Veronique Pouillard

• Pouillard, Véronique; Buning, Marius & Loth, Mala (2026). Introduction in: Musicians and Copyright. I Pouillard, Véronique; Buning, Marius & Loth, Mala (Red.), Musicians and copyright A history of collective rights management in the music industry. Manchester University Press. ISSN 9781526180148. s. 1–28. doi: 10.7765/9781526180162.00007. Fulltekst i vitenarkiv Vis sammendrag

  The management and redistribution of royalties, particularly through copyright, have been the subject of ongoing debates since the establishment of modern intellectual property in the 18th century. The Berne Convention of 1886 focused on copyright, allowing for the global coordination of intellectual property laws. This evolution of copyright law coincided with the advent of new recording technologies that transformed the music industry, creating new commercial and legal dynamics. At the national level, collective management societies (CMOs) are organizational forms that have profoundly shaped the music industry since the 19th century, among which the French Société des auteurs, compositeurs et éditeurs de musique (SACEM), founded in 1851, is the oldest one. In Europe, the CMOs organized the collection of dues nationally and redistributed those dues to the foreign societies according to where artists were enrolled. The CMOs activity reached further, with some of them branching out to European colonies. From the interwar period, the foundation of the international umbrella society International Confederation of Societies of Authors and Composers (CISAC) acted as a unifying element between the various CMOs, in Europe and then globally. This introductory chapter examines the emergence of the CMOs; their relation to the internationalization of copyright laws and regulations; the interrelations between technological change and the CMOs activity; and the relevance of historical methods to study the CMOs.

• Mitrovic, Minja & Pouillard, Véronique (2026). Collecting the traditional Kabyle music of Algeria during decolonisation: Taos Amrouche, Yvette Grimaud and UNESCO (1950s–60s). I Pouillard, Véronique; Buning, Marius & Loth, Mala (Red.), Musicians and copyright A history of collective rights management in the music industry. Manchester University Press. ISSN 9781526180148. s. 156–182. doi: 10.7765/9781526180162.00013. Fulltekst i vitenarkiv Vis sammendrag

  By the 1950s, francophone North Africa had become a de facto home market for French music. Meanwhile, local composers increasingly discovered the benefits of seeking membership with SACEM, partly because, in the years leading up to the war, SACEM had sent their own members, often Algerian, to the country to recruit North African musicians to the society. Until then, most composers—often called “lyric-authors”– usually made agreements with broadcasters directly, receiving a fixed lump sum of money. For these composers, just discovering income from royalties, SACEM became synonymous with copyright, illustrating the near monopolistic position of the society in the region. These composers enjoyed income from the contracts with broadcasters as well as royalties from SACEM, and thus a rush of composers seeking membership with the French authors’ rights society eventually took place. This, however, challenged SACEM in new ways. Many young Algerian musicians did not read scores and thus did not pass SACEM’s examination required for admission. The use of proxy-authors grew in order for these composers to enjoy income from royalties. This chapter focuses on the team formed by the composer Taos Amrouche, herself recipient of a long familial tradition, and the ethnomusicologist Yvette Grimaud who recorded the songs of the former. The experience of transmission resulting from their collaboration shows the lack of representation, especially for folklore musicians, in the traditional model of the SACEM collection of dues. From 1952 a new model emerged with the drafting of the Universal Copyright Convention of the United Nations Educational, Scientific and Cultural Organization (UNESCO), in force from 1955. Together Amrouche and Grimaud reinvented representation through their roles as a griot and an informant.

• Ranestad, Kristin & Pouillard, Véronique (2026). Controlling company subsidiaries in the Global South: A comparative study of itineraries to and from mining sites in Chile and Congo. Economic History of Developing Regions. ISSN 2078-0389. s. 1–26. Fulltekst i vitenarkiv Vis sammendrag

  This paper analyses mining operations by multinational mining companies in Chile and Congo (1910s–1960s), focusing on methods to establish control over subsidiaries. It examines Andes Copper Company and Chile Exploration Company (Anaconda) in Chile and Union Minière du Haut-Katanga and Société Minière du Bécéka in Congo, and compares the role of travel and communication in managing operations. It identifies striking similarities in their approaches, including international expertise for ore prospecting and technical knowledge transfer, as well as North–South travel for supervision and strategic discussions. Communication differences were influenced by company-culture variations, as well as unique historical, social, and political backgrounds of each host country. Anaconda relied on experienced expatriate staff, certain local initiatives in Chile, and frequent mail correspondence. Belgian companies in Congo faced challenges due to colonial anxieties and limited local expertise – needing closer supervision, more site visits, and increased reporting.

• Pouillard, Véronique & Ranestad, Kristin (2026). Diamond artisanal mining and trafficking in the South Kasaï region of the Congo during the decolonization period (1957–1964). Resources Policy. ISSN 0301-4207. 112. doi: 10.1016/j.resourpol.2025.105763. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines the diamond extraction and commerce in South Kasaï, a key diamond-producing region in the Democratic Republic of Congo (DRC). Focusing on the late colonial years through the post-independence militarization of the province in 1964, the article examines the role of the multinational firms Forminière and Bécéka in consolidating control over diamond resources. Drawing on archival materials from both firms, held in the Sibeka archives (after the postcolonial renaming of these operations), we analyze how these firms exploited Congo’s extractive institutions, contributing to violence and state fragility. Shortly after the Congo gained independence on June 30, 1960, South Kasaï declared secession from the new republic and remained a semi-autonomous entity until 1962. Despite the ban on artisanal mining by the multinationals present in the region and by the South Kasaï provincial authorities, clandestine mining increased and started fostering the cross-border trade in diamonds, creating alternative circuits of commerce outside the monopoly of the De Beers international cartel. Against this backdrop, our findings show a ‘cycle of repression’, in which multinational management employed corruption, local exploitation, and violent measures to suppress artisanal mining and maintain dominance. We argue that the transition to independence intensified legal pluralism and informal mining cultures, undermining state authority and reinforcing the ‘resource curse’ framework. The paper contributes to debates on natural resources, extractive institutions, and conflict, offering a microhistorical perspective on diamond mining and its implications for Congolese governance.

• Pouillard, Véronique (2026). The colonial expansion of the Belgian collective management society SABAM and music copyright in Congo, Rwanda and Burundi (1950s-1960s). I Pouillard, Véronique; Buning, Marius & Loth, Mala (Red.), Musicians and copyright A history of collective rights management in the music industry. Manchester University Press. ISSN 9781526180148. s. 132–155. Fulltekst i vitenarkiv Vis sammendrag

  This chapter examines the history of the collective management society SABAM (Société d’Auteurs belge – Belgische Auteurs Maatschappij) in the Belgian colony of Congo. The country became a member of the Berne Treaty in the wake of the Brussels Conference of revision of 1948. Soon after in 1949, SABAM, the Belgian collective management society founded in Brussels in 1922, opened a branch office in Léopoldville (present day Kinshasa). The activity of musicians in Congo during that period ranged from traditional music to genres inspired by a mix of Anglo-Saxon and Hispanic influences. Yet other musicians in Congo were engaged in religious and classical music. During the late colonial and early postcolonial eras in Congo several, often overlapping, legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandate (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks while attempting to take into account the indigenous rights (droits coutumiers). Against this backdrop, the Kinshasa SABAM office organized the collection of dues for music in colonial Congo, and paid dues in the colony and abroad. The role of the collective management society as an intermediary was especially beneficial to an elite of musicians of the hybrid genre of rumba. SABAM passed the baton to a new collective management society, the Société des Auteurs Congolais (SACO) during the last year of the Belgian colonial rule over Congo, in 1959.

