Background: The fashion industry today is one of constant and unceasing change. It is a segment of materialism, characterised by fast-paced and outsourced production, cost pressed profit structures, and never ending designs and trends. This framework together with modern day marketing communications that unremittingly stimulate new consumer wants have created a landscape of overconsumption. As a reaction to this hysteria of consumerism is the emergence of a relatively new notion, slow fashion. This ideology places emphasis on decelerating both production and consumption cycles through more conscious purchasing patterns. Previous studies confirm that although consumers are accepting of the slow fashion mind-set, their interest does not necessarily equate to engagement in terms of conscious consumption. Consequently, companies today are seeking alternative modes of communication such as storytelling. Purpose: The objective of this paper is; thus, to investigate how slow fashion is being communicated through storytelling, in better understanding how to engage consumers in more conscious and responsible fashion consumption. Method: The study uses a qualitative method of research with a deductive approach. The research design entails multiple case studies of semi-structured interviews conducted among four slow fashion companies in Sweden. Theoretical data has been collected primarily through peer reviewed literature and other written works in electronic form. The theoretical starting point of the paper begins with concepts such as slow fashion as an ideology and its values, goals and objectives. Thereafter, storytelling, engagement and meaning are each theoretically explained and empirically investigated. Conclusion: The study reveals that slow fashion retailers are using storytelling but to varying degrees in communicating the slow fashion ideology. There is a focus on engaging consumers through education, interaction and activating several human senses. It can be seen that consumers are engaged and interested in the slow fashion mind-set; however, it cannot be confirmed that they are actually behaving or acting as slow fashionists. / Program: Master programme in Fashion Management

Purpose:The purpose of this thesis has been to study, describe and analyze how luxury fashion brands have responded to fast fashion. Background:It has been stated that the life of luxury fashion brands has become more difficult since the proliferation of fast fashion brands. The Italian luxury fashion designer Giorgio Armani has said that "Fast fashion is a growing reality in our sector". Anna Wintour, the editor-in-chief of American Vogue has credited Zara for creating a ‘seasonless cycle for fashion’. Fast fashion brands such as H&M, Zara, Mango and Topshop have through interpreting catwalk trends with a speedy time-to-market been extremely successful at attracting the fashion conscious consumer. Even loyal high-end customers have started to mix their luxury fashion with fast fashion. Luxury fashion brands once dismissed the fast fashion brands as irrelevant to their high-end business, which however have started to drain away sales from the luxury fashion brands.Method:A qualitative research approach was taken to meet the purpose of collecting the relevant data. An interview was made with PR and Marketing Manager at Group 88, Robert Meeder who manages brands such as Gucci, Burberry and Bottega Veneta in Copenhagen. We also did a content analysis on articles collected that address the issue of how different luxury fashion brands have responded to fast fashion for the empirical study.Conclusion:Luxury fashion brands have responded to fast fashion by inclining towards the fast fashion model or reacting against it. Some of the reactions have been to offer lower priced lines under their own sub-brands. They have also allowed their customers to buy products during online webcasts in order to ensure early deliveries. Improvements have been made within logistics in order to speed up the time-to-market. The luxury fashion brands are also working more ‘seasonless’ than before and focusing on their heritage to portray a slower and more indulgent image to the consumer. / Program: Magisterutbildning i Fashion Management

