music, during the 1950s, which was the last decade of the colony of Belgian Congo and the Belgian mandates on Ruanda-Urundi. For the colonizers, the arts and crafts of Congo deserved to be preserved as authentic forms of aesthetic expression. In so doing, the colonial authority developed politics of subventions and institutions ranging from ephemeral projects to long-lasting museums. Yet a delicate issue was to be found in the question of how to define the notions of authenticity and of tradition. In order to shed light on the idea of authenticity, the colonizers in charge of art and crafts politics mobilized categories of analysis defined by the disciplines of aesthetics and of ethnography. Politics of conservation were hampered by numerous factors, including the international trafficking and looting of Congolese productions, and the practical and financial challenges of setting up expeditions to record oral traditions, music, and other productions in Congo. Subventions supported, to some extent, the newer and emerging forms of creativity and of art, but the politics of intellectual property were decisive is establishing a regime of authorship for the people in Congo, Ruanda and Urundi who, at that time, did not have access to the franchise. Intellectual property created a small niche that, from the point of view of the legislative framework, gave new, although very limited rights to the Congolese creators and authors. Research for this paper is based on sources that include legal treaties on the Belgian colony of Congo and mandates over Ruanda-Urundi kept at the Royal Library of Belgium, the archives of the Commission pour la Protection des Arts et Métiers Indigènes kept at the Africa Museum in Tervueren, and secondary literature.
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Journal of Design History, 2017
Until recently, the protection of fashion creativity and innovation has been substantially differ... more Until recently, the protection of fashion creativity and innovation has been substantially different on both sides of the Atlantic. This has resulted in difficulties for fashion innovators and for makers of authorized copies when trying to protect their investment in design. During the first half of the twentieth century, Paris remained the centre for creativity in women’s fashion design, while New York’s garment industry capitalized on copying French design. The Milton case occupies a central place in the battle waged by Paris fashion industrialists against so-called American piracy. This article examines a case that took place between 1955 and 1962. A group of French couturiers filed a lawsuit in New York against F. L. Milton, an American entrepreneur specializing in making and selling sketches of Paris fashions. Paris couturiers considered this type of venture unfair, although the status of his work was ambiguous in the US markets. The case shows the challenges in an industry that occupied a complex position between high and low authorship. This contribution builds upon the case law of the Milton affair, the business records of plaintiffs and defendants, and the archives of professional associations on both sides of the Atlantic.
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In the creative industries, managing creativity and business is a complex process. This article e... more In the creative industries, managing creativity and business is a complex process. This article explores the history of the oldest and most prestigious employers’ syndicate in the fashion industry, the Chambre Syndicale de la Couture parisienne (1868) during the interwar period, a time of crisis and change. The study of the private, unpublished archives of the syndicate allows us to understand the tensions between management and creativity. Paris fashion entrepreneurs federated to face external and internal challenges. Two major topics emerge from their concerns: the relations of entrepreneurs with the workforce, and the protection of intellectual property rights. The Chambre Syndicale's members, in response, developed social services, schools for apprentices, lobbied the French institutions, and shared information among themselves. In so doing, the Chambre developed unmatched politics of exclusivity that underline the role of the syndicate as a gatekeeper.
En los sectores creativos, gestionar simultáneamente creatividad y negocio constituye un proceso complejo. Este artículo explora la historia de la asociación patronal más antigua y prestigiosa del sector de la moda, la Cámara Sindical de la Costura Parisina (1868) durante el periodo de entreguerras, que supuso un tiempo de crisis y de cambios. El estudio de los archivos privados e inéditos de la asociación nos permite comprender las tensiones que se produjeron entre la gestión y la creatividad. Los empresarios de la moda parisina se aliaron para hacer frente a las dificultades externas e internas. De entre sus preocupaciones surgieron dos grandes cuestiones: las relaciones de los empresarios con los empleados, y la protección de los derechos de propiedad intelectual. Como respuesta, los miembros de la Cámara Sindical, pusieron en marcha servicios sociales y escuelas de aprendices, y presionaron a las instituciones francesas compartiendo información entre ellos. Con esta labor, la Cámara desarrolló políticas de exclusividad inigualables que destacan el papel supervisor desempeñado por la asociación.
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Business History, 2005
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in: S. Chaouche, C. Edouard ed., "European Drama and Performance Studies. Consuming Female Perfor... more in: S. Chaouche, C. Edouard ed., "European Drama and Performance Studies. Consuming Female Performers (1850s-1950s), Paris, Classiques Garnier, 2015, pp. 225-247.
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Business History, 2020
Between the 1890 s and the 1920s, several leading Parisian couture businesses, spearheaded by the... more Between the 1890 s and the 1920s, several leading Parisian couture businesses, spearheaded by the house of Paquin, expanded to London to exploit the idiosyncratic advantages of British commerce and clientele. Most of these houses opened branch stores there and formed limited liability companies according to English law, but each strategized their expansions with a distinct individuality. This article explores Franco–British relations in the arena of high-end dressmaking, as well as the economic structures inherent to the early and rapidly expanding couture businesses, by analyzing a series of unpublished business records held in both British and French archives. These cases shed new light on the balance between commerce and creativity in French fashion and offer firsthand accounts of an internationalized couture market in its formative stages.