• Pouillard, Véronique (2025). The Congo Patent System and Transimperial Entrepreneurs The Colonial Expansion of Belgian Intellectual Property (1880s to 1930s). BMGN - Low Countries Historical Review. ISSN 0165-0505. 140(4), s. 55–78. doi: 10.51769/bmgn-lchr.20007. Fulltekst i vitenarkiv Vis sammendrag

  This article examines the history of the patent system in Belgian-ruled Congo, from its beginnings under the Congo Free State until the end of the interwar period, providing an outline of the legal technique of patents as groundwork. The introduction presents a sample of patent registrations and defines a patent as a temporary monopoly granted for an innovation. The first section focuses on the foundation of the colonial patent system that Belgium extended to its colonies. The second section examines the transimperial influences at work in the Belgian colonial intellectual property system, and the decisive role of patent agencies as intermediaries between the patentees and the patent registration office of the Belgian Ministry of the Colonies. The third section examines adaptations to the Belgian patent system in the colony and the participation of transimperial entrepreneurs and patentees from smaller, and in some cases non-colonising, European nations. The fourth section addresses the relation between international treaties and the colonial intellectual property systems. The final section presents concluding observations.

• Pouillard, Véronique (2025). The Congo Patent System and Transimperial Entrepreneurs. BMGN - Low Countries Historical Review. ISSN 0165-0505. 140(4), s. 55–78. doi: 10.51769/bmgn-lchr.20007. Fulltekst i vitenarkiv Vis sammendrag

  This article examines the history of the patent system in Belgian-ruled Congo, from its beginnings under the Congo Free State until the end of the interwar period, providing an outline of the legal technique of patents as groundwork. The introduction presents a sample of patent registrations and defines a patent as a temporary monopoly granted for an innovation. The first section focuses on the foundation of the colonial patent system that Belgium extended to its colonies. The second section examines the transimperial influences at work in the Belgian colonial intellectual property system, and the decisive role of patent agencies as intermediaries between the patentees and the patent registration office of the Belgian Ministry of the Colonies. The third section examines adaptations to the Belgian patent system in the colony and the participation of transimperial entrepreneurs and patentees from smaller, and in some cases non-colonising, European nations. The fourth section addresses the relation between international treaties and the colonial intellectual property systems. The final section presents concluding observations.

• Pouillard, Véronique (2025). Copyright Societies and Musicians in the Democratic Republic of Congo: Enduring Infrastructures in Times of Decolonization? New Global Studies. 19(2), s. 123–148. doi: 10.1515/ngs-2025-0006. Fulltekst i vitenarkiv Vis sammendrag

  This article examines the role of copyright societies in shaping the work of musicians in the Democratic Republic of the Congo during decolonization. The Belgian colonial authorities had transferred the Western system of intellectual property rights and collecting societies to Congo during the colonial period. Intellectual property dues granted specific revenues to Congolese artists until the late colonial period under a legal regime that was otherwise repressive for the colonized. At the same time, Kinshasa became one of the early music capitals on the African continent. First, this article outlines the firms and institutions that comprised the emerging record industry in Congo. Second, it quantifies the total dues for intellectual property rights paid to Congolese musicians during the late colonial and early postcolonial periods. Third, it examines ruptures and continuities with the emergence of new authors’ rights societies in Congo during the postcolonial era. Such systems also allowed for geographical extensions among the diasporas of Congolese musicians, especially in France and Belgium, supplementing the infrastructures in the Democratic Republic of the Congo. Fourth, it highlights the continuities in Congolese copyright societies and the influence of a long and complex period of decolonization on music infrastructures.

• Pouillard, Véronique (2025). Advertising Colonial Congo. I Crawford, Robert & Dickenson, Jackie (Red.), The Routledge Companion to the History of Advertising. Routledge. ISSN 9781032272467. s. 162–172. doi: 10.4324/9781003291947-13. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Intellectual Property Rights in Belgium and in Congo: Between Internationalism and Colonialism. I Morris, P. Sean (Red.), The Silent Peacemaker: Intellectual Property Rights and the Interwar International Legal Order, 1919-1939. De Gruyter Brill. ISSN 9789004714663. s. 281–307. doi: 10.1163/9789004714663_012. Fulltekst i vitenarkiv Vis sammendrag

  Focusing on the interwar period, this chapter examines Belgium’s system of intellectual property, examining both the harmonization of intellectual property at the international level and the extension of intellectual property to Belgium’s colony. It examines the work of Belgian lawyers including Albert Guislain, Henri La Fontaine, Paul Otlet, and Jules Destrée, who worked in the international organizations that pursued the goal of unifying intellectual property, and Théodore Smolders, Daniel Coppieters, and Paul Vander Haeghen, who wrote the decrees and laws implemented in Congo. By bringing together the international and the colonial dimensions of intellectual property, the chapter discusses Belgium’s extension of its regime internationally.

• Pouillard, Véronique (2024). An antitrust case in the diamond industry: The United States v. the De Beers cartel (1948). Business History. ISSN 0007-6791. 67(5), s. 1294–1314. doi: 10.1080/00076791.2024.2340621. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines an antitrust case filed in 1945 by the United States Department of Justice against the diamond cartel led by the South African firm De Beers. By the end of the interwar period, the Belgian Congo firms in the cartel were the largest producers of industrial diamonds in the world. Demand for this product had stagnated during the interwar period but increased during World War II, as industrial diamonds were needed by the arms industry. This resulted in a partial shift of De Beers’ production away from jewellery diamonds to support the allied war effort. This article focuses on the background of the case and engages with reasons why the Department of Justice filed the complaint. It examines the De Beers production historically, before investigating the lawsuit’s arguments. The strategic importance of the US diamond stockpile was the central issue. The paper considers the historiography of the diamond industry and discusses historians’ hypotheses regarding the case. Although dismissed in 1948, the case resulted in changes in the cartel’s organisation and in greater scrutiny of De Beers’ activities. The case marks a turning point for the cartel, which then entered an adaptation phase that ensured its survival until nearly the end of the century.

• Pouillard, Véronique (2024). Licensing luxury fashion in transatlantic and colonial economies: beyond Paris and New York. Revista de Ensino em Artes, Moda e Design. 8(2), s. 01–22. doi: 10.5965/25944630822024e5189. Fulltekst i vitenarkiv Vis sammendrag

  During the postwar era, luxury fashion firms entered a new phase of their international growth with the licensing of their brands. The French haute couture firm Dior was pioneer in licenses, and established branches in a series of countries around the world. Inspired by the transatlantic successes of firms such as Jean Dessès, Christian Dior, and Norman Hartnell, French luxury firms registered their brands internationally and replicated the registration of trademarks in numerous countries. This paper further examines the reach of luxury fashion and beauty brands in the colonies of France and of Belgium. This shows that the fashion firms expanded their transatlantic expertise, and that this created newer transatlantic circuits in return.

• Pouillard, Véronique (2024). Licenciamento de moda de luxo nas economias transatlânticas e coloniais: além de Paris e Nova York. Revista de Ensino em Artes, Moda e Design. 2, s. 1–23. doi: 10.5965/25944630822024e5189. Fulltekst i vitenarkiv Vis sammendrag

  Durante a era do pós-guerra, as empresas de moda de luxo entraram em uma nova fase de seu crescimento internacional com a concessão de licenças de suas marcas. A casa de alta costura francesa Dior foi pioneira em licenças e estabeleceu filiais em uma série de países ao redor do mundo. Inspiradas nos sucessos transatlânticos de empresas como Jean Dessès, Christian Dior e Norman Hartnell, as empresas de luxo francesas registraram suas marcas internacionalmente e replicaram o registro de marcas em inúmeros países. Este trabalho examina ainda mais o alcance das marcas de moda e beleza de luxo nas colônias da França e da Bélgica. Isso mostra que as empresas de moda expandiram sua expertise transatlântica e que isso criou novo retorno aos circuitos transatlânticos.