鄺慧瑜. / "2004年6月". / 論文(哲學碩士)--香港中文大學, 2004. / 參考文獻 (leaves 19-23). / 附中英文摘要. / "2004 nian 6 yue". / Guang Huiyu. / Lun wen (zhe xue shuo shi)--Xianggang Xhong wen da xue, 2004. / Can kao wen xian (leaves 19-23). / Fu Zhong Ying wen zhai yao. / 論文撮要(中文） --- p.i / 論文撮要(英文） --- p.ii-iii / 圖表目錄 --- p.iv / 引言 --- p.1-2 / Chapter 第一章. --- 時裝歷史文獻回顧 / Chapter 1.1. --- 香港時裝歷史與文化硏究文獻回顧 --- p.3 / Chapter 1.1.1. --- 香港時裝歷史 --- p.3 / Chapter 1.1.2. --- 香港時裝文化硏究 --- p.4-7 / Chapter 1.2. --- 旗袍硏究文獻回顧 --- p.8-9 / Chapter 第二章. --- 硏究方法的論述 / Chapter 2.1. --- 硏究資料來源 --- p.10-11 / Chapter 2.1.1. --- 報紙 --- p.11-13 / Chapter 2.1.2. --- 電影雜誌 --- p.13-15 / Chapter 2.1.3. --- 電影 --- p.15-16 / Chapter 2.2. --- 硏究方法的槪述 --- p.17 / Chapter 第三章. --- 時裝理論剖析 / Chapter 3.1. --- 時裝定義 --- p.19-21 / Chapter 3.2. --- 時裝與社會硏究 --- p.21 / Chapter 3.2.1. --- 韋伯倫 --- p.22-23 / Chapter 3.2.2. --- 西美爾 --- p.24-25 / Chapter 3.3. --- 時裝與文化硏究 / Chapter 3.3.1. --- 時裝與符號 --- p.26-29 / Chapter 3.3.2. --- 時裝與流行商品文化 --- p.29-30 / Chapter 3.3.3. --- 時裝與性別 --- p.30 / Chapter 3.3.4. --- 其他理論 --- p.31-34 / Chapter 3.4. --- 中國與時裝 --- p.34 / Chapter 第四章. --- 戰前旗袍的歷史與變革 / Chapter 4.1. --- 旗袍之名稱 --- p.35 / Chapter 4.2. --- 清代婦女 --- p.36 / Chapter 4.2.1. --- 清初 --- p.36 / Chapter 4.2.2. --- 清中至末 --- p.37 / Chapter 4.3. --- 1920 年代 --- p.38 / Chapter 4.3.1. --- 女性時裝之一：襖衫/裙 --- p.38-39 / Chapter 4.3.2. --- 女性時裝之二 ：旗袍 --- p.40-44 / Chapter 4.3.3. --- 男裝 --- p.45 / Chapter 4.4. --- 1930年代 --- p.46 / Chapter 4.4.1. --- 女裝 --- p.46-47 / Chapter 4.4.2. --- 男裝 --- p.47 / Chapter 4.5. --- 1940年代至戰時 --- p.47-48 / Chapter 第五章. --- 戰前及四十年代的香港時裝 --- p.49-52 / Chapter 第六章. --- 五十年代的香港時裝 / Chapter 6.1. --- 男性時裝 --- p.53-56 / Chapter 6.2. --- 女性時裝 --- p.57 / Chapter 6.2.1. --- 旗袍 --- p.57-62 / Chapter 6.2.2. --- 西裙 --- p.62-64 / Chapter 第七章. --- 六十年代的香港時裝 / Chapter 7.1. --- 男性時裝 --- p.67 / Chapter 7.1.1. --- 西裝 --- p.68-69 / Chapter 7.2. --- 女性時裝 --- p.70 / Chapter 7.2.1. --- 旗袍 --- p.70-73 / Chapter 7.2.2. --- 西裙 --- p.74-76 / Chapter 7.2.3. --- 迷你裙 --- p.76-80 / Chapter 7.3. --- 香港時裝節 --- p.81-83 / Chapter 第八章. --- 七十年代及以後的香港時裝 / Chapter 8.1. --- 成衣的年代 --- p.84-85 / Chapter 8.2. --- 業界的發展 --- p.85-87 / Chapter 第九章. --- 香港時裝與旗袍´ؤ´ؤ旗袍的社會價値、文化轉變與象徵意義的論述 / Chapter 9.1. --- 旗袍的社會價値 --- p.88 / Chapter 9.1.1. --- 社會價値之建構 --- p.88 / Chapter 9.1.2. --- 旗袍之身份建構與表述 --- p.89-94 / Chapter 9.2. --- 文化轉變 --- p.95 / Chapter 9.2.1. --- 時裝文化的轉借與吸納 --- p.95-96 / Chapter 9.2.2. --- 混雜的時裝文化 --- p.96-99 / Chapter 9.2.3. --- 旗袍文化的對外影響 --- p.100-101 / Chapter 9.3. --- 消費品與象徵意義 --- p.102-103 / Chapter 9.3.1. --- 中國人的身份 --- p.103-106 / Chapter 9.3.2. --- 年齢的身份 --- p.107-110 / Chapter 第十章. --- 總結 / Chapter 10.1. --- 香港時裝歷史 --- p.111-112 / Chapter 10.2. --- 時裝潮流的變化理由 --- p.113-116 / 附錄： / 圖片說明目錄 附錄 --- p.1-4 / 圖片附錄 --- p.5-18 / 參考書目 附錄 --- p.19-23

