During New York Fashion Week, designers will present looks that you might find in a department store next spring ... or, as knockoffs at Forever 21. That's because copying fashion designs is perfectly legal — and that's a good thing, if you ask Kal Raustiala.
Raustiala is the co-author of a new book called The Knockoff Economy: How Imitation Sparks Innovation. He talks with NPR's Renee Montagne about who copies fashion designs, why it's legal and how copying ultimately benefits the consumer and the industry.
Michael Chabon's latest novel, Telegraph Avenue, is named after the famed road between Oakland and Berkeley in California.
In the book, that's also where two couples — Nat and Aviva, who are white, and Archy and Gwen, who are black — are struggling to get by. The two men are friends, partners in a vinyl record shop. Their wives work together as nurse midwives.
Over the course of a couple of weeks, the characters deal with threats to their work, to their relationships and their very way of being. Chabon delves deeply into issues of art, race and sexuality.
When museum curator Nicholas Bell was putting together the show Craft Futures: 40 Under 40 at the Smithsonian Institution's Renwick Gallery, he realized the artists had something in common besides their under-40 status. Because of their youth, he felt that each of them could be classified as "post 9/11" artists.
"Their worldview is defined by the angst, the unease, the trepidation of the difficulties of the 21st century," he says.
In the 1960s, Lynn Povich worked at Newsweek — where she became part of a revolution.
"At Newsweek, women were hired on the mail desk to deliver mail, then to clip newspapers, and, if they were lucky, became researchers or fact checkers," Povich tells NPR's Linda Wertheimer, whom she knows personally. "All of the writers and reporters were men, and everyone accepted it as that was the way the world was — until we didn't."