• Pouillard, Véronique (2023). Manufacturing Fashion in the Postwar World. I Breward, Christopher; Lemire, Beverly & Riello, Giorgio (Red.), Cambridge Global History of Fashion. Cambridge University Press. ISSN 9781108817479. s. 1221–1248. Fulltekst i vitenarkiv
• Pouillard, Véronique & Millet, Audrey (2023). Made in France and Madein Paris. Luxury branding in the longue durée. I Glover, Nikolas & Higgins, David M. (Red.), National Brands and Global Markets An Historical Perspective. Routledge. ISSN 9781003166184. doi: 10.4324/9781003166184. Fulltekst i vitenarkiv Vis sammendrag

  Made in France examines the long history of the branding of the French nation, from the political imprint of Prime Minister Jean-Baptiste Colbert to the present day. The politics of Made in France were articulated at several levels of power, which was centralized by the French state, but also exercised locally, as in Paris and in the wine producing regions. The French government has consistently fostered production that advertised its country of origin as a symbol of quality on domestic and international markets. This chapter discusses the luxury industries, especially haute couture. The experiences of this industry and other luxury industries show that it is possible to relocate production outside France, which has resulted in the massification of luxury-item production.

• Pouillard, Véronique (2023). Intellectual Property Rights in the Fashion Industry, from International to Post-Colonial Contexts. I Pouillard, Véronique & Dube-Senecal, Vincent (Red.), The Routledge History of Fashion and Dress, 1800 to the Present. Routledge. ISSN 9780429295607. s. 340–357. doi: 10.4324/9780429295607. Fulltekst i vitenarkiv Vis sammendrag

  Innovation in the fashion industry is complex, involving technological, managerial, and stylistic change. This chapter first examines the relation between innovations and intellectual property in the fashion industry. The inventors of the sewing machine formed the first patent pool of history in the United States in 1856, but it was in terms of design that fashion was, often, the fastest to innovate. Next, the chapter turns to the case of France, in order to see how the cluster of haute couture secured high authorship in design and managed to organize a perpetual renewal of forms, garnering media attention around the world. Third, the focus shifts to the Francophone colonial realm—in this case, the Belgian Congo—to see how intellectual property for fashionable designs was transported overseas. Fourth, the chapter examines how designers may have used the medium of fashion itself to offer critiques of intellectual property, and in this way have contributed to creating possibly the most challenging works of recent decades.

• Pouillard, Véronique (2023). Sketching Agencies, Intellectual Property Rights, and the Mediations of Luxury. I Wachenfeldt, Paula von & McIntyre, Magdalena Petersson (Red.), Luxury Fashion and Media Communication: Between the Material and the Immaterial. Bloomsbury Publishing. ISSN 9781350291072. s. 103–119. Fulltekst i vitenarkiv
• Pouillard, Véronique & Dubé-Senécal, Vincent (2023). Introduction: Fashion Reinvention. I Pouillard, Véronique & Dube-Senecal, Vincent (Red.), The Routledge History of Fashion and Dress, 1800 to the Present. Routledge. ISSN 9780429295607. s. 1–13. doi: 10.4324/9780429295607. Fulltekst i vitenarkiv Vis sammendrag

  The fashion industry is changing. Over the last months and years, it has gone through events that have had a profound and probably long-lasting impact: the COVID-19 pandemic, the war in Ukraine and its consequences for energy supplies and trade, the growing awareness of climate change and its impact on consumption habits, to cite but a few. Those events have also shown that fashion is an industry that has an immense capacity to reinvent itself. One of the best examples of reinvention can be found in the personality of the British entrepreneur and designer Vivienne Westwood (1941–2022), who passed while we were proceeding to the very last stages of preparation for this volume. In 1971, Westwood, initially a school teacher, founded with her partner Malcolm McLaren a fashion shop that became known as SEX and was the epicenter for the birth of the punk movement. Westwood proved to be a ground-breaking designer, whose works challenged cultural boundaries and commented on society and politics. She was also a skilled businesswoman and created a brand with great longevity.

• Pouillard, Véronique (2022). C-O-O-L in Congo. Country-of-origins-labels and the question of a protection for the products from colonial and post-colonial Congo. Fortid. ISSN 1504-1913. s. 37–43. Fulltekst i vitenarkiv
• Donzé, Pierre-Yves; Pouillard, Veronique & Roberts, Joanne (2021). Luxury Business: Approaches and Issues. I Donzé, Pierre-Yves; Pouillard, Veronique & Roberts, Joanne (Red.), Oxford Handbook of Luxury Business. Oxford University Press. ISSN 9780190932220. Fulltekst i vitenarkiv Vis sammendrag

  The high-growth experienced by luxury companies during the last three decades has attracted the attention of a broad range of scholars from various academic disciplines, from history to management and critical studies. This chapter discusses their respective contributions for a better understanding of contemporary luxury business. Additionally, it offers new perspectives on the major global issues faced by this industry in the post-Covid pandemic era, namely: the globalization of markets and dependency on China; income inequality and the democratization of luxury; authenticity; questions concerning production; sustainability; and, the challenges to European dominance of the luxury industry.

• Pouillard, Véronique (2021). Lobbying for Design Protection: a Perspective on France and the United States During the First Half of the Twentieth Century. Dimensioni e problemi della ricerca storica (DPRS). ISSN 1125-517X. 2021(2), s. 69–92. Fulltekst i vitenarkiv Vis sammendrag

  This article is a historical study on the rise of the legal professions in the fashion industry. Since the late 19th century, creative entrepreneurs in the fashion in-dustry developed a keen interest in using the instruments of law to protect their intellectual property rights, whether these rights be patents, trademarks, copy-rights, or trade secrets. In so doing, fashion entrepreneurs, notably Callot Soeurs, Paul Poiret, Madeleine Vionnet, Maurice Rentner, and Christian Dior, worked with lawyers, who defended their interests in the courts, and who contributed to building a growing corpus of case law relevant to the fashion industries. Based on archives of courts, archives of firms, and press sources, this study ex-amines the profiles of the lawyers that pioneered what has become commonly called today the fashion law, in the context of two major countries producers of garments: France and the United States. Fashion entrepreneurs hired lawyers for occasional cases, but also in-house legal counsels. The article therefore also sheds light on the place of the legal expertise within the management of the fashion firm. It will also examine a series of court cases, in France during the interwar period, and in the US during the postwar era, in order to show how lawyers durably influenced the fashion industry itself.

• Pouillard, Veronique (2021). Intellectual Property Rights and Country of Origin Labels in the Luxury Industry. I Donzé, Pierre-Yves; Pouillard, Veronique & Roberts, Joanne (Red.), Oxford Handbook of Luxury Business. Oxford University Press. ISSN 9780190932220. Fulltekst i vitenarkiv Vis sammendrag

  Intellectual property rights and country of origin labels are two different and often complementary mechanisms of protection. Entrepreneurs in the luxury business use them to inform the consumer and the custom authorities, to protect their innovations and know-how, and also to enhance the narratives of their brands. These protective mechanisms are historically contingent and are subject to reinforcement or weakening due to the entrepreneurs’ lobbying, due to governmental protectionism, and more generally due to international competition. Intellectual property rights are not complete systems of protection and present numerous asymmetries between various countries and industries. This chapter also addresses both the effectiveness and the weaknesses of intellectual property rights and of nation branding in informing the consumer, and in deterring the production and purchase of substitute products.

• Pouillard, Veronique (2020). La publicité des produits lessiviels. Les Cahiers de la Fonderie. ISSN 0775-2202. 53, s. 16–20. Fulltekst i vitenarkiv Vis sammendrag

  Pendant la seconde moitié du 19e siècle, la publicité devient une profession à part entière aux États-Unis. Les agences sont des entreprises qui se spécialisent dans la vente de services de pu- blicité. On appelle “agences à services complets” les firmes intermédiaires entre l’annonceur et le média qui se chargent de la conception du message publicitaire. Le travail des agences de publicité peut aussi englober le plan média et le plan de campagne, la conduite d’études de marché, ainsi que le monitorage de la réception des campagnes par les consommateurs.

• Pouillard, Veronique & Dorogova, Waleria (2020). Couture ltd: French fashion’s debut in London’s west end. Business History. ISSN 0007-6791. 64(3), s. 587–609. doi: 10.1080/00076791.2020.1724286. Fulltekst i vitenarkiv Vis sammendrag

  Between the 1890 s and the 1920s, several leading Parisian couture businesses, spearheaded by the house of Paquin, expanded to London to exploit the idiosyncratic advantages of British commerce and clientele. Most of these houses opened branch stores there and formed limited liability companies according to English law, but each strategized their expansions with a distinct individuality. This article explores Franco–British relations in the arena of high-end dressmaking, as well as the economic structures inherent to the early and rapidly expanding couture businesses, by analyzing a series of unpublished business records held in both British and French archives. These cases shed new light on the balance between commerce and creativity in French fashion and offer firsthand accounts of an internationalized couture market in its formative stages.