O presente estudo realizou uma investigação sobre a validade do critério de distinção social para explicar a moda como fenômeno social no começo do século XXI. Para tanto, procurou-se definir operacionalmente o conceito de moda, bem como delimitar a sua origem histórica e refletir sobre seu desenvolvimento no mundo moderno. Em seguida, foram revisitadas as idéias de quatro autores seminais para a Sociologia da Moda, a saber, Thorstein Veblen (1857-1929), Georg Simmel (1858-1918), Pierre Bourdieu (1930-2002) e Gilles Lipovetsky (1944-), procurando indicar a razão pela qual estes autores foram tão influentes no debate sociológico sobre a moda e apontar os limites de suas respectivas abordagens. O estudo procurou ainda definir a moda no começo do século XXI, observando sucessivamente o fenômeno pelo lado da produção institucionalizada e pelo lado do consumo e de seus valores orientadores. Por meio do estudo realizado foi possível identificar novos atores e processos no sistema da moda e do vestuário, bem como valores e motivações mais individualistas e hedonistas nas experiências de consumo de bens de moda, sobretudo para os grupos sociais de maior poder aquisitivo. Não obstante, concluiu-se que a moda no século XXI, variável e inovadora como é, continua ligada à distinção, tanto quanto à construção da identidade, não apenas dos indivíduos, mas dos grupos sociais. / This study was based on the social distinction criteria to explain the fashion as a social phenomenon in the beginning of the 21st Century. In order to achieve such an explanation, the research was conducted in four steps. First, a general conceptual framework was established and the fashion as a modern phenomenon was historically described from 1350 CE onwards. The second step involved a brief presentation and a critique of four important authors in the Fashion Sociology field of inquiry, namely, Thorstein Veblen (1857-1929), Georg Simmel (1858-1918), Pierre Bourdieu (1930-2002) and Gilles Lipovetsky (1944). The third part of the study did analyze the contemporary fashion and clothing systems as fully institutionalized sets of actors, relations, procedures, and norms comprising the whole cycle of production and dissemination of fashion and clothing. Finally, the fourth step in this quest was about to understand the relations between the fashion systems and the social mechanisms of adoption and consume of such material and symbolical goods. At the end, even if one acknowledges fresh new individualistic and hedonist values and motivations associated with fashion consumption, especially in the case of individuals and groups with higher purchase power, the general conclusion of this study is to reassert the importance of social distinction as the general criteria to explain fashion in contemporary societies.

Made available in DSpace on 2016-04-29T14:23:31Z (GMT). No. of bitstreams: 1 Renata Massignan Ruiz.pdf: 18666802 bytes, checksum: 1d213c86abe1846abad01cd0baec05e7 (MD5) Previous issue date: 2014-09-10 / Fashion blogs have fundamentally changed the way which readers accessed information. The analysis and monitoring of one of the pioneers in this blogs market is the object of this study, evaluating, in parallel, one hundred and thirty blogs analysing the way which social media behaved during the period between the years 2006 to 2012. This research begins with a case study of the blog Moda Para Usar, through categorization of fashion and beauty blogs based on their editorial guidelines / Os blogs de moda alteraram substancialmente a forma pela qual o leitor acessava a informação. A análise e o acompanhamento de um dos blogs pioneiros neste mercado é o objeto deste estudo, avaliando ainda, paralelamente, cento e trinta blogs a fim de ampliar a maneira pela qual as mídias sociais se comportaram durante o período que compreende os anos de 2006 a 2012. Esta pesquisa inicia com o estudo de caso do blog Moda Para Usar, passando pela categorização dos blogs de moda e beleza com base em suas linhas editoriais

