Presenting a vision of the luxury sector and its management, this edited book describes "the new luxury" through a comprehensive view of the value chain, from concept to market. The authors argue that the main characteristics of "luxury" are linked to specific resources and competencies found throughout the value chain and that value is a result of the interaction between the brand and stakeholders, and more precisely with their clients. Taking an interdisciplinary approach, New Luxury Management encompasses both strategic and functional aspects of luxury management, providing innovative solutions to the successful creation and management of value across the organization, from leadership, human resources, financial management, marketing and economic perspectives.

Presenting a vision of the luxury sector and its management, this edited book describes "the new luxury" through a comprehensive view of the value chain, from concept to market. The authors argue that the main characteristics of "luxury" are linked to specific resources and competencies found throughout the value chain and that value is a result of the interaction between the brand and stakeholders, and more precisely with their clients. Taking an interdisciplinary approach, New Luxury Management encompasses both strategic and functional aspects of luxury management, providing innovative solutions to the successful creation and management of value across the organization, from leadership, human resources, financial management, marketing and economic perspectives.

This book explores the significance which contemporary club cultures can come to have for women living through a time of radical sexual-political change. The book focuses upon the experiential accounts of different "raving" and clubbing women by illustrating how new, and more appropriate, fictions of femininity are generated within these accounts. Focus upon these aspects reveals the limitations of reading today's club cultures as indicators of a sexual-political regression.

This work explores the significance which contemporary club cultures can have for women at a time when femininity is undergoing radical reconstruction. The book focuses upon the experiential accounts given by a range of 'raving' and clubbing women and illustrates how new (and, in some respects, more appropriate to our times) fictions of femininity are generated within these accounts. Club cultures can, it is argued, come to provide important sites for the exploration of new ways of being women-in-culture. Focus upon these more subjective and experiential aspects reveals that today's dance cultures have much to offer women, and a lot more to say about femininity than is usually acknowledged. This suggests the limitations of much contemporary club culture criticism which concludes that because men tend to dominate at the levels of production and organisation, today's club cultures signal a sexual-political step backwards.

Over the past decade, the video camera has become a commonplace household technology. With falling prices on compact and easy-to-use cameras, as well as mobile phones and digital still cameras with video recording capabilities, access to moving image production technology is becoming virtually universal. Home Truths? represents one of the few academic research studies exploring this everyday, popular use of video production technology, looking particularly at how families use and engage with the technology and how it fits into the routines of everyday life. The authors draw on interviews, observations, and the participants' videos themselves, seeking to paint a comprehensive picture of the role of video making in their everyday lives. While readers gain a sense of the individual characters involved in the project and the complexities and diversities of their lives, the analysis also raises a range of broader issues about the nature of learning and creativity, subjectivity and representation, and the ""domestication"" of technology-issues that are of interest to many in the fields of sociology and media/cultural studies.

Over the past decade, the video camera has become a commonplace household technology. With falling prices on compact and easy-to-use cameras, as well as mobile phones and digital still cameras with video recording capabilities, access to moving image production technology is becoming virtually universal. "Home Truths?" represents one of the few academic research studies exploring this everyday, popular use of video production technology, looking particularly at how families use and engage with the technology and how it fits into the routines of everyday life.

The authors draw on interviews, observations, and the participants' videos themselves, seeking to paint a comprehensive picture of the role of video making in their everyday lives. While readers gain a sense of the individual characters involved in the project and the complexities and diversities of their lives, the analysis also raises a range of broader issues about the nature of learning and creativity, subjectivity and representation, and the "domestication" of technology---issues that are of interest to many in the fields of sociology and media/cultural studies.

David Buckingham is Professor of Education at the Institute of Education, University of London, and Director of the Institute's Centre for the Study of Children, Youth and Media.

Rebekah Willett is Lecturer at the Institute of Education, University of London, where she teaches in Media, Culture and Communication.

Maria Pini previously worked as Lecturer in Media and Communications at Goldsmiths College, London University, and is now a researcher on the Camcorder Cultures project at the Institute of Education.

Cover art: Young videomaker (c)iStockphoto.com/ kaisersosa67

Technologies of the Imagination: New Media in Everyday Life

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