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See the Sound, Hear the Style: Collaborative Linkages between Indie Musicians and Fashion Designers in Local Scenes

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  • Atle Hauge
  • Brian Hracs

Abstract

Although economic geographers have paid significant attention to the competitive dynamics, organizational and employment structures of specific cultural industries, the existing research privileges large firms and established centres such as New York, London and Los Angeles. Moreover, despite the conceptual articulations of spillovers and “related variety” few attempts have been made to examine the collaborative linkages between two or more related industries and, more specifically, how changing macro-economic forces are affecting individual producers at the local scale. In this paper we address these gaps and argue that the growing prevalence of independent production is transforming the nature of the long-standing connection between music and fashion. Specifically, that strategic collaborations between indie producers are becoming crucial to competing in the contemporary landscape of cultural production and consumption. We also assert that the motivations and mechanisms of these contemporary collaborations differ from their historical counterparts in important ways. Indeed technological advancements and the demands of indie production are changing the networking practices that facilitate these partnerships and the ways in which indie producers value and exchange goods and services.

Suggested Citation

  • Atle Hauge & Brian Hracs, 2010. "See the Sound, Hear the Style: Collaborative Linkages between Indie Musicians and Fashion Designers in Local Scenes," Industry and Innovation, Taylor & Francis Journals, vol. 17(1), pages 113-129.
  • Handle: RePEc:taf:indinn:v:17:y:2010:i:1:p:113-129
    DOI: 10.1080/13662710903573893
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    Citations

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    Cited by:

    1. Christoph Alfken & Tom Broekel & Rolf Sternberg, 2015. "Factors Explaining the Spatial Agglomeration of the Creative Class: Empirical Evidence for German Artists," European Planning Studies, Taylor & Francis Journals, vol. 23(12), pages 2438-2463, December.
    2. Josephine V Rekers, 2012. "We're Number Two! Beta Cities and the Cultural Economy," Environment and Planning A, , vol. 44(8), pages 1912-1929, August.
    3. Brian J Hracs & Doreen Jakob & Atle Hauge, 2013. "Standing out in the Crowd: The Rise of Exclusivity-Based Strategies to Compete in the Contemporary Marketplace for Music and Fashion," Environment and Planning A, , vol. 45(5), pages 1144-1161, May.
    4. Marine Agogué & Béatrice Parguel, 2020. "Nudging individuals’ creativity using social labeling," PLOS ONE, Public Library of Science, vol. 15(2), pages 1-18, February.
    5. Wu, Yuanyuan & Wu, Shikui, 2016. "Managing ambidexterity in creative industries: A survey," Journal of Business Research, Elsevier, vol. 69(7), pages 2388-2396.
    6. Rik Wenting & Oedzge Atzema & Koen Frenken, 2011. "Urban Amenities and Agglomeration Economies? The Locational Behaviour and Economic Success of Dutch Fashion Design Entrepreneurs," Urban Studies, Urban Studies Journal Limited, vol. 48(7), pages 1333-1352, May.
    7. Etienne Capron & Dominique Sagot-Duvauroux & Raphaël Suire, 2020. "Anatomy of a techno-creative community : the role of places and events in the emergence of videomapping in Nantes," Working Papers hal-02617101, HAL.
    8. Niccolò Innocenti & Luciana Lazzeretti, 2018. "Relatedness and growth: The impact of creative industries to the wider economy," Papers in Evolutionary Economic Geography (PEEG) 1819, Utrecht University, Department of Human Geography and Spatial Planning, Group Economic Geography, revised Apr 2018.

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