Em relação ao vestuário utilizável pelo público vegano (indivíduos que se abstêm, por motivos éticos e/ou ideológicos, na medida do possível, do consumo de produtos e serviços provenientes do reino animal), há diversas alternativas sintéticas aos materiais de origem animal que os substituem em suas funções práticas, estéticas e/ou simbólicas. De arremedos burlescos a imitações fidedignas da realidade, simulacros de peles, penas, pelos, ossos e secreções de animais, à primeira vista, de perto, de longe e/ou aos olhos de leigos, em diferentes graus de realismo, figuram aspectos estéticos e sensoriais que os tornam difíceis de serem distinguidos de genuínos materiais de origem animal. Neste contexto, o presente estudo concerne uma investigação qualitativa exploratória de caráter sobretudo fenomenológico, acerca da reflexão sobre a problemática de possíveis implicações conceituais e práticas mais notáveis, sob o enfoque ético, estético, sociológico, semiótico e prático, da ideia de simulacro, emulação e cópia de materiais de origem animal e/ou que façam referência, alusão ou evoquem aspectos exteriores de corpos de animais em vestuário de veganos. Para tanto, a partir de levantamentos de comentários de usuários veganos em redes sociais da internet, aplicação de questionários e entrevistas em profundidade com usuários, ativistas do movimento vegano e especialistas teóricos, espera-se, com esta contribuição, iluminar os campos do design de moda, do veganismo e, consequentemente, dos direitos dos animais. Alguns dos resultados desta investigação sugerem, por exemplo, que, enquanto, para alguns usuários, o recurso a alternativas consideradas como veganas seria aceitável pelo fato de substituírem atributos funcionais, estéticos e até afetivos de roupas e acessórios diretamente associados, por eles, a sofrimento, para outros usuários, seria objeto de reprovação. Segundo parte dos respondentes, devido ao razoável grau de fidedignidade de vários destes simulacros, o mero uso deste tipo de material artificial resultaria pouco aceitável por ser insuficientemente discernível de materiais derivados de corpos de animais. Nestes casos, esta verossimilhança poderia, segundo eles, indiretamente promover a ideia de que o uso de materiais de origem animal seria admissível, contribuindo, assim, para estimular o consumo de vestuário não condizente com a ideologia que adotam / In the cathegory of clothing which can be worn by the vegan public that is, by those who abstain as much as possible from consuming products and services of animal origin for ethical and ideological reasons there are various synthetic alternatives to materials of animal origin which fulfill the practical, aesthetic and/or symbolic functions. From burlesque copies to reliable imitations, like those of leather, feathers, fur, bones and animal secretionswith different degrees of realism, they haveat first, up close, or from a distance and/or to the eyes of laypeople, aesthetic and sensorial aspects that make it difficult to distinguish from genuine materials of animal origin. This study is a qualitative, exploratory, phenomenological investigation about the problematic of some of the most notable possible conceptual and practical implications, from the practical, aesthetic, philosophical, sociological and ethical viewpoints, of the idea of imitation, emulation and copying of materials of animal origin or materials which make a reference or allusion to, or which evoke exterior aspects of, animals bodies in vegans\' clothing.To this end, based on searches for vegan users comments in online social media, questionnaires and in-depth interviews with users, vegan movement activists and theoretical specialists (like ethics philosophers and designers specializing in ethical fashion), the aim of this study, based on conclusions obtained through analysis of these different points of view, is to illuminate the fields of fashion design, veganism and consequently, animal rights. Results of this investigation suggest, for instance, that for some users, making use of alternatives considered vegan would be an acceptable practice because they would replace functional, aesthetic and even affective attributes of clothing and accessories that such users otherwise associate with pain, while for other users this option would be objectionable. According to some respondents, due to the reasonably high level of visual similarity of various types of such simulacra, merely employing these animal byproducts would be considered less acceptable, given their insufficiently discernible distinction from animal-body materials. In such instances, they felt this verisimilitude could indirectly foster the idea that the use of such animal-origin material would be acceptable, therefore contributing to promoting the consumption of clothing of a type which is against the principles they adopt

Fontes documentais para o estudo da história da moda e da indumentária: o caso James Laver e novas perspectivas investiga o uso das fontes documentais na história da moda e da indumentária, no passado, atualmente e nas projeções de uso para o futuro, já sob uma perspectiva atual de conservação, preservação e manutenção através de um viés museológico e arquivístico. A base de trabalho são as propostas feitas pelo pesquisador de traje James Laver (1899-1975), um inglês que foi curador do Departamento de Gravura, Ilustração e Design do Victoria and Albert Museum / Documental Sources for the study of fashion and costume history: the case study James Laver and new perspectives investigate the use of documental sources in the history of fashion and costume, in the past, now and in future projections, under a contemporary perspective of conservation, preservation and maintenance based on archives and museology. The fundamentals of the research are based on the proposals made by the costume historian and researcher James Laver (1899-1975), an Englishman who was the Keeper of the Department of Prints, Drawings and Paintings of the Victoria and Albert Museum

