This Master's Thesis draws attention to established methods and procedures in the fashion design industry that are to be compared in the context of global changes and market opportunities. Special attention is given to the concept of fashion shows as the ongoing principal marketing instrument for fashion presentation. We analyze the individual elements of fashion show production, followed by the description of the theoretical mechanism of an on-line virtual fashion show. A part of the thesis is also dedicated to a general overview of the field of fashion design and a definition of the individual parts of fashion show as a market instrument in the context of the historical development of the field.In conclusion we show new opportunities in the sphere of fashion marketing, with respect to the changes in consumers' behavior in the second half of 20th century and the expected future changes in the first half of 21st century.

Open Your Eyes… On Impressing the Important Things is the documentation of my first semester as a Graduate Teaching Assistant. The purpose of this thesis is to document that journey to gain greater understanding of myself and my teaching. I embrace teaching as an artist. It is an opportunity to inspire and empower. As a teacher, I am attentive to the fact that learning is a complex process. It is individual, content and context specific. I believe that the goal of teaching is to empower students to take responsibility for their learning. Teaching is an art form that can be inspiring and can cultivate the courage to grow intellectually, to encourage the student's curiosity, and to provide opportunities to ignite action.

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Made available in DSpace on 2016-04-26T18:11:17Z (GMT). No. of bitstreams: 1 Monica Cristina de Lucena Lucas.pdf: 8994541 bytes, checksum: 368d206225c6a7d2148a443e4d35fe3e (MD5) Previous issue date: 2011-11-07 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This master dissertation examines five media fashion shows of Brazilian designers Jum Nakao and Ronaldo Fraga. These shows offer language crossings and call attention to the role of the body in the fashion show. Instead of clothes hanger, it constitutes a media in its own terms, guiding performing actions occurred during the presentation of collections on the runway. The main hypothesis of this research is that fashion show became a media phenomenon per se, regardless of their placement in other media (press, television or digital). The media developments beyond the presential event do nothing more than making explicit the latent connections among fashion, art and communication. As a theoretical approach, we adopted the bodymedia theory proposed by Greiner and Katz (2005, 2010), specific bibliographies of fashion (Duggan, 2001; Evans, 2001, 2003) and culture (Barnard, 2003; Lipovetsky, 2004, 2008, 2010), theories of mediation by Jesus Martin-Barbero (1997, 2003) and the concepts of device and profanity surveyed by Giorgio Agamben (2007, 2009). Understanding fashion as a complex system capable of expressing the fast sociocultural and industrial changings in a world increasingly shaped by technology and media, this dissertation collaborates with a network of Brazilian authors which begin to present the first results in the publishing field (DeCarli, 2002; Cidreira, 2005; Sant'Anna, 2009; Avelar, 2009), traveling through different knowledge areas, especially fashion, communication, art and political philosophy / Esta dissertação de mestrado analisa cinco desfiles midiáticos dos estilistas brasileiros Jum Nakao e Ronaldo Fraga. Estes desfiles propõem cruzamentos de linguagens e chamam atenção para o papel corpo no desfile. Ao invés de cabide de roupas, ele se configura mídia de si mesmo, norteando ações performativas que ocorrem durante a apresentação das coleções nas passarelas. A hipótese principal desta pesquisa é a de que o desfile de moda transformouse em um fenômeno midiático per se, independentemente de sua veiculação em qualquer outra mídia (impressa, televisiva ou digital). Os desdobramentos midiáticos para além do evento presencial, nada mais fazem do que explicitar as conexões latentes entre moda, arte e comunicação. Como grade teórica, adotamos a teoria corpomídia, proposta por Greiner e Katz (2005, 2010), bibliografias específicas da área da moda (Duggan, 2001, e Evans, 2001, 2003) e da cultura (Barnard, 2003, e Lipovetsky, 2004, 2008 e 2010), as teorias da mediação de Jesús Martín-Barbero (1997, 2003) e os conceitos de dispositivo e profanação pesquisados por Giorgio Agamben (2007, 2009). Ao compreendermos a moda como um sistema complexo capaz de expressar as velozes mudanças sócio-culturais e industriais de um mundo cada vez mais midiático e tecnologizado, esta dissertação colabora com uma rede de autores brasileiros que começa a apresentar os primeiros resultados no campo editorial (De Carli, 2002; Cidreira, 2005; Sant'Anna, 2009; Avelar, 2009), trafegando entre diferentes áreas de conhecimento, sobretudo moda, comunicação, arte e filosofia politica

