Submitted by Jorge Silva (jorgelmsilva@ufrrj.br) on 2017-10-30T18:18:54Z No. of bitstreams: 1 2016 - Lilyan Guimar?es Berlim.pdf: 8659835 bytes, checksum: 7c1a0bff7a0ddc1e839d674f71b6cc82 (MD5) / Made available in DSpace on 2017-10-30T18:18:54Z (GMT). No. of bitstreams: 1 2016 - Lilyan Guimar?es Berlim.pdf: 8659835 bytes, checksum: 7c1a0bff7a0ddc1e839d674f71b6cc82 (MD5) Previous issue date: 2016-09-30 / CAPES / The fashion and textile industry is one of the largest business segment in the world. However, this segment has been the subject of ethics, aesthetics and environmental criticism, especially so-called "fast fashion", a high-speed production system, integrated with information technology, which manages releases, sales, inventory and manufacturing clothes, turning datasheets of garments in a finished product within points of sale in a few days. The fast fashion phemomenon settled in the fashion industry in the last decades of the twentieth century as a result of the dynamics of global capitalism in search of lower cost and reduced production, time, space, distribution and sale. The fast fashion, however, has been socially criticised as it?s based on precarious work and promoting hyper consumption which leads to quick disposal of clothing, consumption of natural resources at breakneck scale and also the standardization of the body and spread a subtle homogenization of the appearance, promoted by the fashion media. The research has mapped and analysed the relationship between fashion and social criticism, with emphasis on appearance, construction and current settings of the ethical criticism and aesthetics to fast fashion. It has also mapped and analysed some answers that the market has given to such criticism, as well as alternative proposals built by various social groups, in particular the slow fashion movement: its concept, ideas and production proposals, consumption and engagement. From the politicization of consumption and macro trends that are configured as a socio-cultural background of the fashion consumption trends, we see the various forms of expression of these criticisms and seek to understand its incorporation into the market. For this, we rely on the theoretical framework of Boltanski and Chiapello (2009), which considers the incorporation of criticism as necessary to the moral justification of capitalism and its maintenance. The results indicate that the criticisms are expressed and are incorporated by fashion design professional, in consumption practices. in the pursuit of sustainable business forms, creating value associated with the shared economy, the adoption of Corporate Social Responsibility, in changes in production processes and the use of lower-impact materials. We also verified that as a way of incorporating criticism as a counterpoint to the hegemonic practices of production and consumption, the movement "slow fashion" proposes not only deceleration time of production and consumption of clothes, but also empowerment and political activism in the area of fashion design. In conclusion, the research identified as a response to criticism, the existence of changes in the sector and the growing ethicization fashion. / A moda e a ind?stria t?xtil constituem um dos maiores segmentos de neg?cios do mundo. Associadas simbioticamente, chamamos este campo de ind?stria da moda. O segmento vem sendo alvo de cr?ticas ?ticas, est?ticas e ambientais. Estas cr?ticas se dirigem, principalmente, ao que tem sido chamado de ?moda r?pida?, ou fast fashion, um sistema de produ??o de alta velocidade, integrado ?s tecnologias de informa??o, que gerencia lan?amentos, vendas, estoques e manufatura de roupas, transformando fichas t?cnicas de pe?as de vestu?rio em um produto acabado dentro de pontos de venda em poucos dias. O fast fashion ? uma consequ?ncia das din?micas do capitalismo global em busca do menor custo, em um menor espa?o de tempo de fabrica??o, distribui??o e venda, baseando-se em trabalho prec?rio (muitas vezes em condi??es an?logas ? escravid?o), na promo??o do hiperconsumo e do descarte r?pido de roupas e, consequentemente, do consumo de recursos naturais em escala vertiginosa, com impactos ambientais de grande extens?o, e, ainda, na padroniza??o do corpo e na difus?o de uma sutil homogeneiza??o do parecer, promovida pelas m?dias de moda. Tais pr?ticas se estabeleceram na moda nas ?ltimas d?cadas do s?culo XX como consequ?ncia das transforma??es do capitalismo global. A presente pesquisa mapeou e analisou as rela??es entre a moda e a cr?tica, o surgimento, a constru??o e as atuais configura??es da cr?tica ?tica e est?tica ao fast fashion e as respostas que o mercado vem dando ?s mesmas, assim como as propostas alternativas constru?das por segmentos do mercado, em especial, o movimento ?moda lenta?, ou slow fashion: seu conceito, ideias e propostas de produ??o, consumo e engajamento. A partir da an?lise da politiza??o do consumo e das macrotend?ncias, que se configuram como um pano de fundo sociocultural ?s tend?ncias de consumo, verificamos a express?o destas cr?ticas e sua incorpora??o pelo corpo social; identificamos a? uma chave explicativa para a incorpora??o das cr?ticas pelo mercado de moda, corroborando com o quadro te?rico de Boltanski e Chiapello (2009), que entende a incorpora??o das cr?ticas como necess?ria ? justifica??o moral do capitalismo e sua manuten??o. Os resultados indicaram que tanto o corpo social quanto o mercado expressam e incorporam as cr?ticas nas pr?ticas de consumo de moda; na busca por formas de novos neg?cios sustent?veis; na cria??o de valor associado ? economia compartilhada; na ado??o da Responsabilidade Socioambiental Empresarial e da ?tica nos neg?cios; nas altera??es em processos produtivos; e no uso de mat?rias primas menos impactante. Verificamos tamb?m que, como incorpora??o das cr?ticas e como contraponto ?s pr?ticas hegem?nicas de produ??o e consumo, o movimento slow fashion prop?e n?o apenas a desacelera??o do tempo de produ??o e consumo de roupas, mas tamb?m um empoderamento e ativismo pol?tico na ?rea do design de moda, tanto na produ??o quanto no consumo. A pesquisa identificou a exist?ncia de altera??es no setor em fun??o da incorpora??o das cr?ticas, em especial a crescente eticiza??o da moda.