• Pouillard, Veronique (2020). Moteindustrien og dens kritikere: en undersøkelse av kollektive verksteder i Frankrike på 1800-tallet. Arr - Idéhistorisk tidsskrift. ISSN 0802-7005. 32(1-2), s. 17–27. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). Turning Authenticity into Business. Textile and Music in the Last Decade of Colonial Congo. Fortid. ISSN 1504-1913. s. 47–54. Fulltekst i vitenarkiv Vis sammendrag

  This paper examines the status of the creative industries, especially textile and music, during the 1950s, which was the last decade of the colony of Belgian Congo and the Belgian mandates on Ruanda-Urundi. For the colonizers, the arts and crafts of Congo deserved to be preserved as authentic forms of aesthetic expression. In so doing, the colonial authority developed politics of subventions and institutions ranging from ephemeral projects to long-lasting museums. Yet a delicate issue was to be found in the question of how to define the notions of authenticity and of tradition. In order to shed light on the idea of authenticity, the colonizers in charge of art and crafts politics mobilized categories of analysis defined by the disciplines of aesthetics and of ethnography. Politics of conservation were hampered by numerous factors, including the international trafficking and looting of Congolese productions, and the practical and financial challenges of setting up expeditions to record oral traditions, music, and other productions in Congo. Subventions supported, to some extent, the newer and emerging forms of creativity and of art, but the politics of intellectual property were decisive is establishing a regime of authorship for the people in Congo, Ruanda and Urundi who, at that time, did not have access to the franchise. Intellectual property created a small niche that, from the point of view of the legislative framework, gave new, although very limited rights to the Congolese creators and authors. Research for this paper is based on sources that include legal treaties on the Belgian colony of Congo and mandates over Ruanda-Urundi kept at the Royal Library of Belgium, the archives of the Commission pour la Protection des Arts et Métiers Indigènes kept at the Africa Museum in Tervueren, and secondary literature.

• Pouillard, Veronique & Zanon, Johanna (2019). Wholesale Couture. Jean Patou's Jane Paris line (1929). Dress. ISSN 0361-2112. doi: 10.1080/03612112.2019.1639377. Fulltekst i vitenarkiv
• Donze, Pierre-Yves & Pouillard, Veronique (2019). The Luxury Business. I Lopes, Teresa da Silva; Lubinski, Christina & Tworek, Heidi (Red.), The Routledge Companion to Global Business. Routledge. ISSN 9781138242654. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Fashion and Youth. I Dupont, Christine & Burns, Kieran (Red.), Restless Youth. Growing Up in Europe, 1945 to Now. Public service review European Union. ISSN 9789284631452. s. 113–123. doi: 10.2861/793372. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Production and Manufacture. I Geczy, Adam & Karaminas, Vicki (Red.), The End of Fashion: Clothing and Dress in the Age of Globalization. Bloomsbury. ISSN 9781350049123. doi: 10.5040/9781350045071.ch-011. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Christian Dior-New York: French Fashion in the US Luxury Market. I Donze, Pierre-Yves & Fujioka, Rika (Red.), Global Luxury. Organizational Change and Emerging Markets since the 1970s. Palgrave Macmillan. ISSN 9789811052354. doi: 10.1007/978-981-10-5236-1_6. Fulltekst i vitenarkiv
• Pouillard, Veronique & Trivette, Karen J. (2018). Tobé Coller Davis: A Career in Fashion Forecasting in America. I Blaszczyk, Regina Lee & Wubs, Ben (Red.), The Fashion Forecasters. A Hidden History of Color and Trend Prediction. Bloomsbury Academic. ISSN 9781350017184. doi: 10.5040/9781350017191.ch-003. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Recasting Paris Fashion: haute couture and design management in the postwar era. I Pouillard, Veronique & Blaszczyk, Regina Lee (Red.), European fashion: The creation of a global industry. Manchester University Press. ISSN 9781526122100. Fulltekst i vitenarkiv Vis sammendrag

  The period since 1945 has been a transformative era for the fashion industry. Over the course of seventy years, the fashion world has moved from celebrating the craftsmanship of haute couture to revelling in ever-changing fast-fashion. This volume examines the transition from the old system to the new in a series of case studies grouped around three major themes. Part I focuses on Paris as a creative hub, aiming to understand how the birthplace of haute couture adapted to late-twentieth-century developments. Part II considers the retailer’s role in shaping taste, responding to consumer expectations and disseminating fashion merchandise. Part III looks to alternative visions of the European fashion system that have appeared in unexpected places. The volume is highly interdisciplinary, covering design history, cultural anthropology, ethnography, management studies and the cultural history of business.

• Blaszczyk, Regina Lee & Pouillard, Veronique (2018). Fashion as enterprise. I Pouillard, Veronique & Blaszczyk, Regina Lee (Red.), European fashion: The creation of a global industry. Manchester University Press. ISSN 9781526122100. Fulltekst i vitenarkiv Vis sammendrag

  This introduction presents an overview of the key concepts discussed in the subsequent chapters of this book. The book examines the postwar couture industry post World War II. It considers four major fashion retailers, Galeries Lafayette in Paris, I. Magnin in San Francisco, William Filene's Sons Company in Boston, and H&M in Stockholm, within the context of the revival of European fashion after World War II and the global democratization of fashion in our own time. The book looks to alternative visions of the European fashion system that have bubbled up in unexpected places. It highlights the relationship between core and periphery, and provides a discussion of the global context for value creation. The book also examines a constellation of people and places that are important to the European fashion system, even though they are at quite some distance, either geographically or symbolically, from any European fashion capital.

• Pouillard, Veronique (2017). The Milton Case (1955-1962): Defending the Intellectual Property Rights of Haute Couture in America. Journal of Design History. ISSN 0952-4649. 30(4), s. 356–370. doi: 10.1093/jdh/epx023. Fulltekst i vitenarkiv Vis sammendrag

  Until recently, the protection of fashion creativity and innovation has been substantially different on both sides of the Atlantic. This has resulted in difficulties for fashion innovators and for makers of authorized copies when trying to protect their investment in design. During the first half of the twentieth century, Paris remained the centre for creativity in women’s fashion design, while New York’s garment industry capitalized on copying French design. The Milton case occupies a central place in the battle waged by Paris fashion industrialists against so-called American piracy. This article examines a case that took place between 1955 and 1962. A group of French couturiers filed a lawsuit in New York against F. L. Milton, an American entrepreneur specializing in making and selling sketches of Paris fashions. Paris couturiers considered this type of venture unfair, although the status of his work was ambiguous in the US markets. The case shows the challenges in an industry that occupied a complex position between high and low authorship. This contribution builds upon the case law of the Milton affair, the business records of plaintiffs and defendants, and the archives of professional associations on both sides of the Atlantic.

• Pouillard, Veronique & Kuldova, Tereza (2017). Interrogating Intellectual Property Rights in Post-war Fashion and Design. Journal of Design History. ISSN 0952-4649. 30(4), s. 343–355. doi: 10.1093/jdh/epx014. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Managing fashion creativity. the history of the Chambre Syndicale de la Couture Parisienne during the interwar period. Investigaciones de Historia Economica. ISSN 1698-6989. 12(2), s. 76–89. doi: 10.1016/j.ihe.2015.05.002. Fulltekst i vitenarkiv Vis sammendrag

  In the creative industries, managing creativity and business is a complex process. This article explores the history of the oldest and most prestigious employers’ syndicate in the fashion industry, the Chambre Syndicale de la Couture parisienne (1868) during the interwar period, a time of crisis and change. The study of the private, unpublished archives of the syndicate allows us to understand the tensions between management and creativity. Paris fashion entrepreneurs federated to face external and internal challenges. Two major topics emerge from their concerns: the relations of entrepreneurs with the workforce, and the protection of intellectual property rights. The Chambre Syndicale's members, in response, developed social services, schools for apprentices, lobbied the French institutions, and shared information among themselves. In so doing, the Chambre developed unmatched politics of exclusivity that underline the role of the syndicate as a gatekeeper.