Cette recherche interroge la poétique du corps de mode contemporain à travers deux médias de la figuration du corps : le défilé de mode et les séries photographiques enchâssées dans la presse magazine. Au carrefour d’enjeux sémiotiques, discursifs, politiques et sociaux, la problématique centrale de notre thèse convoque le point de vue complexe et interdisciplinaire des Sciences de l’information et de la communication afin de réfléchir à la construction médiatique du corps de mode. Trois hypothèses qui appréhendent les dispositifs médiatisant le corps de mode et le produisant comme « forme réifiée » publicitaire et culturelle scindent la problématique posée. La première postule que les défilés et les séries mode sont des médias produisant un corps informé par la dimension dispositive propre à chacun d’eux. La seconde pose que si le corps de mode est produit à des fins marchandes et publicitaires, il n’en demeure pas moins « culturalisé » grâce à l’emprunt notamment au chorégraphique conçu comme écriture du corps dans l’espace de la scène du défilé à l’espace de la page photographique, le dotant d’un statut culturel qui lui permet de circuler dans l’espace social. La troisième enfin poursuit le mouvement de réification du corps de mode amorcé par sa médiatisation à travers le défilé en posant que sa mass-médiatisation par les séries photographiques en fait une production industrialisée et standardisée, le rendant semblable à une marchandise. / The present research interrogates the poetry of the fashion contemporary body transmitted by two media portraying the body : fashion shows and photographic series as part of fashion magazines. At the crossroads of semiotic, discursive political and social issues, the central problem investigated in this thesis is the complex and interdisciplinary point of view of the information sciences of communication with the aim to study the media construction of the fashion world. Three hypotheses divide the investigated problem by taking the mediatised part of the fashion world and produce it as “reified form” of advertisement and culture. The first postulates that fashion shows and fashion series are medias which produce an informed body by the apparatus owned by each of them. The second hypothesis postulates that the fashion body is produced for commercialand advertisement purposes. It does not persist less “culturalized” thanks to the choreography which is perceived as writing of the body in the catwalk space or in the photographic page. This gives it a culture status allowing it to circulate in the social medias. Finally, the third follows the movement of the fashion body's reification initiated by the exposure through fashion shows. It postulates that its mass exposure by photographic series, which is an industrialized and standardized production, make it similar to a merchandise.

This diploma thesis deals with profession of mannequin in Czechoslovak. Focus is on the 1960s and 1970s of the 20th century. The diploma thesis focuses on questions, how the woman in Czechoslovakia could become a mannequin, how mannequins were perceived by ordinary people, what position in the world of work they had and what benefits mannequins had from their professions (e.g. benefits in the opportunity of travel, the opportunity to participate in an international exhibitions, filming etc.). The diploma thesis also focuses on the image of mannequins in contemporary media, especially in a feature film. In the diploma thesis there is not neglected contemporary fashion as well with focusing for example on artificial fabric or fashion that was seen in common shops and on the streets. The supporting structure of the thesis consists of interviews with mannequins of the socialist era, but one of the narrators is also a fashion designer Zdeňka Bauerová.

