1. Co-creativity; new ways of understanding 1950's fashion Angela Partington University of the West of England

2. Co-creativity: new ways of understanding 1950s fashion creativity: contextualised and collaborative collaborative interactions with consumers innovations in design practice derive from the relationships between practitioners and consumers the convergence of academic research and marketing

3. The democratisation of creative production?

4. Art and everyday life

5. Consumers have always used objects to transform themselves

6. Design has always been consumer-led Fashion forecasting Cool-hunting bubble-up fashion-adoption Stylistic proliferation

7. Understanding the production of meaning: post-critical methodologies

8. mass market fashion?

9. pleasures of spectacle: audience identity

10. Glamour vs Utility

11. Rita Hayworth 1940s Diors New Look 1947 The Wild One 1953 Chevrolet 1957 Dracula 1958

12. Ruby Gentry 1952

13. Letty Lytton 1932

14. Written on the Wind 1956

16. Consumption: selective, eclectic and unpredictable Intertextuality: an effect of consumption

17. Creativity and Commerce Half a century of marketing science has had no impact on the 95%failure rate of new products (Brown, S., Postmodern Marketing, 1995) Guitar music is on the way out Sony Walkman (1980) Teenage Mutant (Decca Records 1962) Ninja Turtles (1992)

18. The C21st creative professional is a collaborator and mediator, a hybrid manager who can operate across disciplines (Cox Review 2005) Hella Jongerius Dominic Anciano M/M Damien Hirst