A busca pela inovação nos mercados cada vez mais globalizados faz com que a procura por caminhos estratégicos torne-se relevante. Mas, ao se tratar da área de moda, observa-se que o surgimento e a expansão dos cursos de nível universitário acompanham essa tendência recente. Este estudo visa analisar o perfil dos professores dos cursos de bacharelado da área de moda na cidade de São Paulo, para tal foi realizado um estudo de caso, quanti-qualitativo com consulta a dez cursos de moda das FaSM, FPA, UAM, SENAC, FMU-FIAMFAAM, Belas Artes, USP, FAAP da cidade de São Paulo, por possuírem maior número de trabalhos científicos publicados, bem como por serem as Universidades com maior reconhecimento. As consultas na Plataforma Lattes foram realizadas durante o desenvolvimento deste estudo. Pela análise comparativa realizada, os cursos subdividem-se em três pilares, com foco em Design, Gestão e Tecnologia. Os que possuem foco em Design propõe-se a habilitar o graduando em diversas atividades extracurriculares, os cursos com foco principal em Gestão propõem o desenvolvimento de estratégias mercadológicas inovadoras, capazes de atuar em negócios concorrenciais e propiciarem a formação profissional com repertório cultural ampliado e visão estratégica da moda, mercado e negócios e os cursos com a proposta em Tecnologia visam uma grade curricular diversificada com foco na produção de tecidos. Concluiu-se pela análise das oito Instituições FaSM, FPA, UAM, SENAC, FMU-FIAMFAAM, Belas Artes, USP, FAAP, que o corpo docente dos cursos analisados apresenta uma formação acadêmica consolidada, que favorece a formação de profissionais completos e mais preparados para o mercado de trabalho e à própria atividade docente, conforme sugere a análise dos dados / The search for innovation in the globalized market makes the search for strategic ways more relevant. When discussing the Fashion area, it is observed that this trend is accompanied by the emergence and expansion of university-level courses. This study aims the analysis on the teachers profile in the fashion bachelor courses in the city of São Paulo. It is a case study, quantitative and qualitative, researching ten fashion courses from FaSM, FPA, UAM, SENAC, FMU-FIAMFAAM, Belas Artes, USP and FAAP universities and faculties due to having a greater number of published scientific papers, as well as being the universities with greater recognition. Consultations on the Lattes Platform were held during the development of this study. For comparative analysis, the courses are divided into three pillars, focusing on Design, Management and Technology. Those with a focus on Design are proposed to enable majoring in various extracurricular activities, courses with main focus on Management propose the development of innovative marketing strategies, enabling the student to act in a competitive business and to develop an enlarged cultural repertoire and strategic vision of Fashion, market and business and courses with the proposal in Technology aim a diverse curriculum focused on the production of fabrics. The analysis of the eight institutions, FaSM, FPA, UAM, SENAC, FMU-FIAMFAAM, Belas Artes, USP, FAAP, concluded that the faculty of the analyzed courses presents a consolidated academic training, which favors the formation of complete professional and more prepared for the market and to the teaching activity, as suggested by the analyzed data

A presente tese, intitulada Projeto em moda - o material e o imaterial no campo acadêmico, tem por objetivo abrir o debate sobre estilismo e projeto em moda, pois de acordo com a hipótese principal, depreende-se que, em decorrência de diversos fatores, não há um consenso sobre o conceito de projeto em moda no Brasil no âmbito acadêmico, inaugurado em 1988. Para estimular esse debate, o estado da arte em estilismo e projeto em moda foi adotado como percurso metodológico, proporcionando as condições de averiguação das convergências e divergências sobre o tema entre os agentes da área. No decorrer desta investigação foram realizados: a revisão de literatura das principais obras sobre o tema, a entrevista dos pioneiros do campo, a análise dos artigos sobre o assunto produzidos para o Colóquio de Moda e para o Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, o P&D. Também foram coletados os depoimentos dos coordenadores de área do design das principais agências de fomento brasileiras, a FAPESP, a CAPES e o CNPq, procurando esclarecer a visão, por parte destas agências, em relação à área de moda. O trabalho foi estendido à Itália, onde foi desenvolvida uma pesquisa no Politecnico di Milano, sob a justificativa de que este país influenciou o ensino design de moda no Brasil. Por fim, foram abordadas as questões simbólicas que envolvem a projetação em moda na atividade profissional do estilista e do designer, traduzidas por meio dos conceitos de mito, aura, anonimato e indústria. Esses conceitos e noções que orientam práticas, e são nominados por certos termos, participam dos aspectos imateriais que permeiam a falta de consenso sobre uma noção de projeto em moda no Brasil, no âmbito acadêmico. Se os aspectos materiais ficam a cargo do que é objetivado fisicamente por meio de etapas de projeto que se traduzem em