• Pouillard, Veronique (2016). Production and Distribution. I Palmer, Alexandra (Red.), A Cultural History of Dress and Fashion in the Modern Age. Bloomsbury Academic. ISSN 9780857856029. s. 43–61. Fulltekst i vitenarkiv Vis sammendrag

  Engelsk

• Pouillard, Veronique (2016). A woman in international entrepreneurship: the case of Jeanne Paquin. I Sogner, Knut; Lie, Einar & Aven, Håvard Brede (Red.), Entreprenørskap i næringsliv og politikk. Festskrift til Even Lange. Novus Forlag. ISSN 9788270998548. s. 189–210. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). Chapter 5. Keeping Designs and Brands Authentic: The resurgence of the post-war French fashion business under the challenge of US mass production. I Nathaus, Klaus (Red.), Made in Europe The Production of Popular Culture in the Twentieth Century. Routledge. ISSN 9781138794443. doi: 10.1080/13507486.2013.833720. Fulltekst i vitenarkiv Vis sammendrag

  This paper describes the strategies of the French fashion business to authenticate its designs and brands under the challenge of mass-produced ready-to-wear clothing by US manufacturers. It focuses on the 1950s as a pivotal moment in fashion history, as the older model of elite fashion ‘trickling down’ to the lower strata of garment production made way for a multiplicity of trendsetters and a democratisation of fashion. Starting from a situation in which New York-based manufacturers produced low-price copies of Parisian designs, the paper analyses the various strategies of French fashion producers to get control over the exploitation of their designs. As attempts to secure international copyright for fashion designs failed, Parisian designers brought out tie-in products and boutique lines and managed to shift the authenticity of their work from the design to the brand.

• Pouillard, Veronique (2015). "The French worker is honest": the debate on the employees' responsibility in the interwar fashion industry, Myndighet og medborgerskap: Festskrift til Gro Hagemann på 70-årsdagen 3. september 2015. Novus Forlag. ISSN 9788270998197. s. 293–309. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). L'alta moda in Francia. Rotture e continuita fra le due guerre. Memoria e Ricerca. Rivista di Storia Contemporanea. ISSN 1127-0195. 50, s. 27–50. doi: 10.3280/MER2015-050003. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). Contracts Between Fashion and the Stage (1920-1950). I Chaouche, Sabine & Sadoun-Edouard, Clara (Red.), Consuming Female Performers (1850s-1950s). Classiques Garnier. ISSN 9782812448416. s. 225–247. Fulltekst i vitenarkiv Vis sammendrag

  L’industria tessile, e nello specifico l’alta moda (che ha concentrato la creazione della moda francese fino alla prima metà del ventesimo secolo) pur essendo un settore di nicchia si può considerare una delle industrie d’èlite che è stata capace di costituire un’avanguardia sul piano internazionale . L’articolo si concentra sul periodo tra le due guerre, segnato, dopo la crisi finanziaria del 1929, da una contrazione degli scambi commerciali internazionali. In una tesi di dottorato del 1937, G. Deschamps sottolineava l’impatto negativo della grande depressione sull’industria francese della moda . Pertanto, ancora al giorno d’oggi e a causa della globalizzazione del settore, la Francia ospita delle figure di spicco nel campo della moda, in primo luogo i gruppi LVMH, Kering , e, nel settore vicino e spesso correlato dei cosmetici e della profumeria, L’Oréal . Anche le compagnie non capitalizzate, più piccole ma non per questo meno prestigiose, come è ad esempio Chanel, dimostrano la vitalità francese ed europea dell'industria della moda e del lusso. Il nome di tali società, o di quelle che sono state punti di riferimento per i gruppi industriali del lusso, è fondato sul prestigio delle antiche imprese. Il settore della moda in Francia ha indubbiamente sofferto la crisi, ma è necessario focalizzarsi su un'altra questione, ovvero la resilienza delle imprese di moda francesi ed europee. Il presente saggio si dedica in apertura a un breve esame delle imprese della moda in Francia, analizzando le particolarità dell'industria creativa francese della moda nel periodo tra le due guerre: creazione di forme nuove, produzione di capitale simbolico, e diffusione domestica e internazionale di mode, inclusi i problemi dati dalla copia.

• Pouillard, Veronique (2014). Chapter 6. Fashion for All? The transatlantic fashion business and the development of a popular press culture during the interwar period. I Newman, Sarah & Houlbrook, Matt (Red.), The Press and Popular Culture in Interwar Europe. Routledge. ISSN 9780415747639. Fulltekst i vitenarkiv
• Pouillard, Veronique (2013). Fashion for All? The transatlantic fashion business and the development of a popular press culture during the interwar period. Journalism Studies. ISSN 1461-670X. 14(5), s. 716–729. doi: 10.1080/1461670X.2013.810907. Fulltekst i vitenarkiv
• Pouillard, Veronique (2013). The rise of fashion forecasting and fashion public relations, 1920-1940: The history of Tobe and Bernays. I Berghoff, Hartmut & Kühne, Thomas (Red.), Globalizing Beauty. Consumerism and body aesthetics in the twentieth century. Palgrave Macmillan. ISSN 9781137299703. s. 151–169. Fulltekst i vitenarkiv

Se alle arbeider i NVA

• Pouillard, Véronique (2026). Colonial Intellectual Property. The Case of Congo. Routledge. ISBN 9781003678809. 233 s. doi: 10.4324/9781003678809. Fulltekst i vitenarkiv Vis sammendrag

  Colonial Intellectual Property: The Case of Congo examines the implementation of the Belgian system of intellectual property in the Congo. For the colonized people, some realms of colonial intellectual property such as patents remained closed for a long time, and other domains opened possibilities for participation, such as copyrights. Based on research in unpublished archives in the Democratic Republic of the Congo and in Belgium, this book is the first to trace the history of intellectual property in the Congo, following a chronological and thematic structure. Chapter 1 focuses on the implementation of the patent system in colonial Congo and examines the activity of international entrepreneurs who considered patent-taking as an investment in a coercive colonial regime. Chapter 2 turns to trademarks, and examines both the sociology of entrepreneurs, and the use of stereotypes in brand images. Chapter 3 further examines the issue of geographical indications of origins, as well as design registration and the place of the commons. Copyrights are the main theme of Chapter 4. During the postwar era, a group of Congolese musicians exercised their rights in the management of their intellectual property dues. They worked in partnership with the Kinshasa branch of a Belgian collective management society, until they founded in 1959 the SACO, Société des Auteurs congolais. Chapter 5 then turns to the decolonization, during which the Democratic Republic of the Congo became an independent voice in the international associations for intellectual property.

• Pouillard, Véronique; Buning, Marius & Loth, Mala (2026). Musicians and copyright A history of collective rights management in the music industry. Manchester University Press. ISBN 9781526180148. 292 s. Fulltekst i vitenarkiv Vis sammendrag

  Musicians and Copyright explores the role of Collective Management Organizations (CMOs) in shaping the music industry from the mid-nineteenth century to today. Edited by VéroniquePouillard, Marius Buning, and Mala Loth, the book traces the development of CMOs and their impact on copyright and cultural production. Through historical analysis, it examines the challenges CMOs have faced, from colonial contexts to European integration and the digital age, and shows how CMOs have navigated regulatory changes, technological shifts, and internal politics. Offering a detailed history of these important institutions, Musicians and Copyright is a valuable resource for anyone interested in the intersection of music, law, and the cultural industries.