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Dress
This paper explores the early diversification of Paris haute couture firms through the lens of th... more This paper explores the early diversification of Paris haute couture firms through the lens of the wholesale clothing line of the house of Jean Patou. In 1929, Jean Patou founded a separate division under the name “Jane Paris.” He aimed to better reach his American buyers, therefore complementing the strategies of Americanization for his haute couture house. The case of Jane Paris allows us to examine how Paris couturiers developed their own ready-to-wear in a context of increased international competition and economic difficulties for the traditional haute couture model. That the Jane Paris experiment only lasted for a few months while the house of Jean Patou flourished suggests that the strategy to diversify succeeded in beauty and accessories, rather than in clothing.
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Books by Véronique Pouillard
Special issues by Véronique Pouillard
Articles by Véronique Pouillard
During the late colonial and early post-colonial eras in Congo, several, often overlapping legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandates (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks, and attempted at taking into account the indigenous rights (droits coutumiers). Based on sources kept at the Africa Museum in Tervueren, the National Archives of France, and the department of Musicology at the Royal Library of Belgium, the paper examines the nature of the property regime created by the confluence of colonial right, indigenous right, and postcolonial developments. Its contextualization within the framework of a globalization of intellectual property rights in construction is discussed through the study of the participation of the delegates of Congo (and later on Zaïre) in the international conferences that aimed to harmonize intellectual property at the international level during the 1960s and the 1970s.
En los sectores creativos, gestionar simultáneamente creatividad y negocio constituye un proceso complejo. Este artículo explora la historia de la asociación patronal más antigua y prestigiosa del sector de la moda, la Cámara Sindical de la Costura Parisina (1868) durante el periodo de entreguerras, que supuso un tiempo de crisis y de cambios. El estudio de los archivos privados e inéditos de la asociación nos permite comprender las tensiones que se produjeron entre la gestión y la creatividad. Los empresarios de la moda parisina se aliaron para hacer frente a las dificultades externas e internas. De entre sus preocupaciones surgieron dos grandes cuestiones: las relaciones de los empresarios con los empleados, y la protección de los derechos de propiedad intelectual. Como respuesta, los miembros de la Cámara Sindical, pusieron en marcha servicios sociales y escuelas de aprendices, y presionaron a las instituciones francesas compartiendo información entre ellos. Con esta labor, la Cámara desarrolló políticas de exclusividad inigualables que destacan el papel supervisor desempeñado por la asociación.
During the late colonial and early post-colonial eras in Congo, several, often overlapping legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandates (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks, and attempted at taking into account the indigenous rights (droits coutumiers). Based on sources kept at the Africa Museum in Tervueren, the National Archives of France, and the department of Musicology at the Royal Library of Belgium, the paper examines the nature of the property regime created by the confluence of colonial right, indigenous right, and postcolonial developments. Its contextualization within the framework of a globalization of intellectual property rights in construction is discussed through the study of the participation of the delegates of Congo (and later on Zaïre) in the international conferences that aimed to harmonize intellectual property at the international level during the 1960s and the 1970s.
En los sectores creativos, gestionar simultáneamente creatividad y negocio constituye un proceso complejo. Este artículo explora la historia de la asociación patronal más antigua y prestigiosa del sector de la moda, la Cámara Sindical de la Costura Parisina (1868) durante el periodo de entreguerras, que supuso un tiempo de crisis y de cambios. El estudio de los archivos privados e inéditos de la asociación nos permite comprender las tensiones que se produjeron entre la gestión y la creatividad. Los empresarios de la moda parisina se aliaron para hacer frente a las dificultades externas e internas. De entre sus preocupaciones surgieron dos grandes cuestiones: las relaciones de los empresarios con los empleados, y la protección de los derechos de propiedad intelectual. Como respuesta, los miembros de la Cámara Sindical, pusieron en marcha servicios sociales y escuelas de aprendices, y presionaron a las instituciones francesas compartiendo información entre ellos. Con esta labor, la Cámara desarrolló políticas de exclusividad inigualables que destacan el papel supervisor desempeñado por la asociación.
In this course we will explore the emergence of new forms of consumption from the late 19th century, and read about the critiques addressed to them. Answering critiques, enterprises and public institutions have in turn developed skills to communicate with the consumer. The line between information and persuasion will be a topic of debate in the course, as well as the transfers and exchanges in know-how and experts. Cases will approach the history of multinational advertising agencies, the evolution of marketing and propaganda techniques under totalitarian regimes, and renewed forms of consumers’ activism. These questions will be further explored up to and including the Cold War.
The books that will be at the roots of the discussions have all been published in 2021 and look at fashion from a distinct perspective. First, Audrey Millet’s Le livre noir de la mode. Création, production, manipulation (Paris: Les Pérégrines) looks at fashion from a critical perspective through the lens of social and economic history as well as the history of technology. Second, Véronique Pouillard’s Paris to New York: The Transatlantic Fashion Industry in the Twentieth Century (Cambridge, MA: Harvard University Press) studies fashion from the vantage point of business history, looking at the roles of entrepreneurs, designers, and institutions. Third, Vincent Dubé-Senécal’s La mode française. Vecteur d’influence aux États-Unis (1946-1960) (Paris: Hermann) analyses fashion and its influence from the point of view of the history of international relations, looking at the diplomatic influence of fashion.
The three participants will discuss their own book by each answering the same set of five questions to serve as a starting point for a short exchange of views between the panelists and closing with questions from the public.