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Made available in DSpace on 2016-04-26T18:11:15Z (GMT). No. of bitstreams: 1 Josenilde Silva Souza.pdf: 6248944 bytes, checksum: fa63aabbb890022265048d0cdbb95c6d (MD5) Previous issue date: 2011-10-20 / This work analyzes to what extent the choice of a certain city space for the performance of fashion shows is decisive to establish a new plastic and semantic configuration. In the transition of the conventional space formed by an indoor room to an outdoor and unconventional space for example, a viaduct, a street or a garden we investigate the fashion show s ways of organizations in different spaces and in what ways they modify their structuring and at the same time they redefine the city. In these modalities organizations the parameters of public and private spaces significantly intervene as much as the engagements of these poles with the basic category open vs. closed space. The narrative semiotics of Algirdas Julien Greimas and the postulations of Eric Landowski are the theoretical and methodological frameworks used to handle the problem of how the presence modes of the fashion show in the urban space act in the production of visuality, visibility and identity, as well as on the performances communicative and interactive processes. A set of fashion shows was analyzed from the hypothesis: 1) the fashion shows compose syncretic processes that articulate heterogeneous languages distinctly in order to generate communicational developments promoted by the aesthetic arrangement of the expression plan by accomplishing the semantic investments of the content; 2) the discursive constructions build new visuality, visibility and identity modes of the fashion creators and their brands; 3) the city places unfolds produce sensible and intelligible apprehensions in the public inserted in the discourse and 4) these enunciative choices define the identity of the fashion creator and the brand, as much as its user and the city. Photographic records of the researcher outlined the imagetic corpus of four fashion shows observed in the period between 2005 and 2010: Maria Garcia (SPFW Winter/2010), Cavalera (SPFW Summer/2010), Fashion Mob (Casa dos Criadores/2010) and Karla Girotto (Fashion Rio, Summer/2005). The object of this research results from the researcher s direct observation of the performances, highlighting the criteria for analysis - the experience of aesthetic and aesthesic order that the types of interaction produced in the spaces build among brand, fashion creator and public. The analytical conclusion allowed the elaboration of four description categories and the analysis of this construction that make the fashion show, the creator and the brand exist, which will be able to be reoperated in other communicational processes / Este trabalho analisa em que medida a escolha de um dado espaço da cidade para a realização dos desfiles de moda é determinante para instaurar uma nova configuração plástica e semântica. Na mudança do desfile de espaço convencional, constituído por uma sala fechada, para um espaço aberto e não convencional por exemplo, um viaduto, uma rua ou um jardim , investigamos os modos de organização dos desfiles em distintos espaços, e de que maneira estes modificam a sua estruturação, ao mesmo tempo em que redefinem a cidade. Nessas modalidades de organização, intervêm significativamente os parâmetros de espaço público e privado, assim como combinatórias desses pólos com a categoria de base espaço fechado vs. espaço aberto. A semiótica narrativa de Algirdas Julien Greimas e as conceituações de Eric Landowski são o arcabouço teórico e metodológico para dar conta do problema de como os modos de presença do desfile no espaço urbano agem na produção da visualidade, da visibilidade e da identidade, bem como nos processos comunicativos e interativos das performances. Um conjunto de desfiles foi analisado a partir das seguintes hipóteses: 1) os desfiles constituem processos sincréticos que articulam distintamente linguagens heterogêneas, a fim de gerar desdobramentos comunicacionais promovidos pelo arranjo estético do plano da expressão ao concretizar os investimentos semânticos do conteúdo; 2) as construções discursivas edificam modos de visualidade, de visibilidade e de identidade dos criadores de moda e das marcas; 3) os desdobramentos dos lugares da cidade produzem apreensões sensíveis e inteligíveis no público inserido no discurso e 4) essas escolhas enunciativas são definidoras da identidade do criador de moda e da marca, assim como do usuário e da cidade. Registros fotográficos da pesquisadora delinearam o corpus imagético de quatro desfiles de moda, observados no período compreendido entre 2005 e 2010: Maria Garcia (SPFW, inverno/2010), Cavalera (SPFW, verão/2010), Fashion Mob (Casa dos Criadores/2010) e Karla Girotto (Fashion Rio, verão/2005). O objeto deste trabalho resulta da observação direta da pesquisadora das apresentações, destacando, entre os critérios de análise, a experiência de ordem estética e estésica que os tipos de interação produzidos nos espaços montam entre marca, criador de moda e público. Como conclusão analítica, chegou-se à elaboração de quatro categorias de descrição e análise dessa construção que faz ser o desfile, o criador de moda e a marca, as quais poderão ser reoperadas em outros processos comunicacionais

Despite the vast research regarding non-conformative bodies, there is little material on the gay bear representation in fashion modeling. This thesis investigates the bear embodiment in the runway shows of Walter Van Beirendonck, respectively W&LT Autumn/Winter 1995–1996 Paradise Pleasure Productions, W&LT Autumn/Winter 1996-1997 Wonderland, Walter Van Beirendonck Spring/Summer 2010 Wonder, and Walter Van Beirendonck Spring/Summer 2011 Read My Skin. Critical visual analysis follows the gay bear symbolism in the video recordings of the runways, revealing how it challenges the fashion industry’s body standards and, in a broader frame, the dictates of hegemonic masculinity. The concepts of gender performativity and biopower provide the theoretical frame of the study, while Madison Moore’s theory of ‘fabulousness’ and José Esteban Muñoz’s understanding of ‘utopia’ lead to the articulation of performances both masculine and queer.  The findings lead to the discovery of non-dual and body-inclusive gay bear embodiments that challenge the relationship between body and dress and can extend beyond the limits of the runway.