Supplying Woolens for Cristóbal Balenciaga: A Comparative Analysis of the Commercial Strategies of Garigue and Agnona (1947–1968)

References

• Aguado, por María G. 2016. Balenciaga a través del encaje. Getaria: Fundación Cristóbal Balenciaga Fundazioa.
   Google Scholar
• Anderson, Fiona. 2017. Tweed. London: Bloomsbury Academic.
   Google Scholar
• Arizzoli-Clémentel, Pierre. 1985. “Balenciaga et les Tissus.” In Hommage à Balenciaga, 49–60. Lyon: Musée Historique de Tissus.
   Google Scholar
• Arizzoli-Clémentel, Pierre. 2011. “Balenciaga and his Fabrics.” In Balenciaga/Cristóbal Balenciaga Museoa, edited by Amalia Descalzo, 50–60. Getaria: Cristóbal Balenciaga Museoa.
   Google Scholar
• Arzalluz, Miren. 2011. Cristóbal Balenciaga: The Making of a Master 1895–1936. London: V&A Publishing.
   Google Scholar
• Balda, Ana. 2013. "Cristóbal Balenciaga: una singular política de comunicación frente al avance del prêt-à-porter." PhD diss. University of Navarra. http://hdl.handle.net/10171/48148
   Google Scholar
• Balda, Ana. 2020. “Balenciaga and la vie d́’un chien.” Fashion Theory 1–17. doi:10.1080/1362704X.2019.1704523.
   Web of Science ®Google Scholar
• Bowles, Hamish. 2011. Balenciaga and Spain. Milan: Skira.
   Google Scholar
• Briggs, A. 1947. “The Framework of the Wool Control.” Oxford Economic Papers os-8 (1): 18–45. doi:10.1093/oxepap/os-8.1.18.
   Web of Science ®Google Scholar
• Charpigny, Florence. 2005. “L’étoffe de la mode. Soierie lyonnaise et haute couture, l’exemple de la maison Ducharne.” In Mode des parures aux marques de luxe, edited by Danielle Allérès, 27–38. Paris: Economica.
   Google Scholar
• Colli, Andrea, and Elisabetta Merlo. 2007. “Family Business and Luxury Business in Italy (1950–2000).” Entreprises et Histoire 1 (46): 112–124.
   Google Scholar
• Dallenne, Pierre. 1993. “La machine textile en France. Des récessions à l'ouverture internationale (1944–1990).” Revue du Nord 75 (300): 359–376. doi:10.3406/rnord.1993.4825.
   Google Scholar
• Dalmasso Montel, Joëlle, ed. 2007. Esprit Staron: rubans, soieries et haute-couture. Paris: Somogy Editions d’Art.
   Google Scholar
• de Givenchy, Hubert. 2006. “Remembering Balenciaga.” In Balenciaga and His Legacy: Haute Couture from the Texas Fashion Collection, edited by Myra Walker, 1–13. New Haven, CT; Dallas: Yale University Press; Meadows Museum.
   Google Scholar
• de Lorenzo, Victoria. 2020. “Exhibition Rreview: Cristóbal Balenciaga, Moda y Patrimonio—Conversaciones [Cristóbal Balenciaga. Fashion and Heritage—Conversations]. An Exhibition by Judith Clark at the Cristóbal Balenciaga Museoa, Getaria (San Sebastian), March 24 2018–January, 24 2019.” Fashion Theory 24 (3): 419–434. doi:10.1080/1362704X.2019.1611306.
   Web of Science ®Google Scholar
• De Marly, Diana. 1980. The History of Haute Couture, 1850–1950. London: Batsford.
   Google Scholar
• Descalzo, Amalia, ed. 2011. Balenciaga/Cristóbal Balenciaga Museoa. Getaria: Cristóbal Balenciaga Museoa.
   Google Scholar
• Descalzo, Amalia, ed. 2014. “The Fabrics as the Protagonists in the Balenciaga Silhouette.” Paper presented at Global Fashion. Rethinking & Reworking. University College Ghent Belgium, 19–21 November.