painel, cartela de cores, pesquisa de materiais, acabamentos, croquis, peças piloto e, por fim, o produto final; os aspectos imateriais descrevem relações subjetivas, portanto tácitas, que demandam uma discussão mais profunda, além de circunscreverem conceitos e noções que orientam práticas imateriais, tais como a \"inspiração\" do estilista, a escolha de um tema para uma coleção, o limite entre a influência do repertório do criador e sua interferência individual na configuração prático-estética dos produtos, a delimitação entre o que é produção acadêmica, de ateliê e industrial e seus possíveis cruzamentos no que se refere à etapas de projetação. Essas relações imateriais estão direta ou indiretamente vinculadas à noção de mito. A pesquisa buscou evidenciar pontos de vista convergentes e divergentes por meio do cruzamento dos dados obtidos em todas as etapas descritas anteriormente concorrendo para algum consenso acerca das noções de estilismo e projeto em moda. / The aim of this study called Fashion project - the material and the immaterial in the academic field is to undertake a debate surrounding fashion design because according to the main hypothesis, due to a number of factors, we understand, there is no consensus with regard to the idea of fashion design within higher education institutions in Brazil, inaugurated in 1988. To stimulate the debate the state of art in fashion design was adopted in the present study as a methodological path, so as to determine the lack of concordance on the theme among the agents within the area. In the course of this investigation had been performed: a bibliographic review with the main books about the theme, interview with the pioneers from the field, a review of the articles published about the issue in the events Colóquio de Moda and Congresso Brasileiro de Pesquisa e Desenvolvimento em Design, known as P&D. Were collected the testimonies from directors of the main Brazilian agencies of promotion, such as FAPESP, CAPES and CNPq trying clarify their visions with regard to the fashion field. The work was extended to Italy, and part of the research was developed at Politecnico di Milano, because this country has influenced the fashion design teaching in Brazil. Finally, were approached symbolic issues that evolve the fashion design in the professional activity translated through concepts like myth, aura, anonymity and industry. This concepts that guide practices, and receive some names, are part of immaterial aspects which permeate the lack of consensus about a fashion design notion in Brazil, in the academic field. If the material aspects correspond to what is physical through design steps which translate themselves into boards, color story, material research, embellishment, drawings, samples and, finally, the final product; the immaterial aspects describe subjective relations, thus implied, that demand a deeper discussion, besides containing concepts and notions that guide immaterial practices, such as the designer inspiration, the choice of a theme for the collection, the boundary between the creator repertoire and your individual interference in the practical-aesthetic configuration of products, the difference between what is academic, atelier and serial production and the possible crosses regarding design steps. These immaterial relations are directly or indirectly linked to the myth notion. This research aimed to point convergent and divergent points of view crossing the obtained data in all steps described before in order to achieve some consensus on the fashion design notions.

A presente pesquisa tem como objetivo analisar um pequeno conjunto de vestidos denominados alta-costura, presente na coleção Vestuário do Museu de Arte de São Paulo Assis Chateaubriand (MASP) e que foram adquiridos na direção artística de Pietro Maria Bardi (1947 - 1990) e na presidência de Júlio Neves (1994-2008). Tais vestidos, catalogados como advindos das casas Dior e Lanvin, foram incorporados à coleção Vestuário entre os anos de 1951 a 1956 e posteriormente, nos anos de 2002 e 2003. Desse modo, pretende-se analisar o processo de musealização desses vestidos, numa perspectiva histórico-social, além de problematizar a historicidade do colecionismo de vestuário e moda nos anos de aquisição dos objetos, considerando a produção de documentação museológica como um processo curatorial importante na análise empreendida. / The present research aims to analyze a small set of dresses called high fashion, present in the Costume collection of the São Paulo Museum of Art (MASP) and which were acquired in the artistic direction of Pietro Maria Bardi (1947 - 1990) and in the presidency of Júlio Neves (1994-2008). These dresses, cataloged as coming from the houses Dior and Lanvin, were incorporated into the Costume collection between the years 1951 to 1956 and later, in the years of 2002 and 2003. In this way, it is intended to analyze the process of musealization of these dresses, from a perspective historical-social, in addition to problematizing the historicity of collecting clothing and fashion in the years of acquisition of objects, considering the production of museological documentation as an important curatorial process in the analysis undertaken.

