Paris Handicraft Workshop And The Myth Of Flying Shoes

The French version of the French jump shoes is a myth. Its original price was only ten yuan RMB, and it was sold by the French for 50 euros after being redesigned by the French.

This story is constantly deductive, the story protagonist also from "leap" erroneous pmission erroneous to become "the back force".

The magic of the story is how Frenchmen's design and packaging turn these ordinary rubber shoes into a fashionable product.

Marketing experts say only Frenchmen can save flying shoes.

This judgment is based on the fact that fashion has always been the dominant narrative in the western world, and the center of fashion is France and Italy.

A pair of Chinese made rubber shoes has been certified in Champs Elysees street before they can be given more "cultural significance". Star Bloom is wearing "leap" to make these shoes fashionable. Such a story is not uncommon in fashion industry.

But this pair of rubber shoes has changed the relationship between "made in China" and fashion industry.

In the past, many fashion products conceal that they are producing in China.

Coach, the famous leather goods manufacturer in the United States, is one of the few brands who admits that their products are mostly from China. They put their production in the low price labor market to raise their gross margins.

An analyst at Merrill Lynch said, "for those luxury goods that sell at a high price but low cost, I think it's not a big deal to produce in China."

But the world's top brands are hypocritically obscuring the value of China's "world factory" to their brand, and they emphasize "made in Europe".

GUCCI's main factory is located in Scandicci near Florence, where GUCCI collects and processes leather and is pported to dozens of small cars for assembly.

Most of the workers in these workshops were born in the cobbler's family, and GUCCI processed the production process after the factory was covered by the Italy logo.

The fact is that in the 5 years from 1997 to 2002, the shipments of the factory increased by 6 times.

In 1997, it took 23 days for Louis Weedon to produce a classic leather bag, and only 4 days to 2002.

In 1985, Bernard Arnott bought Dior, and in the next 20 years, he developed the LVMH group into the world's largest luxury group with more than 50 brands.

After Arnott, Richemont group and Prada group came into being one after another.

Therefore, we should pay attention to the personalized fashion industry and become a business machine that is uniform, high-speed and invincible in the world.

"Our territory has expanded beyond the scope of the wealthy," said a head of the LVMH group.

Now, Donna Thomas, a Fashion Journalist stationed in Paris, took the lead in raising sharp doubts about the business machine.

In her book "how to lose her luster", she believes that the scale of the fashion industry is bigger and bigger, and the assembly line production is bound to sacrifice the expensive cost of the process.

The carefully customized luxury goods produced by handicraft shops are quite different from the mass production nowadays, but capitalists have amplified the cost and effectiveness of the brand through the use of people's pursuit of identity through a rigorous media promotion.

When Kristen visited Dior in the era of 1957, he described the fashion knowledge as "the last refuge of human against vulgar" in an artist's tone. "In this age of mechanical importance that emphasizes conventional and unified, fashion is unique and unique.

Even the most appalling innovations should be accepted, because they protect us from being crude and monotonous. In order to combat gloom, fashion must be carefully defended.

But now, Donna Thomas puts forward the concept of "fashion deserters", hoping that consumers will be more rational about fashion.

This kind of voice has been seen many times in history. 100 years ago, Simmel suggested that only by keeping distance from materialized reality can individuals achieve aesthetic pcendence in modern daily life.

In the West in the 1960s, new fashions were usually introduced by those who lost their social status, and fashion often came from members of the mainstream culture.

Counter culture is a conscious movement, which not only opposed traditional values and established concepts, but also opposed market ideology.

It proposes individual self-expression and self actualization, and gives special value to personality, creativity and pleasure.

From cultural history, this is another movement of romanticism.

Hu Fengdi, manager of the marketing department of the big Bowen Shoes Co., Ltd. and Mr. Zhao Shifu, who has made the leap shoes for more than 40 years, now China's "classic domestic products" are popular from various channels. Some people are fond of fighting shoes. Some people are fond of plum sports clothes. Some people collect the 60s industrial products. Some people call small shops "lost property".

They also retain the brand of 60s.

China's 60s design is rediscovering its value. Paris's old workshops and retro design are also being reintegrated into the fashion system in a new look. These may all have a subtle relationship with Donna Thomas's "fashion deserters" position.

But when we observe this trend, we find that the circulation of fashion industry in these decades may be more thought-provoking. Donna Thomas said that the fashion brand has gone back to Europe to become a fashionable product after the design of the designer, and has been sold to China, and the price has increased at least 10 times.

And a pair of sports shoes or a plum sportswear that we have visited will only be increased from China to Europe, and the price will be increased by several times after being packaged by France or Italy.

It is interesting that many of these designs in 60s came from the imitation of Europe in 40s and 50s.

This interesting process is a very valuable coordinate for us to find out its position through introspection of globalization.