Pensar a moda como tema de reflexão é muito significativo pois, em sua perspectiva benjaminiana e frankfurtiana, é a questão da gênese da noção de gosto e suas metamorfoses na época do niilismo e na desvalorização de todos os valores que esse trabalho analisa a moda como dimensão temporal sob os auspícios do mercado e do capital que tudo transformam em produtos descartáveis. Neste sentido, das reflexões gregas sobre o ritual vestimentário ao Renascimento, do vestir-se de Corte à sua democratização, é o tema do ser e do não-ser que organizam a tese, que se propõe a contribuir para a compreensão do mal-estar contemporâneo do fenômeno da imitação de comportamentos sociais em função de modelos e a extensão do fenômeno da anorexia e da perda dos laços de philia social. / To think fashion as a subject for reflection is very significant because in its Benjaminian and Frankfurtian perspective it is the question of the genesis of the notion of taste and its metamorphoses in the era of nihilism loss of all the values that this work analyzes: fashion as a temporary dimension under the auspices of the market and capital that transform everything into disposable products. In this sense, from the Greek reflections on the ritual dressing to the Renaissance, from dressing in the Court to the democratization of fashion, it is the theme of being and non-being that organizes the thesis, which proposes to contribute to the understanding of the contemporary malaise with the phenomenon of the imitation of social behaviors in function of models and the extension of the phenomenon of anorexia and the loss of ties of philia social.

Pensar a moda como tema de reflexão é muito significativo pois, em sua perspectiva benjaminiana e frankfurtiana, é a questão da gênese da noção de gosto e suas metamorfoses na época do niilismo e na desvalorização de todos os valores que esse trabalho analisa a moda como dimensão temporal sob os auspícios do mercado e do capital que tudo transformam em produtos descartáveis. Neste sentido, das reflexões gregas sobre o ritual vestimentário ao Renascimento, do vestir-se de Corte à sua democratização, é o tema do ser e do não-ser que organizam a tese, que se propõe a contribuir para a compreensão do mal-estar contemporâneo do fenômeno da imitação de comportamentos sociais em função de modelos e a extensão do fenômeno da anorexia e da perda dos laços de philia social. / To think fashion as a subject for reflection is very significant because in its Benjaminian and Frankfurtian perspective it is the question of the genesis of the notion of taste and its metamorphoses in the era of nihilism loss of all the values that this work analyzes: fashion as a temporary dimension under the auspices of the market and capital that transform everything into disposable products. In this sense, from the Greek reflections on the ritual dressing to the Renaissance, from dressing in the Court to the democratization of fashion, it is the theme of being and non-being that organizes the thesis, which proposes to contribute to the understanding of the contemporary malaise with the phenomenon of the imitation of social behaviors in function of models and the extension of the phenomenon of anorexia and the loss of ties of philia social.

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.

I investigate the function of dress as it relates to cultural retention in Paule Marshall's Praisesong for the Widow and Leslie Marmon Silko's Ceremony, drawing upon the work of fashion theorists Joanne Entwistle, Alison Lurie and Anne Hollander. My examination of the two novels is informed by several excellent scholarly works which hold that characters' well being is determined by the extent to which they connect with their folkloric roots, the central message in both Ceremony and Praisesong for the Widow. I build on this discourse by demonstrating that the novels' consistent attention to clothing is a device that situates characters psychologically in their spiritual journeys homeward, from fragmented self identity to incorporeal contentment. My investigation of the unique treatment of clothing and adornment as metaphor for the novels' crises finds that the images of dress in characters' internal and external worlds heightens the conflict and illustrates the resolution in both novels.

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.

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.

The study aims to answer the question of whether fashion can communicate meaning, by addressing how creators on Instagram challenge dominant gender norms through fashion, with a focus on the activist movement of #DeGenderFashion. The research questions will be answered using fashion theory and gender theory as guiding points, with literature on social media activism, representations of gender, and cultural studies giving further insight into the dynamics of the movement. Data has been collected from the hashtag #DeGenderFashion, created by social media personality Alok Vaid-Menon in 2019, using the algorithmic function of Instagram to provide the most relevant posts for analysis. After applying a set of criteria to limit the data to create a coherent data set, a visual analysis with an interpretive paradigm and inductive approach was applied. One of the main findings is the influence of patriarchal systems on gender expression, with the movement being led by male and non-binary individuals. However, feminine and androgynous styles are most common, highlighting how non-female individuals strive to adopt feminine fashion into their wardrobes, and breaking the patriarchal stigma surrounding feminine styles. The results of the study further imply that gender specificity in object design is an outdated concept, with the styles featured in the data sample oftentimes combining elements from across the gender spectrum with each other, creating a new fluid visual identity. The study implies that gender specificity in fashion is an artificial concept, urging the fashion industry to become more inclusive by catering to a wider range of bodies.

Employer branding definierades för första gången 1996 av Ambler och Barrow (1996) i deras artikel “The employer brand”. Enligt forskarna är det ett sätt att stärka varumärket, attrahera och behålla duktiga medarbetare och skapa en mer lönsam verksamhet. Vi ser en lucka i dagens forskning gällande praktiknära employer branding-studier. Problemet inom employer branding handlar inte om hur företag ska utforma och genomföra aktiviteter. Vad som behövs är en större insikt hos företagsledningar vilka effekter företagets employer branding-arbete faktiskt har. Syftet med vår uppsats är att genomföra en kompaarativ studie av teori och praktik inom fältet employer branding. Jämförelsen ska göras mellan den påverkan forskning hävdar att employer branding-arbete har på ett företag och praktikers syn på densamma. Det gör vi genom en litteraturgenomgång som presenteras i en modell samt genom att hålla 14 intervjuer med praktiker som arbetar med employer branding. Vårt bidrag till forskningen blir därmed en praktiknära undersökning av employer branding-arbetets effekter.I vårt resultat ser vi att forskning och praktik ligger nära varandra i synen på vilka effekter ett företags employer branding arbete på företagets varumärke och personalstyrka. Däremot finns det en tydligare diskrepans i synen på de ekonomiska effekter företaget får av sitt employer branding-arbete. Vi anser att företag behöver ha bättre, precisare och mer effektiva mätmetoder för att kunna mäta de ekonomiska effekterna av sitt employer branding-arbete. / Employer branding was first defined in 1996 by Ambler and Barrow (1996) in their article “The employer brand”. According to the scholars employer branding is a way of strengthening the brand, attract and retain employees and create a more profitable business. We identify a gap in contemporary research regarding study close to the practical field. The problem within employer branding is not how to develop and carry out activities. What is needed is a bigger understanding in corporate management in how the company’s employer branding activities influence the organisation.The purpose of our paper is to make a comparative study of theory and practice within the field of employer branding. The comparison will be made between the influence the research claim employer branding activities have on a business and practitioner’s view on the same matter. We will do this by a literature review which will be presented in a model and 14 interviews with practitioners within the employer branding field. Our contribution to the field of research will be a study of the effects of employer branding close to the practioners.In our results we identify that research and practice are close in their perception of what effects a company’s employer branding activities have on the company’s brand and workforce. However, there is a more distinct discrepancy in the views regarding the economic effects on a company from their employer branding activities. We believe companies need better, more precise and more efficient methods to measure the economic effects of their employer brand.