Fashion is a social construct and its very essence is to express identity and status. Depending on context we dress differently and we are constantly adapting in order to meet social expectations of dress. This work explores the relationship between archetypical garments and status. The main objective of this exploration is to challenge hierarchies in fashion by clashing different stereotypes by the means of construction. This implies to question social structures currently present in fashion. Due to these structures, we conform to stereotypical ideas of how to dress, which restricts us. What could be defined as missing within fashion today is the clash between garments on opposite sides of the hierarchy in fashion. While meetings within the same garment group has been explored before by numerous designers, combining archetypes from opposite sides of the hierarchy is yet relatively unexplored. If one was to transcend the boundaries and jump freely between garment groups, there is a possibility to select fragments from different categories in a garment to work with. This could then create more free ways of expressing oneself through dress. What is presented in this work is an approach aiming to challenge hierarchies in fashion. The examples can be read as archetypical and stereotypical hybrids with the intention to question how we dress in certain contexts. Resulting in new meetings of materials and expressions relating to dress codes.

Marketing research indicates a robust industry for luxury brands with ever-increasing consumer demand. However, studies indicate no correlation between the booming luxury industry and the value of luxury as perceived by the consumers. Against the backdrop of growth in this industry and its contributions towards the economy of a nation, it is imperative to understand why consumers buy luxury accessories brands from an academic and managerial perspective. It is equally important to understand the reasons as to why consumers hold certain brands dear and how their perception of luxury affects their buying decisions. Previous market research done in this regard highlighted the need for luxury brand managers to adopt a focused approach when selling luxury goods. Consumers should be able to perceive certain value in the luxury accessories brand that justifies its high cost, especially during periods of economic recession. To obtain a quantifiable and sustainable competitive advantage, it is prudent for the luxury industry to investigate and analyse the consumer value of their products. Therefore, it is crucial to study the types of value required and their impact on consumer behaviour. To bridge this gap, the present study proposes generating an in-depth explanation of how consumers’ luxury value dimensions determine their overall luxury brand value in an accessories context. Subsequently, these influence their repurchase intention through direct and indirect routes, by establishing and testing an integrated model of the determinants and consequences of luxury accessories value from the perspective of Gulf Arab tourist. To meet the requirements of this research, a mixed methodology was deployed. This combined all quantitative and qualitative data, in a sequential manner, to deduce the results. An explorative qualitative phase was used at the preliminary level of research. This required various focus groups to set out the scope of the model and devise topics for the questionnaire. This was followed by a quantitative research phase that compiled and evaluated all data generated from the self-administered questionnaires. Hypothesis testing was estimated using Structural Equation Modelling (Smart Partial Least Square (PLS) v.3) on 397 Gulf Arab tourists who have an experience in luxury accessories. The results confirm that Gulf Arab tourists consider emotional, social, self-identity, relational and financial value when developing their overall value of luxury accessories. Effectively, this shapes their repurchase intention only indirectly through brand trust and preferences. The uniqueness of this research is elicited from being the first to use the theory of consumption values to construct a model that uncovers overall value for luxury accessories brands and tests its influence on repurchase intentions. This model develops the narrow view of consumption-value theory in terms of the value components that affect only consumption choice decisions. The research model cultivates this view by integrating a set of value components as a basis on which to explain consumer preferences and purchase decisions for luxury accessory brands. Thus, the theory of consumption values may go beyond choice decisions to include behavioural outcomes. In addition, this study reiterates the experimental view of consumption, as proposed by Holbrook and his colleagues. The study states that cognitive and affective components work in collaboration to determine the overall value of luxury accessories brands. The research provides supplementary data to the assumptions of the traditional rationality models. Combined with such models, this research intends to enhance the prediction of the value of consumer luxury accessories. Methodologically, the existing empirical research relies on small student samples, used conventionally in similar studies. Consequently, a significant number of respondents lacked the necessary purchase experience, essential for this research. However, the present research contributes by using actual consumers of luxury accessories brands; thereby, enhancing the validity of the empirical findings. Another significant contribution of this research is the use of a mixed-methods approach to understanding consumer behaviour. This allowed the researcher to obtain a better understanding of the Consumer Value theory within the context of luxury accessories, branding and endorsements. The qualitative and quantitative aspects of such consumer values have never been explored before. Therefore, this research anticipates providing a benchmark for all future research under the same topic. Pragmatically, regarding emotional, social, self-identity, relational and financial dimensions, marketers will be able to base their selling strategies based on this model. Furthermore, it facilitates the improvement of purchase value for their luxury accessories and help them target consumers in different market segments. Consumers may differ with respect to their perceived values for luxury commodities, but prefer a prticular luxury brand to satisfy their emotional and cognitive needs. This model is also useful from a market position, while enhancing the overall Marketing efficiency for luxury accessories. Alternatively, luxury accessories brand managers will be required to build strong brand value and a continual relationship with their consumers to prevent them from searching for and investing in alternate brands and substitutes; thereby encouraging cross-shopping.

