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Just as architects design houses, evaluators design evaluations. Although the way in which the actual construction of the building proceeds is of crucial importance, it is the design stage, which includes all the specifications for the types of materials to be used, as well as the aesthetic and structural qualities of the final building, which is critical to the well‐being of the project. There are important parallels which exist between the work of the architect and the work of the evaluator. Like the architect, the evaluator produces a design, but does not necessarily carry out what has been designed in practice—the implementation of the evaluation can be left to others. Equally, the evaluator, like the architect, often acts as a specialist consultant on behalf of a client.

This article suggests a procedural model for the development of training material, in which evaluation and production are considered necessary and mutually supportive components. Accordingly, we refer to the model as the Evaluation‐Production (E‐P) model of materials development.

In the last four years, since Volume I of this Bibliography first appeared, there has been an explosion of literature in all the main functional areas of business. This wealth of material poses problems for the researcher in management studies — and, of course, for the librarian: uncovering what has been written in any one area is not an easy task. This volume aims to help the librarian and the researcher overcome some of the immediate problems of identification of material. It is an annotated bibliography of management, drawing on the wide variety of literature produced by MCB University Press. Over the last four years, MCB University Press has produced an extensive range of books and serial publications covering most of the established and many of the developing areas of management. This volume, in conjunction with Volume I, provides a guide to all the material published so far.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.

Essays a conceptural clarification and theory of the process of economic evolution. Using the Veblenian matrix, conceptualizes the economic process in the framework of culture and its evolution. Economic evolution, as a gestalt, comprises the processes of both economic growth (quantitative statics) and development (qualitative dynamics). The dynamics of culture evolution is founded on the advance of technology which constitutes the “core of culture”. The essence of the process of culture evolution is contained in the dichotomy of useful knowledge. The advance of useful knowledge appears in its application as technology and in its store as culture. The process of economic evolution increases the capacity of culture and thereby enables humankind to take bigger and bigger bites of the infinity of knowledge. Culture evolution, fed by the dynamics of the economic process, offers the potential for an enhanced “consciousness of the cosmos” and as such a conception of human progress.