   Google Scholar
• Emilas, Mariu. 2017. Balenciaga: mi Jefe. Almería: El círculo rojo.
   Google Scholar
• Filion, Louis Jacques. 2011. “Defining the Entrepreneur.” In World Encyclopedia of Entrepreneurship, edited by Léo-Paul Dana, 41–53. Cheltenham: Edward Elgar.
   Google Scholar
• Friedman, Walter A., and Geoffrey Jones. 2011. “Creative Industries in History.” Business History Review 85 (2): 237–244. doi:10.1017/S0007680511000365.
   Web of Science ®Google Scholar
• Golbin, Pamela. 2006. Balenciaga Paris. London: Thames & Hudson.
   Google Scholar
• Hillman, James, ed. 2010. Ermenegildo Zegna. Cento anni di tessuti, innovazione, qualità e stile. Milan: Skira.
   Google Scholar
• Hollen, Norma, Jane Saddler, and Anna Langford. 2002. Introduccion a los textiles. Mexico D.F: Editorial Limusa S.A. De C.V.
   Google Scholar
• Jarnow, Jeannette A., and Kitty G. Dickerson. 1997. Inside the Fashion Business. Upper Saddle River, NJ: Merrill.
   Google Scholar
• Join-Diéterle, Catherine, ed. 2015. Balenciaga: magicien de la dentelle. Paris: Somogy éditions d'art.
   Google Scholar
• Jouve, Marie-Andrée. 2008. Balenciaga. New York: Assouline.
   Google Scholar
• Jouve, Marie-Andrée, and Jacqueline Demornex. 1989. Balenciaga. New York: Rizzoli.
   Google Scholar
• Lucchetta, Elisabetta. 2002–2003. "Progettare il lusso. Ideazione di una collezione di accessori per un'azienda del settore moda:: il “Progetto Double” per Agnona." Masters diss. Politecnico di Milano.
   Google Scholar
• Maguire, Paddy. 1991. “Designs on Reconstruction: British Business, Market Structures and the Role of Design in Post-War Recovery.” Journal of Design History 4 (1): 15–30. doi:10.1093/jdh/4.1.15.
   Google Scholar
• Maguire, Paddy. 1993. “Craft Capitalism and the Projection of British Industry in the 1950s and 1960s.” Journal of Design History 6 (2): 97–113. doi:10.1093/jdh/6.2.97.
   Google Scholar
• Mason, Lisa. 2018. “Illustrating the Design Process: The Bernat Klein Collection and Archive, National Museums Scotland.” Journal of Design History 31 (3): 274–285. doi:10.1093/jdh/epy008.
   Web of Science ®Google Scholar
• Mendes, Valerie. 1987. Ascher: Fabric, Art, Fashion: Zika and Lida Ascher. London: V&A Publications.
   Google Scholar
• Merlo, Elisabetta. 2003. “Le Origini Del Sistema Moda.” In Storia D'Italia. Annali. 19. La Moda, edited by Carlo Marco Belfanti and Fabio Giusberti, 667–697. Turin: Einaudi.
   Google Scholar
• Merlo, Elisabetta, and Francesca Polese. 2006. “Turning Fashion into Business: The Emergence of Milan as an International Fashion Hub.” Business History Review 80 (3): 415–447. doi:10.1017/S0007680500035856.
   Web of Science ®Google Scholar
• Miller, Lesley Ellis. 2007a. Balenciaga. London: V&A Publications.
   Google Scholar
• Miller, Lesley Ellis. 2007b. “Perfect Harmony: Textile Manufacturers and Haute Couture.” In The Golden Age of Couture. Paris and London 1947–1957, edited by Claire Wilcox, 113–136. London: V&A Publications.
   Google Scholar
• Miller, Lesley Ellis. 2008. “EISA: Balenciaga en España e Inglaterra = EISA: Balenciaga in Spain and England.” Datatèxtil 18: 4–21.
   Google Scholar
• Miller, Lesley Ellis. 2017. Balenciaga: Shaping Fashion. London: V&A Publishing.
   Google Scholar
• Moda y patrimonio. 2018. Cristóbal Balenciaga, Moda y Patrimonio: conversaciones. Getaria: Cristóbal Balenciaga Museoa.
