Titlebook: Bright Modernity; Color, Commerce, and Regina Lee Blaszczyk,Uwe Spiekermann Book 2017 The Editor(s) (if applicable) and The Author(s) 2017

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Sophie Ekume Etomes,Epah George Fonkengcreasing availability of branded dye products for domestic and commercial markets in the mid-nineteenth century. Nicklas argues that both the language of fashionable color and the variety of new dye products linked male colorists and female fashion consumers.

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B.S. Sahay,Sumeet Gupta,Vinod Chandra Menoners emphasized. This chapter explores the nexus of color, gender, domesticity, and technology in the marketing of light applications—especially new color bulbs—to consumers, in particular women, in the mid-twentieth century.

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Subtlety, Subterfuge, and Silenceand also published a wide range of art in color from around the world, from prehistoric cave paintings to Renaissance frescoes and African art. Through its investments in color technology, . not only became a leader in color printing but also placed the United States at the center of the global art world.

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https://doi.org/10.1007/978-1-4302-0271-4decades. It created a base for decision-making and information-sharing that was reliable and influential. Modeurop proved that color was not only a concern of individual companies. It could also become a strong tool within an industry, if it was handled by a well-organized group.

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2945-6010 al and business innovations in print and on the silver screen, the interrelationship between gender and color, and color forecasting in the fashion industry..978-3-319-84481-7978-3-319-50745-3Series ISSN 2945-6010 Series E-ISSN 2945-6029

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Coloring the World: Marketing German Dyestuffs in the Late Nineteenth and Early Twentieth Centuriess succeeded in the high-end segment of fashionable silk dyeing. Second, scaling up production, bringing down manufacturing costs, and producing an ever-wider range of dyes enabled the dye industry to penetrate the mass market of ordinary cotton dyeing beginning in the early 1870s. By the 1890s, this