A literary text is a means for critics to analyze societal influence on the author, and both fashion and body modification serve this same function because they are legible texts with which to interpret the psychological motivations of the wearer in the cultural context in which he or she lives. Fashion theorists such as Roland Barthes and J.C. Flugel have detailed the reasons that they believe dress evolves throughout time, and the following thesis applies their theories to Melville's first novel Typee. In the first chapter, entitled, "Moral Fibers: Dress as the Extension of Self," much emphasis is given to archetypes of dress such as the veil, the corset and military uniforms in the Orient and the Occident. The second chapter, "Cut From the Same Cloth: Body Modification as Semiotic Modality," discusses ritualistic tattooing as a mode of literary expression. / by Tealia DeBerry. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

O Design, inserido na complexidade do atual ambiente social, cultural, produtivo e mercadológico se apresenta como uma atividade complexa, o que exige o estudo de estratégias de inovação direcionadas a resolução de problemas de projeto, aplicáveis ao Design de Moda. Nesse sentido, o presente estudo propõe a apresentação de um framework para implementação de estratégias de inovação pelo Design no processo de desenvolvimento de produtos de moda em empresas de confecção do vestuário, valendo-se da abordagem teórico-metodológica de Design Estratégico. Frente a essa proposta de estudo, a pesquisa foi desenvolvida em três fases sistêmicas: Epistemologia do Projeto, Praxiologia do Projeto e Pedagogia do Projeto. A primeira fase compreendeu a realização de uma Pesquisa Bibliográfica sobre o tema com o objetivo de refletir sobre a natureza complexa da atividade de Design sob a perspectiva da cultura de projeto, trazendo algumas abordagens conceituais e metodológicas em Design Estratégico e Design de Moda. A segunda fase compreendeu a realização de uma Pesquisa de Campo e de um Estudo de Caso com o objetivo identificar as práxis de Design adotadas em empresas de confecção do vestuário vinculadas ao Arranjo Produtivo Local Têxtil e do Vestuário (APL Polovest), localizado na região do Alto Uruguai Gaúcho. Inicialmente, buscou-se identificar a presença e as formas de atuação do Design nestas empresas, e posteriormente, diagnosticar a função do Design no processo de desenvolvimento de produtos de moda em três empresas com potencial para implementação de estratégias de inovação pelo Design. A terceira fase compreendeu a realização de uma Pesquisa Ação com o objetivo de implementar estratégias de inovação pelo Design no processo de desenvolvimento de produtos de moda nas três empresas que participaram da fase anterior do estudo. Os resultados obtidos nestas fases da pesquisa permitiram a reflexão sobre a teoria e a prática em Design de Moda, possibilitando a configuração de um framework para orientar a implementação de estratégias de inovação no processo de desenvolvimento de produtos de moda em empresas de confecção do vestuário. O framework propõe a construção de uma nova cultura de projeto nestas empresas, capitalizando um conjunto de conhecimentos em torno da ação projetual, a fim de direcionar à identificação, à análise e a resolução de problemas de projeto, inseridos na complexidade da atividade de Design. Portanto, espera-se que a aplicação do framework possa indicar oportunidades de inovação projetual, tornando estas empresas mais competitivas por meio de suas ofertas, com vistas ao fortalecimento do setor do vestuário na região do Alto Uruguai Gaúcho. / Design, inserted in the complexity of the current social, cultural, productive and market environment, represents a complex activity, requiring the study of innovation strategies directed to solving project problems, applicable to Fashion Design. In this regard, the present study proposes a Design framework for implementing innovation strategies in the development of fashion products in apparel manufacturing companies, drawing on the theoretical-methodological approach of Strategic Design. Given this study’s proposal, research was developed in three systemic phases: Project Epistemology, Project Praxeology and Project Pedagogy. The first phase involved a literature review on the theme, which contemplated the complex nature of the Design activity from a project culture perspective, conveying some conceptual and methodological approaches from Strategic and Fashion Design. The