The thesis consists of two parts - theoretical and practical. The theoretical part is focuses on the history of shoes and costumes, especially during the Gothic period. The practical part presents the created object under the working name: Shoes.

Great changes characterized the mid- to late nineteenth century in the field of dye chemistry, including many innovations in the production of colours across the spectrum, especially the development of synthetic dyes from coal-tar aniline. From 1840 to 1875, textile manufacturers offered a wide variety of colourful dress textiles to female fashion consumers in both Great Britain and the United States. Middle-class women were urged to educate themselves about dyeing, science, and colour, while cultivating appropriate, moderate attention to fashion in dress. This thesis examines the mid-nineteenth century relationship of fashion, dye chemistry, and everyday science, exploring consumers’ responses to these phenomena of modernity. Paying special attention to the appreciation of chemistry and colour theory during the period, this project considers how the development of new dyes affected middle-class uses and discussions of colours in women’s dress.

The material culture of historic theatre costume offers a vital resource for the fields of dress and theatre history that has yet to be fully recognised. This thesis unites approaches from both disciplines to create a specific methodology for the study of theatre costume founded upon the examination and assessment of such garments. It argues that theatre costume represents a separate and specific category of clothing and theatrical ephemera. Celebrated actress Ellen Terry (1847-1928), an individual highly attuned to the significance of dress as an expression of identity, is used as a case study to demonstrate the validity of this new methodology. Adopting an object-based and material culture approach, the thesis engages with the visual and physical evidence about performance and design that can be gathered from Terry’s extant theatre costumes. It also highlights crucial information about Terry’s dress and its public reception gleaned from additional sources such as photographs; paintings; letters; reviews, and within Terry’s papers and books. This thesis represents the first full investigation of Terry’s personal and theatrical wardrobe, and is the first study to carry out a close analysis of the actress’s surviving garments. This analysis establishes the factors fundamental to the interpretation and study of theatre costume: the significance of social, artistic and historic context; parallels and contrasts between on and off-stage dress; the collaborative process of design and making; the function of costume as both performance object, and expression of ‘identity’; the issue of multiple and complex ‘biographies’; and the crucial evidence offered from material culture sources, most importantly, surviving costumes. Chapter 1 outlines existing methodologies and the cross disciplinary nature of the thesis; Chapter 2 reviews existing literature and proposes a new methodology; 3 provides the context for Terry's professional career; 4 develops the methodology and analyses extant garments. 5 and 6 relate the methodology to ideas of self-fashioning and biography. The thesis establishes Terry as an exceptional figure in British theatre and society who took an active role in fashioning her public and private image, both during her life, and after her death. The analysis of Terry’s wardrobe confirms the status of theatre costumes as unique garments, which represent a key source for design, dress and theatre historians. This detailed case study demonstrates that the methodology presented can be employed in the study of other figures, theatres and periods, and opens up a new and productive direction for future research.

This work serves as a way of communicating the dark side of fashion to provoke change. Consumers is placed in the loop that consists of consumerism, fast fashion and advertising, and this work will try to expose that loop. This work aims to critique how fashion is consumed and sold through printing images from the dark side of fashion in combination with texts from advertisements to open up a conversation. The method to do this is by digital printing and transfer printing images from the dark side of the fashion industry on sustainable materials, combining the images with advertising texts. Through this the viewer is invited into conversation about the problems with subtle provocation by making the viewer emotionally involved.

O mercado global do vestuário, paulatinamente, se organiza no sentido de separar, geograficamente, a produção do consumo, nesse sentido marcas mundialmente reconhecidas e grandes empresas varejistas se expandiram através dos benefícios da economia em escala. Isso faz com que várias micro e pequenas empresas do setor tenham que repensar suas identidades de marca. Esta pesquisa mostra-se como uma tentativa de entender o papel do design na construção de marca, assim como caracterizar a percepção de microempresários do setor de moda de Porto Alegre, a respeito do tema. Procura-se contribuir com o desenvolvimento de micromarcas, as quais atuam em um território específico e, na maioria das vezes, não são conhecidas para além da região em que operam. A fim de se chegar a um resultado satisfatório, três objetivos específicos são traçados: mostrar a lógica de funcionamento da cadeia global do vestuário; compreender a participação do design na construção de marca; e por fim encontrar maneiras de verificar a percepção de microempresários sobre o papel do design na construção de marca, através de entrevistas semiestruturadas. Os resultados apontam para a consciência, entre os entrevistados, da importância do design na construção de marca, entretanto, a maneira como cada um percebe essa participação varia, sendo que alguns acreditam no design enquanto item fundamental na concepção de coleções e outros o concebem como um meio de expressar um estilo de vida. / The global apparel market has continuously been organized in a way as to separate production and consumption, in that sense, world renowned brands and big retailers have expanded through economies of scale. Micro and small enterprises in the area have had to rethink their own brand identities. This research is an attempt to understand the role of design in brand building, as well as what local Porto Alegre based micro-entrepreneurs in the fashion business think about it. The purpose is to contribute towards the development of micro brands that only reach a certain geographical area and are often unknown beyond their scope of activity. In order to achieve a meaningful outcome, we have drawn three specific objectives: first, showing how the world apparel chain works, then understanding the part design plays in brand building, and finally inquiring on micro-entrepreneurs’ perception on the role of design in brand building, through semi-structured interviews. The outcome shows interviewees are aware of the importance of design in brand construction. However, the way each of them conceives of its part varies, while some believe design to be a crucial item in the creation of collections, others see it as a means to express lifestyle.

Este trabalho se dedica ao estudo da comunicação não-verbal, a partir da observação de que dança e moda se encontram freqüentemente em ambientes que não lhes são próprios por convenção. Aparentemente distintas, desenvolvem uma linguagem que muito se completa. A dança virou tema constante na moda e a moda foi apropriada pela dança. Em comum, dança e moda têm o corpo, meio sem o qual não poderiam existir. A Dança só existe essencialmente na presença de um ou mais corpos, que funcionam como meios de comunicação e registro da dança, e a moda surge para vestir esse corpo que, por conseguinte, lhe dá movimento. As características físicas do corpo modificam a vestimenta e o formato da roupa transforma o corpo, podendo gerar significados distintos. Esta pesquisa aborda a dança cênica e o sistema da moda como fenômenos de comunicação com características urbanas e tem como objetivo estudar as representações da moda presente no ambiente da dança cênica, a partir da análise de três espetáculos da companhia de dança Deborah Colker, do Rio de Janeiro. Metodologicamente, esta companhia foi selecionada por demonstrar uma preocupação de diálogo com a moda, sempre trazendo em seus espetáculos estilistas como figurinistas. Os espetáculos 4por4 (2002), Nó (2005) e Cruel (2008) trazem diferentes parcerias entre a coreógrafa e profissionais da moda. Acostumados a criar tendências, eles têm o desafio de inventar um figurino para um número limitado de personagens. Enquanto na moda eles criam para a sociedade, no espetáculo cênico, eles vestem as características de cada personagem. Como referencial teórico, esta pesquisa se utiliza do estudo do corpo como fato social de Marcel Mauss e o corpo como mídia de Harry Pross e Helena Katz, além do estudo de corpo e comunicação de Nízia Villaça e José Carlos Rodrigues. O conceito de sistema da moda será entendido a partir dos escritos de Roland Barthes e Gilles Lipovetsky, que o descrevem como característico da época atual. Isso quer dizer que, mesmo que as sociedades selvagens tivessem o gosto pela ornamentação, não era nada parecido com o processo e a noção do sistema da moda atual. Além disso, na área da dança foi necessária uma breve contextualização histórica para melhor compreendermos os diálogos entre moda e dança. José Gil e Denise Siqueira são autores importantes, pois estudaram não somente o espetáculo da dança cênica, mas também o corpo que dança.

O presente trabalho consiste em analisar as características mais marcantes da tribo urbana Emo, cuja origem se encontra no estilo musical emocore. Trata-se de um estudo que pontua basicamente a música, sexualidade, moda e sentimentalidades no imaginário emo, apresentadas como elementos que se configuram em élans comunitários da tribo. Dentro da perspectiva da Pós-modernidade, a pesquisa não objetiva encontrar razões ou justificativas para o comportamento dos jovens da tribo, apenas ponderar algumas temáticas sob a ótica do imaginário, tribalismo urbano e conceitos de corpo dentro do viés já explorado em pesquisas de Comunicação Social. Tendo a rede social Facebook como principal terreno para realização da netnografia, foram analisadas publicações em perfis e fan pages desmistificando a tribo e mostrando as diversas facetas destes jovens. Ao abordar temas polêmicos como bissexualidade, androginia, suicídio e automutilação, o estudo mostra como os emos se colocam socialmente dentre suas lógicas subversivas e contraditórias elucidando outras formas de ver o mundo. Os conceitos de tribalismo urbano de Maffesoli (1987) guiaram os passos deste estudo que se valeu da ótica deste e de outros autores que tratam questões da Pós-modernidade / The present work is to analyze the most striking features of the urban tribe Emo, whose origin is in the emocore musical style. This is a study that basically punctuates the music, sexuality, fashion and sentimentality in the imaginary emo, presented as elements that are configured in community tribe elans. From the perspective of Post-modernity, not objective research to find reasons or justifications for the behavior of the tribe young, just consider some issues under the light of imaginary, urban tribalism and body concepts within the bias already explored in research Social Communication. Since the social network Facebook as the main ground for realization of netnography, publications were analyzed in profiles and fan pages demystifying the tribe and showing the various facets of these young people. In addressing controversial issues such as bisexuality, androgyny, suicide and self-harm, the study shows how them put themselves socially - among their subversive and contradictory logics - elucidating other ways of seeing the world. The concepts of urban tribalism of Maffesoli (1987) guided the steps in this study that made use of optics of this and other authors who deal with issues of Post-modernity

Submitted by BEATRIZ SUMAYA MALAVASI HADDAD null (biasumaya@yahoo.com.br) on 2016-05-05T23:40:49Z No. of bitstreams: 1 Dissertação Beatriz S. M. Haddad.pdf: 2704688 bytes, checksum: 84c0e4468b14c8a29f89c40fb635ed6a (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-09T14:18:25Z (GMT) No. of bitstreams: 1 haddad_bsm_me_arafcl.pdf: 2704688 bytes, checksum: 84c0e4468b14c8a29f89c40fb635ed6a (MD5) / Made available in DSpace on 2016-05-09T14:18:25Z (GMT). No. of bitstreams: 1 haddad_bsm_me_arafcl.pdf: 2704688 bytes, checksum: 84c0e4468b14c8a29f89c40fb635ed6a (MD5) Previous issue date: 2016-04-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente texto é fruto da pesquisa intitulada Relações entre o Global e Local: Circulação e Uso de Referencias de Moda por Grupos de Baixa Renda. Temos como objeto a moda, considerando-a um elemento chave para a compreensão da cultura de consumo, abordada a partir de suas principais engrenagens: o efêmero e a valorização da novidade. O principal eixo norteador da discussão é a relação entre o local e o global – ou entre o universal e o particular. Pressupõe-se que os símbolos tornados globais são apropriados e ressignificados de acordo com as realidades locais e nesse contexto a moda torna-se protagonista para se perceber como as tendências universalizantes são incorporadas e/ou ressignificadas em contexto local. Pretende-se realizar tal discussão enfocando grupos de baixa renda, contrapondo-se à concepção que esses indivíduos consomem apenas produtos considerados de primeira necessidade - e estão excluídos do mercado globalizado de bens simbólicos - afastando-se de preconceitos que cercam o campo do consumo popular. A pesquisa empírica foi realizada em comunidades localizadas no município de Santo André/SP, que compõe o chamado Núcleo Jardim Santo André, constituído por um agrupamento de favelas que, desde a década de 1980, sofre intervenções de órgãos públicos com intuito de urbanizar o local. A pesquisa de campo se deu a partir de observações e entrevistas com os moradores, com o objetivo de avaliar a relação destes com o uso de vestimentas de marcas globalizadas, com produtos considerados da moda, bem como sinalizar as formas de apropriação e ressignificação dos mesmos. / This text is the result of a research entitled Relations between Global and Local: Circulation and Use of Fashion References by Low Income People. We have the concept of Fashion as object, considering it a key element to understand the consumer culture and is approached from its main ways: the ephemeral and the appreciation of novelty. The main guiding principle of this argument is the relationship between local and global - or between universal and particular. It is presumed that symbols that were become global are borrowed and reinterpreted according to the local reality and, in that context, the fashion becomes protagonist in order to understand how universalizing tendencies are borrowed and/or re-signified in the local context. We intend to conduct this argument focusing on groups of low-income people, in contrast to the view that these people consume only products considered immediate needs products – and that they are excluded from the global market of symbolic goods -, moving away from prejudices surrounding the popular consumer sector. The empirical research was conducted in communities located in Santo André-SP, which make up the so-called Núcleo Jardim Santo André (a cluster of slums that, since the 1980s, suffers government agencies interventions in order to urbanize the local space). The fieldwork took place from observations and interviews with residents of this place in order to evaluate the relationship between their reality and the use of globalized brands clothes, considered fashion products, as well as indicate forms of appropriation and reinterpretation of these products.