Purpose: The purpose of this study is to investigate the relationship between American consumersand “Environmentally and Ethically Sustainable Fashion” (EESF), with a specific focus on African-American female consumers in order to discover how relevant EESF is in their lifestyles and fashionconsumption practices. Additionally, the study aims to investigate if African-American femaleconsumers are being overlooked in the discourse surrounding EESF.Methodology: The research was qualitative with an inductive approach. A survey was conductedelectronically in order to collect data, and was designed using research collected from literature,scientific articles and online resources. Using the method of snowball sampling, respondents weregathered from a pool of my cohorts, who further distributed the survey on to their contacts.Findings: The findings suggest that African-American female consumers are aware and haveknowledge of EESF, however EESF is not relevant in their lifestyles and fashion consumptionroutines. The literature review which was conducted prior to collecting the data indicates that African-American female consumers are being overlooked in the discourse surrounding EESF and theconcepts surrounding it.Contributions: The findings in this study have managerial implications which will prompt thescientific community, governments, organizations and apparel brands to further study this group ofconsumers in order to assess better ways to reach them in ways that are relevant to their lifestyles andfashion consumption practices. The study also contributes to the existing literature about the consumerbehavior and fashion consumption practices of African-American women.

Hållbarhet, vilket kan förklaras som en balans mellan sociala, ekonomiska och ekologiska faktorer, är ett ständigt aktuellt ämne och Transparens ett relativt nytt sådant. Transparens beskrivs som den mängd information som ett företag är villig att avslöja om deras leverantörskedja. Det sägs att människor vill höra klädesplaggets historia, så som vem, var och hur det har blivit tillverkat, men trots detta är Fast Fashion fortfarande ett utbrett koncept. Fast Fashion innebär att företag prioriterar låga priser, kort leveranstid och snabbt föränderliga trender. Denna studie syftar till att undersöka om Transparens kan räknas som ett verktyg för Hållbarhet inom Fast Fashion, utifrån studenters perspektiv. Genom en kvantitativ enkät är förhoppningen att få svar på frågor om vad dessa konsumenter anser om hållbarhet och om det kopplas ihop med Transparens. Studien är menad att bidra till modeföretag med indikationer på konsumenters kunskap och åsikter om ämnet, för att ge dem en eventuell anledning att implementera Transparens i sin verksamhet. Resultaten visar på att intresse för Transparens finns hos målgruppen studenter och indikerar på att dessa ser ett samband mellan Hållbarhet och Transparens. / Sustainability, which can be explained as a balance between social, economic and ecological factors, is a constantly relevant topic and Transparency is a relatively new one. Transparency is described as the amount of information a company is willing to disclose about their supply chain. It is said that people want to hear the history of the garment, such as who, where and how it has been manufactured, but despite that, Fast Fashion is still a widespread concept. Fast Fashion means that companies prioritize low prices, short delivery times and fast-changing trends.This study aims at investigating whether Transparency can be regarded as a tool for sustainability in Fast Fashion, based on student perspectives. Through a quantitative survey, the hope is to answer questions about these consumers opinions about sustainability and if it is connected to Transparency. The study is intended to contribute to fashion companies with indications of consumer knowledge and opinions about the subject, to give them a possible reason to implement Transparency in their business. The results show that interest in Transparency is found in the target audience of students, indicating that they see a connection between Sustainability and Transparency. This paper is written in Swedish.

<p>Abstract</p><p>Date: June 2, 2010</p><p>Program: MIMA – International Marketing</p><p>Course name: Master Thesis (EFO 705)</p><p>Title: An Exploratory Study on Thailand‟s Young Women: Consumer Behavior toward Purchasing Luxury Fashion Brands</p><p>Authors: Kamolwan Tovikkai (851125)Wiwatchai Jirawattananukool (841111)</p><p>Group number: 2462</p><p>Tutor: Konstantin Lampou</p><p>Problem: If and how personal value, social recognition, and demographics impact Thai female students luxury fashion brand purchases and which marketing strategies should be used to influence their purchase intention?</p><p>Purpose: -To identify what motivates Thai female students in purchasing luxury fashion brands -To identify the most effective strategies to use in penetrating the market and keeping the loyalty of customers Thailand.</p><p>Method: Quantitative research method via survey was used for this research. Survey questionnaires were distributed to sample groups. The variables used in this paper personal values, social, recognition, intention to buy products, and demographics. Both primary and secondary type of data collection were used for this research.</p><p>Conclusion: Based on the demographic information, there are two indicators that are significant to purchase intentions of Thai female students on luxury fashion brands. Social status is one of the significant indicators of socialiiirecognition variable. There is a strong level of relationship on Thai female students toward luxury fashion products. Personal Values‟ indicators can be utilized on Thai female students as the following; materialism, the need for uniqueness, conformity, and vanity. All of them have strong levels of significance. However, Ethnocentrism has no relationship and effect with the luxury fashion product in Thailand.</p><p>Key words: Thai female students, Luxury fashion products, Luxury fashion brands, Consumer behavior</p>