second phase involved a Field Survey and a Case Study, with the goal of identifying the Design praxis adopted by apparel manufacturing companies linked to the Local Textile and Clothing Productive Arrangement (APL Polovest), located in the Alto Uruguai Gaúcho region, southern Brazil. Initially, we sought to identify the presence and proceedings of Design in these companies and, later, to establish the role of Design in the process of fashion products development in three companies, selected for their potential to implement innovation strategies through Design. The third phase involved the execution of an Action Research to implement innovation strategies through Design in the process of developing fashion products in the companies from the previous phase. Results obtained in these research phases supported a critical reflection on Fashion Design theory and practice, as well as the configuration of a framework to guide the implementation of Design innovation strategies in the process of developing fashion products in apparel manufacturing companies. The framework proposes the construction of a novel project culture in these companies, using a set of knowledge capitalized around the project action, guiding the identification, analysis and resolution of project problems inserted into the Design action complexity. Therefore, we may expect the implementation of this framework to reveal opportunities for project innovation, making these companies more competitive through their offerings, with focus on the strengthening of the clothing sector in the Alto Uruguai Gaúcho region.

by Lee Mei-seong, Michelle, Ng Yuen-lai, Lorraine. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 68-70). / ABSTRACT --- p.ii / TABLE OF CONTENTS --- p.iii / LIST OF TABLES --- p.vi / ACKNOWLEDGEMENT --- p.vii / Chapter / Chapter I. --- INTRODUCTION --- p.1 / Purpose --- p.2 / Scope --- p.3 / Methodology --- p.4 / Research Design --- p.4 / Data Collection Method --- p.4 / Sampling Frame --- p.4 / Chapter II. --- LITERATURE REVIEW --- p.5 / Macro environment --- p.5 / Geography --- p.5 / Population and Demographics --- p.5 / Economic Size and Growth --- p.6 / Inflation --- p.8 / Income and Income Distribution --- p.8 / Purchasing Power --- p.8 / Retail Sales --- p.9 / Fashion Retail Market Situation in China --- p.9 / Market Size/Profile --- p.10 / Demand --- p.11 / Consumer Attitudes --- p.11 / Various Market Segments --- p.12 / Marketing Strategies --- p.13 / Product Strategies --- p.15 / Pricing Strategies --- p.18 / Distribution Strategies --- p.19 / Promotion Strategies --- p.20 / Chapter III. --- SUMMARY OF FINDINGS FROM OBSERVATION AND PERSONAL INTERVIEWS --- p.26 / Shopping Area --- p.26 / Top Fashion Brands --- p.27 / Customer Profile --- p.27 / Marketing Mix --- p.28 / Product Strategies --- p.28 / Pricing Strategies --- p.29 / Distribution Strategies --- p.30 / Promotion Strategies --- p.32 / Chapter IV. --- CASE STUDIES --- p.34 / Case One: Gianni Versace --- p.34 / Background --- p.34 / Marketing Strategies --- p.36 / Management --- p.40 / Critical Success Factors --- p.40 / Problems and Opportunities --- p.41 / Case Two: Celine --- p.42 / Background --- p.42 / Financial Issues --- p.43 / Marketing Strategies --- p.44 / Case Three: Cerruti --- p.48 / Background --- p.48 / Marketing Strategies --- p.48 / Chapter V. --- PROBLEMS IN RUNNING HIGH FASHION BUSINESS IN BEIJING --- p.51 / Over-Estimation of Purchasing Power --- p.52 / Increasing Inflation --- p.52 / Shortage of Supply of Management Staff --- p.53 / Increasing Competition --- p.53 / Chapter VI. --- ACTION PLAN --- p.54 / Employ Experienced Personnel to Head the China Business --- p.54 / Consult Consultants/China Expert --- p.55 / Observe Performance of Competitors --- p.55 / Check Town Planning --- p.56 / Check the Prospective JV Partners --- p.56 / Evaluate the Feasibility --- p.58 / Define the Target Customers --- p.58 / Plan the Marketing Strategies --- p.59 / Product Strategies --- p.59 / Pricing Strategies --- p.60 / Location --- p.60 / Promotion Strategies --- p.61 / Plan the Management Strategies --- p.61 / Awareness of the Environment and Getting Feedback --- p.62 / Long Term Vision --- p.62 / Guanxi --- p.63 / Image and Identity --- p.64 / Chapter VII. --- CONCLUSION ´ب --- p.65 / APPENDIX --- p.66 / BIBLIOGRAPHY --- p.68

Malgré les nombreuses études menées sur Austen, aucun travail littéraire exhaustif n’a été réalisé à ce jour sur la représentation et la signification que cet auteur a donné aux vêtements dans ses romans. Quelques articles sur un vêtement précis ont été publiés. D’autres ouvrages recensent, quant à eux, les tenues citées en les classant par thème ou par roman, mais sans analyser les choix de l’auteur. Ce travail de thèse vient allier les tenues qui apparaissent dans les œuvres d’Austen, ou qui sont mentionnées, à l’analyse de ces dernières, dans le but de montrer que l’auteur ne choisissait pas les références à la mode incluses dans ses écrits de façon anodine, et d’en expliquer les tenants et les aboutissants. Elle se servait en effet des tenues de ses personnages et de leurs conversations à propos de la mode pour faire passer subtilement à ses lecteurs les idées qu’elle avait sur le contexte social, historique et idéologique de l’Angleterre de la fin du XVIIIème siècle et du début du XIXème siècle. Deux écoles coexistent, sans que les critiques puissent s’accorder. L’une affirme qu’Austen est conservatrice et l’autre qu’elle est féministe. On peut alors se demander si pour Austen, la mode est un sujet pour lequel elle est davantage tournée vers le féminisme ou le conservatisme. Aucune de ces deux écoles n’ayant réussi à supplanter l’autre, l’examen d’un sujet typiquement féminin pourra éventuellement apporter une avancée dans ce débat.Ces travaux de recherche s’appuient sur la correspondance d’Austen, sur l’analyse descriptive des vêtements dans ses romans, sur des ouvrages consacrés aux toilettes des XVIIIème et XIXème siècles, sur la sociologie et la psychologie de la mode, ainsi que sur la sémiotique vestimentaire. Cette thèse se réfère également aux changements radicaux subits par la mode à cette époque et qui découlent directement des évènements historiques et sociopolitiques qui se sont déroulés peu avant et pendant les années d’écriture d’Austen. Ces changements sont eux-mêmes en lien avec les idées véhiculées par la littérature. Ce travail montre la portée des vêtements dans les œuvres de cet auteur. Enfin, un travail sur les costumes ne saurait être exhaustif sans aborder la représentation cinématographique de l’univers austenien. Ainsi, l’analyse d’extraits évoquant la mode ou l’élégance chez Austen s'accompagne d'une réflexion sur la méthodologie adoptée par les producteurs pour adapter à l’écran les costumes des personnages de la romancière / In spite of the numerous studies dealing with Austen, there has been no exhaustive literary work on the representation and signification of clothes that this author gives in her novels. Some articles presenting a specific piece of clothes have been published. Some thorough works sort the costumes by theme or novel, but without really analyzing the choices of the writer. This thesis combines the attires cited in Austen’s works, or that are mentioned in the dialogues, together with their analysis in order to show that the author did not choose the references to fashion in her novels at random, and to explain her choices, and what they imply. She uses dress code for her characters, and in the conversations they hold, to subtly vehicle, to her readers, her own vision and ideas about the social, historical, and ideological context in England at the turn of the nineteenth century. One would wonder if fashion for Austen is an indication of feminism or conservatism. A further investigation in a subject that is supposed to be typically feminist would make us see better into the debate.This work is based on Austen’s letters and books which are dedicated to the descriptive analysis of the clothes worn by Austen’s characters in the novels, and on works dealing with the garments of the eighteenth and nineteenth centuries, on sociology, and psychology of fashion, and on semiotics of fashion. This thesis also refers to the radical changes that fashion underwent at this time, and that came directly from historical and sociopolitical events that were taking place a short time before, and during, Austen’s writing years. These changes are themselves linked to literature. This work highlights the impact of clothes in Austen’s works. Finally, a study on costumes would not be complete without tackling the cinematographic representation of Austen’s world. Thus, the analysis of extracts recalling fashion or elegance is backed up with a consideration of the methodology brought by the producers to adapt the costumes of Austen’s characters to the screen

