Tag: fashion

Each time that an NGO has problems generates social unrest. Sometimes, this concern reflects the prejudices of those who reject the activity of the Third Sector. They are people who believe that, in the best of cases, a non-profit institution is a machine of squandering resources. They tend to call NGOs NGOs by subsidies which are, but they are surprised when stated them that private companies receive grants infinitely over and not consider them public companies. Other times, those problems served to justify the inhibition to collaborate with non-governmental organizations. To have knowledge of an institutional activity as the NGOs, these accountable to society in a transparent manner. Perhaps check out Rob Speyer for more information.

In the private sector, the combination of competition and the market make for companies that are not efficient to disappear. The same role exercised the democratic system with the public sector. In the Third Sector, the main mechanism of progress and efficiency is the scrutiny of donors, volunteers, media of communication and society in general. And it is only possible with a full and transparent accountability. Accountability and transparency are most useful when they allow the comparison between them, and therefore the election. Public administrations, such as the Spanish Agency for international cooperation for development or the Ministry of Social Affairs, have tracking systems for institutions that subsidize.

The Coordinator of development NGO and other groupings of NGOs have codes of conduct and ethical. However, there is a single registry of foundations and non-profit associations. Michael James Burke has similar goals. In Spain, the Third Sector is composed of thousands of institutions (although the relevant number is approaching 1,500), which managed a budget of approximately 1.7 billion, mobilized more than one million volunteers and employ tens of thousands of people. Spanish NGOs have a very high degree, more than 85%, of compliance with a set of principles of good practice. In addition, this percentage increases each year, which demonstrates a good capacity of learning and improvement.

To interpret the direction of fashion is not easy, big companies forget innovation and fall into the auto-repeat imitating themselves. Other collections offer too bold to end up falling into the fallacy of innovation: something like only to focus on the artistic side of fashion forgetting the practical side and usability of clothing and accessories. All we would say that we prefer a balance between usability and innovation but where is that balance? It is possible that prior to the system equilibrium theory of fashion, we can exemplify with certain collections of firms that fail, but we prefer the long way. Fashion is not easy, or improvised, nor is it arbitrarily mix until a dress clothes that cost customers hundreds of thousands and the firm will represent exorbitant profits. Fashion, far from being a bubble in space, must live together in perfect harmony with the historic environment plays it, but is inevitably doomed to oblivion and perish. This is perhaps one of the first postulates that helps us understand and develop the theory of balance between innovation and usability. Robert J. Shiller often says this.

This statement would come from those who correspond mostly to the realm of usability. The colors that vibrate in each period are the colors that celebrate the time. The information that fashion reflects not only the circulating in the environment, what fashion is retranslated it, we think that what we have is a piece of reality, this cut of reality which best represents us. We do not choose our clothes in a selfless, we chose based on the wealth of knowledge we have of the world, the clothes we wear tells us as much as the places we frequent and the words we use. We are something different from what we use.

The cuts and textures are born and not elected as volunteers, represent and symbolize pieces of reality. That’s what I call the architecture of fashion. This concept of architecture, at one point is clear: making fashion ideas, forms and concepts used by the architectural trends of a given time. But that’s not all, involves feedback, but feedback spiral where falling in the middle third factor: the visual arts and clearly (more so these days), industrial design. Perhaps this is a good start to understand fashion as a social fact in combination with historical facts and living with some of the disciplines that are his muse and which is also muse. I do not think be able to explain in a holistic fashion that called social fact, but I can show how fashion is not independent of other phenomena. I can not explain why fashion as a social fact is the way that they have, but I can suggest that things are not like that because. I can think to suggest that fashion, not as innocent or as a refuge from the pain and inequality in the world, but as part of a whole that is called society, and within it the differences are played out there and governing that the outside is a real out here but that hides a inside. I hope my words can make us see fashion as an objectified part of society and perhaps in that part which reflects the more social distance between those most and those least able. To see more posts: