Factory production for mass consumption has become the major source of commodities in industrialized societies. Customised handcraft production continues alongside this, especially of men's clothing, women's fashions, shoes, and jewelry. Women's fashions have become international, with a few famous designers in Paris, Rome, New York, and Tokyo holding annual shows which set the latest fashion. At the luxury end of this mode of production the craftsmen designs a prototype made in his workshop; this may be commissioned by a customer, offered for sale through a show, or in exclusive shops. Successful designs may be copied in other workshops for sale in select stores; such as garment with a ‘designer label’ is still considered exclusive. A few designs are more widely copied and sold through chains of stores to the public. This ‘trickle-down’ of fashions through dressmakers' workshops has always linked dress to social mobility. Lace, from the sixteenth to the nineteenth centuries, moved from courts to town gentry to village bonnets. Maher describes this for Turin in the early twentieth century, where seamstresses copied the dresses made for customers to wear themselves—thus passing socially as ladies (Maher 1987). Customized craft production also continues to be important, for instance in fine furniture, jewelry, pottery, and textiles. These are sold in specialist shops, and increasingly in shops alongside replicas of museum holdings. Their makers are coming to be known as designer craftsmen,' and also as ‘artist craftsmen.’ There is a debate, as with some of the ethnic crafts, as to whether this is ‘art’ or ‘craft.’