• Pouillard, Véronique & Dube-Senecal, Vincent (2023). The Routledge History of Fashion and Dress, 1800 to the Present. Routledge. ISBN 9780429295607. 576 s. doi: 10.4324/9780429295607. Fulltekst i vitenarkiv Vis sammendrag

  The time span covered by The Routledge History of Fashion and Dress starts in the nineteenth century, with the aftermath of the consumers’ revolution, and reaches all the way to the present. The fashion and garment industries have been international from the beginning and, as such, this volume looks at the history of fashion and dress through the lenses of both international and global history. Because fashion is also a multifaceted subject with humanagency at its core, at the confluence of thematerial (fabrics, clothing, dyes, tools, and machines) and the immaterial (savoir-faire, identities, images, and brands), this volume adopts a transdisciplinary perspective, opening its pages to researchers from a variety of complementary fields. The chapters in this volume are organized based on their relationship to five fields of study: economics and commerce, politics, business, identities, and historical sources. Paying particular attention to change, the book goes beyond the great fashion capitals and well-known fashion centers and points to the broader geographies of fashion. Particular geographical areas focus on the emergence of new fashion systems and business models, whether they be in Sweden, Bangladesh, or Spain, or on the African continent, considered to be the “new frontier” of the industry. Covering myriad aspects of the subject this is the perfect companion for all those interested in history of dress and fashion in the modern world.

• Donzé, Pierre-Yves; Pouillard, Veronique & Roberts, Joanne (2021). Oxford Handbook of Luxury Business. Oxford University Press. ISBN 9780190932220. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Paris to New York. The Transatlantic Fashion Industry in the Twentieth Century. Harvard University Press (HUP). ISBN 9780674237407. 324 s. Fulltekst i vitenarkiv
• Pouillard, Veronique & Blaszczyk, Regina Lee (2018). European fashion: The creation of a global industry. Manchester University Press. ISBN 9781526122100. 336 s. Fulltekst i vitenarkiv Vis sammendrag

  The period since 1945 has been a transformative era for the fashion industry. Over the course of seventy years, the fashion world has moved from celebrating the craftsmanship of haute couture to revelling in ever-changing fast-fashion. This volume examines the transition from the old system to the new in a series of case studies grouped around three major themes. Part I focuses on Paris as a creative hub, aiming to understand how the birthplace of haute couture adapted to late-twentieth-century developments. Part II considers the retailer’s role in shaping taste, responding to consumer expectations and disseminating fashion merchandise. Part III looks to alternative visions of the European fashion system that have appeared in unexpected places. The volume is highly interdisciplinary, covering design history, cultural anthropology, ethnography, management studies and the cultural history of business.

Se alle arbeider i NVA

• Pouillard, Véronique (2026). Philips en Afrique (Congo, Rwanda, Burundi, 1950-1980). Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2026). Analyzing Innovation through a Historical Patent Database: The Case of the Colonial Congo Patent System (1888-Early 1960s). Fulltekst i vitenarkiv
• Pouillard, Véronique (2026). Intellectual property regimes in Congo, Rwanda and Burundi: A historical study of the transitions to the colonial and early decolonization periods (from the late 19th century to the 1970s). Fulltekst i vitenarkiv
• Ranestad, Kristin & Pouillard, Véronique (2026). Patents and Mining in Congo: Analyzing innovation through a historical patent database (1888-1949). Fulltekst i vitenarkiv
• Pouillard, Véronique (2026). Invited comment. Fulltekst i vitenarkiv
• Ranestad, Kristin & Pouillard, Véronique (2025). Patents and mining in Colonial Congo: analyzing innovation through a historical patent database (1888-1963). Fulltekst i vitenarkiv
• Pouillard, Véronique (2025). Intellectual Property and Legal Regimes in Congo: A Historical Study of the Transitions to the Colonial and Early Decolonization Periods. Fulltekst i vitenarkiv
• Pouillard, Véronique (2025). Early Prospection for Diamond in the Kasaï: A view through the correspondence of Roman Kostka (1909-1911). Fulltekst i vitenarkiv
• Pouillard, Véronique (2025). Trademarks and geographical indications of origin in the colonies of Belgium (1886 to the 1950s). Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2025). Diamond artisanal mining and trafficking in the South Kasaï region of the Congo during the decolonization (1957-1964). Fulltekst i vitenarkiv
• Pouillard, Véronique (2025). The international and colonial expansion of the Belgian system of intellectual property (from the 1880s to the 1950s). Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Intellectual and Industrial Properties in Colonial History: The cases of Congo, Burundi and Rwanda under the Belgian rule (1885-1960s). Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). Diamond artisanal mining and trafficking in the South Kasaï region of the Congo in decolonization times (1957-1964). Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). Mining Rights, Governance and Nationalizations: A comparative analysis of the copper industry in Chile and in Congo (1920s to 1980s). Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Planning colonial and postcolonial economies: IP, FDIs, and the future of the Congo (1950s to present). Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Planning colonial and postcolonial economies: IP, FDIs, and the future of the Congo (1950s to present). Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Licensing luxury fashion: A Global History of Craftsmanship, Dress, and Branding in the 20th Century. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). PhD supervision: feedback and co-supervision. Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). The missions abroad of employees of the mining industries of Belgian Congo and Chile. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Beyond Paris and New York: The Fashion Industry in Francophone Colonial Spaces. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Lesley Nicole Braun. Congo’s Dancers: Women and Work in Kinshasa. Madison: University of Wisconsin Press, 2023. xiii + 201 pp. Illustrations. Notes. Bibliography. Index. US $79.95. Cloth. African Studies Review. ISSN 0002-0206. doi: 10.1017/asr.2024.133. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Les débuts du système suisse des brevets d'invention (1873–1914) by Nicolas Chachereau (Review). Technology and Culture. ISSN 0040-165X. 65, s. 401–403. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Luxury. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Invited discussant, Session "More than words: Visual representations of political economy in the 20th century". Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). Mining Rights, Environmental Governance and Nationalizations: A comparative analysis on the copper industry in Chile and in Congo (1920s to 1980s). Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). Traveling for knowledge: The missions abroad of employees of the mining industries of Belgian Congo and Chile, 1900-1960s. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Invited commentator on paper by Hamish McDonald, "Audit properties: Market mechanisms for addressing the Anthropocene". Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). Natural resource exploitation. debates, methods, research questions and new ideas. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Planning colonial and postcolonial economies: IP, FDIs, and the future of the Congo (1950s-present). Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Selling Europe to the World: The Rise of the Luxury Fashion Industry, 1980–2020. By Pierre-Yves Donzé. London: Bloomsbury, 2023. 184 pp. + 44 b/w illus. Hardback, $90.00. ISBN: 978-1-350-33577-6. Business History Review. ISSN 0007-6805. s. 353–355. doi: 10.1017/S0007680524000230. Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2024). Traveling for knowledge, the missions aboard of mining employees to Congo and Chile, 1905-1960s. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). The Belgian Sabam in Colonial Congo: Managing the rights of musicians in an emerging cultural capital. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). The international and colonial expansion of the Belgian systems of intellectual property, from the 1880s to the 1930s. Fulltekst i vitenarkiv
• Pouillard, Véronique (2024). Les sociétés de droit d’auteur et l’histoire coloniale: le cas de la Sabam dans les colonies belges (de 1949 au début des années 1960). Fulltekst i vitenarkiv Vis sammendrag

  En 1949, la société de droits d’auteurs belge Sabam (Société des Auteurs belges – Belgisch Auteurs Maatschappij) ouvre une branche à Kinshasa avec l’objectif de gérer les droits d’auteurs des artistes, et en particulier des musiciens, dans les colonies belges. Pendant la dernière décennie de la colonisation belge, la société de gestion collective gère les droits des artistes, avant de participer, en 1959, à la création de la Saco, la Société Coopérative de Droit d’Auteur, la première société de gestion collective congolaise, assurant la transition vers la décolonisation. La plupart des auteurs, compositeurs et interprètes représentés par la Sabam, puis la Saco, font partie de l’émergence de la rumba congolaise, dont l’importance à été reconnue par l’inscription au patrimoine immatériel de l’humanité par l’UNESCO en 2021. Cette intervention retrace l’histoire de la Sabam puis de la Saco, quantifie les revenus créés et redistribués, et examine les débats générés par le modèle économique du droit d’auteur au sein de la colonie et de son administration. Les conséquences contemporaines de ces débats sont également abordées au cours de cette intervention.