   Google Scholar
• Obrech, Jean J. 2011. “Enviroment for Entrepreneurship.” In World Encyclopedia of Entrepreneurship, edited by Léo-Paul Dana, 122–139. Cheltenham: Edward Elgar.
   Google Scholar
• Pallmert, Sigrid, Barbara Keller, and Karin WäLchli. 2010. Soie Pirate. Zürich: Scheidegger & Spiess.
   Google Scholar
• Palmer, Alexandra. 2001. Couture & Commerce: The Transatlantic Fashion Trade in the 1950s. Vancouver: UBC Press; Royal Ontario Museum.
   Google Scholar
• Pouillard, Véronique. 2013. “Keeping Designs and Brands Authentic: The Resurgence of the Post-War French Fashion Business under the Challenge of US Mass Production.” European Review of History: Revue Européenne D'histoire 20 (5): 815–835. doi:10.1080/13507486.2013.833720.
   Web of Science ®Google Scholar
• Pouillard, Véronique. 2016. “Managing Fashion Creativity. The History of the Chambre Syndicale de la Couture Parisienne during the Interwar Period.” Investigaciones de Historia Económica - Economic History Research 12 (2): 76–89. doi:10.1016/j.ihe.2015.05.002.
   Web of Science ®Google Scholar
• Pouillard, Véronique. 2018. “Recasting Paris Fashion: Haute Couture and Design Management in the Postwar Era.” In European Fashion: The Creation of a Global Industry, edited by Regina Lee Blaszczyk and Véronique Pouillard, 35–63. Manchester: Manchester University Press.
   Google Scholar
• Pouillard, Véronique, and Waleria Dorogova. 2020. “Couture Ltd: French Fashion’s Debut in London’s West End.” Business History 63 (2): 1–23.
   Google Scholar
• Rosina, Margherita. 2014. “Textiles: The Foundation of Italian Couture.” In The Glamour of Italian Fashion Since 1945, edited by Sonnet Stanfill, 76–93. London: V&A Publishing.
   Google Scholar
• Rosina, Margherita, and Lucia Salvi. 2014. “Nattier: Textile Innovators.” In The Glamour of Italian Fashion since 1945, edited by Sonnet Stanfill, 255–261. London: V&A Publishing.
   Google Scholar
• Stewart, Mary Lynn. 2004. “Marketing Fabrics and Femininity in Interwar France.” Textile History 35 (1): 90–111. doi:10.1179/004049604225015657.
   Web of Science ®Google Scholar
• Stewart, Mary Lynn. 2008. Dressing Modern Frenchwomen: Marketing Haute Couture, 1919–1939. Baltimore, MD: John Hopkins University Press.
   Google Scholar
• Taylor, Lou. 2002. “Decoding the Hierarchy of Fashion Textiles.” In Disentangling Textiles: Techniques for the Study of Designed Objects, edited by Mary Schoeser and Christine Boydell, 67–80. London: Middlesex University Press.
   Google Scholar
• Towers Settle, Alison. 1934. “Dress Fabrics.” Journal of the Royal Society of Arts 83 (4281): 78–88.
   Google Scholar
• Uria, Igor. 2017. “The Rachel L. Mellon Collection.” In Rachel L. Mellon Collection, 21–46. Getaria: Cristobal Balenciaga Museoa.
   Google Scholar
• Vernus, Pierre. 2006. Art, luxe & industrie: Bianchini Férier, un siècle de soieries lyonnaises, 1888–1992. Grenoble: Presses Universitaires de Grenoble.
   Google Scholar
• Wakild, Emily. 2020. “Saving the Vicuña: The Political, Biophysical, and Cultural History of Wild Animal Conservation in Peru, 1964–2000.” The American Historical Review 125 (1): 54–88. doi:10.1093/ahr/rhz939.
   Web of Science ®Google Scholar
• Wild, M. T. 1972. “The Yorkshire Wool Textile Industry.” In The Wool Textile Industry in Great Britain, edited by J. Geraint Jenkins, 185–235. London: Routledge and Kegan Paul.
   Google Scholar