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-28T17:29:46Z No. of bitstreams: 1 Maria Augusta da Silveira Mitre.pdf: 2814995 bytes, checksum: a60da22a0e4a060dfc5cbd4ee2b71b65 (MD5) / Made available in DSpace on 2016-09-28T17:29:46Z (GMT). No. of bitstreams: 1 Maria Augusta da Silveira Mitre.pdf: 2814995 bytes, checksum: a60da22a0e4a060dfc5cbd4ee2b71b65 (MD5) Previous issue date: 2016-06-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study focuses on the fashion transformations in contemporary times, and more specifically on the fashion cycles. In particular, it assess the hypothesis that the cycles are shortened to the extreme and are no longer closing, establishing a coexistence of styles. Based on the thought of Gilles Lipovetsky, this study also shows that the classical concept of fashion no longer covers all the settings that comprise the modern phenomenon. The choice of this author is due to the greater complexity of his ideas compared to previous theories, and in particular, because of his vision of fashion. This study also draws from the classic reflections of Walter Benjamin on the relationship between fashion and cultural industry in modernity, which is also based on the idea of transience. The concepts of "urban tribes" and “supermarket of style " by Ted Polhemus are also employed. The corpus of this work is embodied in seven panels composed by a selection of Vogue America covers along six decades, from 1950 to 2000. The magazine was chosen because it is a widely distributed vehicle both in the country of origin, the United States, center of contemporary fashion, as in the rest of the world, with regionalized versions, which are available on the Vogue Archive since its first edition in the year of 1892. The documentation provided by Vogue America enables the empirical identification of the main features of contemporary fashion and of its cycles. The methodology is bibliographical and documentary research / O presente estudo debruça-se sobre as transformações da moda na contemporaneidade, detendo-se sobre a questão específica de seus ciclos. Em particular, busca-se verificar a hipótese de que os ciclos se encurtaram ao extremo e já não mais se fecham, estabelecendo uma convivência de estilos. Nesse sentido, e trabalhando principalmente à luz do pensamento de Gilles Lipovetsky, pretende-se mostrar ainda que o conceito clássico de moda já não abarca todas as definições que o fenômeno moderno compreende. A escolha deste autor liga-se à maior complexidade de suas teses em relação àquelas de teóricos anteriores e, notadamente, a sua visão do “efêmero”, tanto mais que é suscetível de ser referida às clássicas reflexões de Walter Benjamin sobre as relações entre moda e indústria cultural na modernidade, também centradas na ideia de efemeridade. Por oportuno, invocamos ainda os conceitos de “tribos urbanas” e de “supermercado de estilos” de Ted Polhemus. O corpus do trabalho materializa-se em sete painéis compostos por uma seleção de capas de Vogue America que recobrem seis décadas, num lapso de tempo que vai de 1950 a 2000. A revista foi escolhida por ser um veículo de ampla distribuição tanto no país de origem, Estados Unidos, o centro nervoso da moda contemporânea, quanto no restante do mundo, com versões regionalizadas, além de oferecer, através do Vogue Archive, todas as edições da revista digitalizadas desde seu lançamento em 1892. A documentação oferecida pela Vogue America possibilita a identificação das características que a moda contemporânea apresenta e sua relação com os ciclos, oferecendo resultados empíricos para a aferição dos mesmos. A metodologia adotada é a pesquisa bibliográfica e documental

Made available in DSpace on 2016-04-26T18:11:17Z (GMT). No. of bitstreams: 1 Marina Agustoni.pdf: 8494118 bytes, checksum: ae3624fdcb4b20f8198280dd93daba25 (MD5) Previous issue date: 2011-10-28 / The intention of this research is to analyze the increasing mechanization of bodies in fashion ads in the last three years and, in parallel, the part of jeans in the process. It's also to examine the influence of technology on fashion and its corollary: the cyborg body. So the objects of the research are fashion, fashion advertising, jeans, cyborg and the cyborgzation. The selected corpus is composed of clippings in the press and digital media, and covers the Vogue, Iguatemi Shopping, Marie Claire, as well as UOL fashion catalog. The theorical reference is Walter Benjamin's reflections about the "inorganic sex-appeal" and the rereading of this concept in the work of Massimo Canevacci. Combined with this theorical main base there are Lucia Santaella main reflections on the