• Pouillard, Véronique & Ranestad, Kristin (2024). Mining rights, environmental governance, and nationalizations, A comparative analysis on the copper industry in Chile and in Congo from the 1920s to the 1980s. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Moteindustri, miljø og bærekraft i historisk perspektiv. Fulltekst i vitenarkiv
• Pouillard, Véronique & Ranestad, Kristin (2023). Traveling for knowledge: the missions abroad of employees of the mining industries of Belgian Congo and Chile (1905-1960s). Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Keynote: Fashion and textile in the colonial tribunals during the 1950s. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Intellectual Property Rights in Congo: Between SABAM and SONECA (1950s-1960s). Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Luksus. [Internet]. Podkast, NRK P2, Norgeshistorie. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Kong Leopolds Kongo. [Radio]. Gjenklang, Apple, Spotify. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Intellectual Property Rights in Congo (Colonial and Postcolonial): From SABAM to SOCODA. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Hvordan kan man gjøre opp for kolonialismen? Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Les industries de la mode en perspective transatlantique. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Presentation of the Creative IPR project and results. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Invited discussant, PASSIM ERC AdG project final seminar. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Invited respondent, ArTechLaw Workshop 2. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Intellectual property rights and infrastructures for the music industry: the case of post-colonial Congo. Fulltekst i vitenarkiv
• Pouillard, Véronique; Chagnon-Burke, Véronique; Degen, Natasha & Oosterlinck, Kim (2023). Discussant for the book “Merchants of Style by Natasha Degen”. Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). An anti-trust case in the diamond industry: the United States v. the De Beers cartel (1948). Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). An anti-trust case in the diamond industry: the United States v. De Beers (1944-1948). Fulltekst i vitenarkiv
• Pouillard, Véronique (2023). Intellectual property rights in Belgium and in Congo during the interwar years, between internationalism and colonialism. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Intellectual property revenue in colonial context: Small music business firms and collective management cooperative societies in the Belgian Congo. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). The Case of the Hadopi law, and Creative IPR Project Development. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Discussion: Fashion Systems Around the World in the Twentieth Century. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Presentation of the Creative IPR Project, team, and research. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Keynote: Les capitales de mode transatlantiques. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Intellectual Property Rights in Congo: Musicians between the Sabam and the Soneca. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). London Couture and the Making of a Fashion Centre. By Michelle Jones. Cambridge, MA: MIT Press, 2022. 320 pp. Illustrations, notes, index. Hardcover, $30.00. ISBN: 978-0-262-04657-2. Business History Review. ISSN 0007-6805. 96(3), s. 690–693. doi: 10.1017/S0007680522000617. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Les capitales de mode et de culture: une histoire multiple. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). From Paris and New York to Everywhere: Fashion Centers from International to Postcolonial History. International Library of Fashion Research. 2(1), s. 12–17. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Small music firms and collecting management cooperatives in late colonial Congo. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Authors' Rights in Congo: Between SABAM and SONECA (1950s-1970s). Fulltekst i vitenarkiv Vis sammendrag

  Authors in Congo made use of three different author’s rights societies to collect dues, the SABAM, based primarily in Belgium, to a lesser degree the SACEM, based in France, and from the 1960s, the SONECA, in Congo. This research examines the role of the European and the local societies, and the sources of author’s rights revenues, allowing to contextualize the narratives on the emergence of a music industry during the last decade of the Belgian colonial era (the 1950s), and the early postcolonial period, until the beginning of the regime of Mobutu. The activity of musicians in Congo during that period was ranging from traditional music, to genres inspired by a mix of traditional culture, of Anglo-Saxon, and Hispanic influences. Yet other musicians in Congo were engaged in religious music, and in classical music. During the late colonial and early post-colonial eras in Congo, several, often overlapping legal regimes regulated intellectual property rights for the creative industries. The colonial rules and legal system had a direct influence on the regime of authors’ rights in the Belgian colony (Congo) and in the territories under Belgian mandates (Rwanda and Burundi). National and international organizations and jurists worked on the internationalization of intellectual property rights frameworks, and attempted at taking into account the indigenous rights (droits coutumiers). Based on sources kept at the Africa Museum in Tervueren, the National Archives of France, and the department of Musicology at the Royal Library of Belgium, the paper examines the nature of the property regime created by the confluence of colonial right, indigenous right, and postcolonial developments. Its contextualization within the framework of a globalization of intellectual property rights in construction is discussed through the study of the participation of the delegates of Congo (and later on Zaïre) in the international conferences that aimed to harmonize intellectual property at the international level during the 1960s and the 1970s.

• Pouillard, Véronique (2022). Keynote: From Paris to New York and to Everywhere: Fashion Centers from International to Postcolonial History. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). Intellectual Property Rights and Infrastructures for the music industry: the case of colonial and post-colonial Congo. Fulltekst i vitenarkiv
• Pouillard, Véronique (2022). La méthode et les sources dans le livre "Paris to New York. The Transatlantic Fashion Industry in the Twentieth Century". Fulltekst i vitenarkiv
• Pouillard, Véronique; Gibson, Johanna; Teilmann-Lock, Stina & Bowrey, Kathy (2022). Book discussion - Paris to New York: The Transatlantic Fashion Industry in the Twentieth Century. Fulltekst i vitenarkiv
• Pouillard, Véronique & Skogstad, Regine (2022). Designeren bak Celine-kulten er tilbake med eget merke. [Journal]. Dagens Næringsliv D2. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Fashion and Transnational Exchanges. Presentation of the book Paris to New York. The Transatlantic Fashion Industry in the Twentieth Century. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Discussant, Panel A02, Fashion, Innovation, and Sustainability. Fulltekst i vitenarkiv
• Pouillard, Véronique; Orban, Franck & Uvsløkk, Geir (2021). Fransk mote etter tusenårsskiftet og i koronaens tid. [Journal]. Transit Magasin. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). CREATIVE IPR. Project advancement in October 2021. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Statuer og kolonisasjonsdebatten om Belgisk Kongo. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Book launch: Paris to New York. The Transatlantic History of the Fashion Industry. Fulltekst i vitenarkiv
• Pouillard, Véronique & Lilleslåten, Mari (2021). Paris og New York har alltid knivet om å være verdens motesentrum. [Internet]. forskning.no. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Histoire transatlantique de la haute couture, première partie. Fulltekst i vitenarkiv
• Pouillard, Veronique (2021). Keynote. Music and the HADOPI law, Creative IPR project. Fulltekst i vitenarkiv
• Pouillard, Veronique (2021). Intellectual Property in the Fashion Industry: From Vionnet to Dior. Fulltekst i vitenarkiv Vis sammendrag

  This talk examines how fashion designers have used intellectual property rights to protect their creations from piracy, and to advertise the authenticity of their products. Among the numerous couturiers that have participated in this effort, the archives-based research presented in this talk focuses on the examples of Madeleine Vionnet and Christian Dior, who, along with their legal teams, pioneered the development of extensive intellectual property rights portfolios. These designers used various legal tools to protect and to market their work, including trademark, copyright, patent, trade dress, and anti-competition laws. During the interwar period, most of Vionnet’s legal action remained centered in France, but the postwar case of Dior shows how, later on, such strategies could be used on international markets. Finally, the talk questions the advantages and inconveniences of using law as a commercial instrument in the creative industries.

• Pouillard, Véronique (2021). Histoire transatlantique de la haute couture, deuxième partie. Fulltekst i vitenarkiv
• Pouillard, Véronique & Lilleslåtten, Mari (2021). Paris and New York have always battled over being fashion capital of world. [Internet]. forskning.no. Fulltekst i vitenarkiv
• Pouillard, Véronique; Orban, Franck & Uvsløkk, Geir (2021). Hvor stor er motesektoren i Frankrike? [Radio]. Frankrike forklart. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Mote og demokrati. Fulltekst i vitenarkiv
• Rots, Aike Peter; Endresen, Cecilie; Gubrium, Erika; Tolgensbakk, Ida; Bell, Justyna & Tanyi, Attila [Vis alle 8 forfattere av denne artikkelen] (2021). Et «fremmed» virus? – Covid-19, nasjonalisme og stengte grenser. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Panel deltaker: Boklansering Håndbok i forskningsetikk og databehandling fra Heidi Øsbø Haugen og May Len Skilbrei. Fulltekst i vitenarkiv
• Pouillard, Véronique & Bogaerts, Nicolas (2021). Halston, Le Serpent...La mode dans les séries, bien plus qu'un catalogue de tenues. [Journal]. Focus Vif. Fulltekst i vitenarkiv
• Pouillard, Véronique (2021). Représentations de l'altérité: une histoire de la publicité et de ses images au XXème siècle, les cas de la Belgique et du Congo. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). Presentation of the research project ERC CoG818523, CREATIVE IPR. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). Writing arguments for PhD dissertations in History. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). Presentation of the ERC CoG 818523 grant project CREATIVE IPR and strategies for developing an ERC application. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). The History of Intellectual Property Rights in the Creative Industries. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). Copy Chic. [Journal]. Weekendavisen. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). Intellectual property and business history in the research project Creative IPR. Fulltekst i vitenarkiv
• Pouillard, Veronique (2020). La mini jupe, entre émancipation et sexualisartion. [TV]. France Culture. Fulltekst i vitenarkiv
• Pouillard, Véronique & Bernheim, Nele (2020). Poor taste, good taste, or just taste. Fashion in Belgium during the interwar period. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Presentation of the ERC Project CREATIVE IPR, The History of Intellectual Property Rights in the Creative Industries. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Panel Discussion: How to Publish without Perishing: a Workshop on the Academic Publishing Process. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Panel discussion: Whose Right is it Anyway? An Interdisciplinary Roundtable on Intellectual Property Rights in the Creative Industries. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Keynote: Multiple Fashion Labors. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Haute couture’s early lawsuits: a view from the courts (late nineteenth century to the 1930s). Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Timeline process for application, work methods and strategies. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Conférence inaugurale (Keynote): La haute couture. Histoire des entreprises. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Discussant to the paper by Fabian Csaba, "Is there such a thing as Nordic Luxury?". Fulltekst i vitenarkiv
• Pouillard, Véronique & Haugen, Toril (2019). Store internasjonale selskaper har brukt opphavsretter for å slippe unna skatt. [Internet]. https://www.hf.uio.no/iakh/forskning/aktuelt/aktuelle-saker/. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Fabricating Transnational Capitalism: A Collaborative Ethnography of Italian-Chinese Global Fashion. ByLisa Rofel and Sylvia J. Yanagisako. Durham: Duke University Press, 2019. xiii 377 pp. Photographs, references, appendix, notes, index. Cloth, $104.95; paper, $28.95. ISBN: Cloth, 978-1-4780-0029-7; paper, 978-1-4780-0045-7. Business History Review. ISSN 0007-6805. 93(3), s. 650–653. doi: 10.1017/S0007680519001107. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Filologen - Glamour temanummer. [Journal]. Filologen. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Du er hva du går i. [Journal]. Stoff. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Historikeren. [Journal]. Fortid. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Postwar Couture: Going Global. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Timeline, work methods and strategies for ERC applications. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Haute Couture before, during, and after World War II. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Fashion and Youth: Meet the expert tour. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Mode et Jeunesse: rencontre avec expert. Fulltekst i vitenarkiv
• Pouillard, Veronique (2019). Presentation of the ERC project CREATIVE IPR: The History of Intellectual Property Rights in the Creative Industries. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). The Business History of Fashion Published: European Fashion. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Michel Foucault’s posthumous publication of Les aveux de la chair. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Michel Foucault and Arlette Farge, the history of sexuality and of family. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Moteindustri og kjønnshistorie I Frankrike og i USA. Fulltekst i vitenarkiv
• Love, Gary & Pouillard, Veronique (2018). Plan S needs to work with the scientific journals, not against them. Khrono.no. ISSN 1894-8995. Fulltekst i vitenarkiv
• Pouillard, Veronique (2018). Branding haute couture: the history of couture firms and their intellectual property rights strategies (1920s–1960s). Fulltekst i vitenarkiv
• Pouillard, Veronique & Donze, Pierre-Yves (2017). Luxury. Fulltekst i vitenarkiv
• Pouillard, Veronique (2017). “Fashioning Europe”, presentation of the HERA II Enterprise of Culture project research results. Fulltekst i vitenarkiv
• Pouillard, Veronique (2017). Panel discussion. Brexit. Fulltekst i vitenarkiv
• Pouillard, Veronique (2017). The early globalization of the fashion business (1880s-1920s). Fulltekst i vitenarkiv
• Pouillard, Veronique (2017). From Goodwill to Grunge: A History of Secondhand Styles and Alternative Economies. By Jennifer Le Zotte . Chapel Hill: University of North Carolina Press, 2017. xiv + 326 pp. Figures, notes, index. Cloth, $85.00; paper, $27.95. ISBN: cloth, 978-1-4696-3189-9; paper, 978-1-4696-3190-5. Business History Review. ISSN 0007-6805. 91(2), s. 433–436. doi: 10.1017/S0007680517000940. Fulltekst i vitenarkiv
• Langford, Malcolm; Schaffer, Johan Karlsson; Larsen, Eirinn & Pouillard, Veronique (2017). Da fortet åpnet porten. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Illiberal times? Is the epoch of fascism coming back? Or does Europe face a legitimate return of real sovereign national states. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Jeg kom ut av det blå. [Journal]. Morgenbladet. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Retour aux Sources, Paris Couture. [TV]. RTBF (Radio Television Belge Francophone). Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Haute couture: going global. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). The foundation of haute couture. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). The Use of Intellectual Property Rights in the Interwar Fashion Industry. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). La propriété intellectuelle et les entrepreneurs de mode franco-américains pendant l’entre-deux-guerres. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Intellectual Property Rights in the Fashion Industry after 1958: European perspectives in a global industry. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). Haute couture goes global. Networks, markets, and challenges in the postwar era. Fulltekst i vitenarkiv
• Pouillard, Veronique (2016). NRK Radio Urix på lørdag. CETA og Napoleon. [Radio]. NRK. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). The New York-Paris Fashion Nexus and the Criminalization of Piracy: The Milton Affair, 1955-1962. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). Navigating between High and Low: Intellectual Property Rights and the Problem of Piracy in the Paris-New York Fashion Nexus. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). Can Luxury be Copied? Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). The Transatlantic Venture of Fashion Industrialists, 1920-1960. Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). Les échanges entre entrepreneurs de mode parisiens et new-yorkais des années 1920 aux années 1960. Presentation of working paper "The Transatlantic Ventures of Fashion Industrialists, 1920-1960". Fulltekst i vitenarkiv
• Pouillard, Veronique (2015). Les échanges entre France et Scandinavie. Fulltekst i vitenarkiv
• Pouillard, Veronique (2014). From marketing the war to advertising consumer culture. Fulltekst i vitenarkiv
• Pouillard, Veronique (2014). Neutral Belgium Invaded! History, Memory, and Contemporary Politics in the Host Country of the EU. Fulltekst i vitenarkiv
• Pouillard, Veronique (2014). Innovation and the role of the state in the French postwar fashion industries (1946-1960). Fulltekst i vitenarkiv
• Pouillard, Veronique (2013). Haute couture as local business: the industry seen from the records of the Chambre Syndicale de la Couture Parisienne. Fulltekst i vitenarkiv
• Pouillard, Veronique (2013). "Transnational fashion: Past perspectives.". Fulltekst i vitenarkiv
• Pouillard, Veronique (2013). Intellectual Property in the 20th Century Fashion Industries: The History of a Paradox? Fulltekst i vitenarkiv
• Pouillard, Véronique & Donzé, Pierre-Yves (2022). Business History Article Collection: Fashion and Luxury Business. Taylor & Francis. Fulltekst i vitenarkiv

Se alle arbeider i NVA