contemporary body and those of authors such Anne Hollander, Gilles Lipovetsky, Diane Crane, among other fashion and clothes experts. Methodologically, the research is documentary and bibliographical. The hypothesis is that fashion is not the only villain of the human figure cyborgzation, fashion absorbs and spreads through the trend, using new technologies as tools that emerge, thereby cyborgzation of the human figure is not only responsibility of fashion, is a reflection of an increasingly technological society that increasingly understands the person just like a body, like a puppet. This is an essay about how the jeans and the new technologies allied with fashion are transforming the human image, standardizing it and subjecting it to a level of dehumanization; about how it is understood and seen this new man who crossed the borders of skin and now is a mutation betwen the sensitive and the sensors, between the body and its mechanical extensions; about this cyborg body, who contrasts in fashion advertising in recent years / O objetivo da presente pesquisa é analisar a crescente mecanização dos corpos na publicidade de moda dos últimos 3 anos e, em paralelo, o papel do jeans nesse processo. Trata-se também de examinar a influência da tecnologia sobre a moda e seu corolário: o corpo ciborgue. Isso define como objetos de pesquisa a moda, a publicidade de moda, o jeans, o ciborgue e sua inflexão: a ciborguização. O corpus selecionado é composto por recortes na mídia impressa e digital, e engloba as revistas Vogue, Iguatemi Shopping, Marie Claire, além do catálogo de moda do site UOL. O referencial teórico tem como ponto central as reflexões de Walter Benjamin sobre o sex appeal do inorgânico e a releitura desse conceito presente na obra de Mássimo Canevacci. Acrescentam-se a essa base teórica principal reflexões de Lúcia Santaella sobre o corpo contemporâneo e as de autores como Anne Hollander, Gilles Lipovetsky, Diane Crane, entre outros estudiosos sobre roupas e moda. Metodologicamente, a pesquisa é bibliográfica e documental. Trabalhamos com a hipótese de que a moda não é a vilã da ciborguização da figura humana sozinha, ela absorve o meio e propaga a tendência, usando como ferramentas as novas tecnologias que surgem; desse modo a ciborguização da figura humana não é responsabilidade apenas da moda, é o reflexo de uma sociedade cada vez mais tecnológica que cada vez mais entende a pessoa como apenas um corpo, como um boneco. Esta é uma dissertação sobre como o jeans e as novas tecnologias aliadas à moda vêm transformando a imagem humana, tornando-a padrão e submetendo-a a um patamar de desumanização; sobre como é entendido e visto esse novo humano que ultrapassou as fronteiras de pele e esta agora numa mutação entre o sensível e os sensores, entre o corpo e suas extensões mecânicas; é sobre esse corpo ciborgue, que se destaca na publicidade de moda dos últimos anos

Our everyday life is becoming more active and the activities we perform influence the way we dress. Due to an increase in activities undertaken in an urban environment, demands are changing and the need for active wear that meets the new demands follow suit. The four characters represented in the research can be seen as a reflection of the functional features needed, including base layer, mid layer/insulation and shell.Despite the increase in activities, most of our clothes are still constructed on static dummies or drafted on a table in 2D and the main developments within the active sportswear field is driven by material innovation. By creating garments on a body in movement, my aim is to develop new functions and expression in active sportswear through construction.Construction methods in active sportswear are examined and understood through observations and reconstructions and constitute the foundation of a study of movement for a design recovery.The movement and features required for leading an active urban life sets the direction of the development of new func- tional garments. A series of trial and error sessions and draping fabric on a live model in movement created the prototypes used in functionality tests to establish their feasibility. The functionality of the fabric and the form needed in urban lifestyle is explored in terms of relationship to a reduced, intuitive construction to challenge the norm of aesthetics in active sportswear. Meeting the demands of the conscious urban inhabitants regarding sustainability and style challenges this further. / Program: Modedesignutbildningen