With Stockholm fashion week being the largest fashion event in Sweden each fall, there are many expectations on how the event is being handled, from individuals within the industry and non-industry individuals as well. However, with the various societal and global issues that are connected to the fashion industry, such as negative environmental consequences, poor labor conditions in the manufacturing stage and the somewhat dubious natures that models have to endure. This, in turn, begs the question of whether a fashion event such as Stockholm fashion week can be sustainable. Even more important, How is Stockholm fashion week depicted by news articles from the fashion industry and Swedish news outlets? In addition to this broader research question, there also has to be an emphasis on how the different fields (Friedland, 2009) participating in the fashion event emerge with each other and how an individual's habitus (Bourdieu,1957) can be changed with fashion and fashion events.  This research, therefore, had as its aim, via qualitative content analysis as the method, to get a greater understanding of how Stockholm fashion week is being depicted by three fashion industry articles and three Swedish news outlets, in addition to getting a greater understanding of the fashion industry as a whole. By analyzing these articles, and the content within there would emerge patterns of which journalist behind the articles, elected to depict Stockholm fashion week in various manners. This resulted in depictions from journalists suggesting notions such as that Stockholm could be the new fashion capital of Scandinavia to journalists encouraging the readers to be more aware of the negative impacts of clothing and fashion.  These types of results could imply that a large part of the way that the fashion event was depicted was due to two notions. The first is that the journalist behind the article has somewhat free reins when it comes to the manner of content in the article, which can encourage non-individuals in both positive and negative ways. Secondly, is the notion that many journalists have to keep in consideration their profession as journalists (International Federation of Journalists (IFJ),(2019) when they mix up their journalistic field with the fashion field (Friedland,2009). Conclusively, the research gives a greater understanding of the Swedish fashion industry and the importance of the journalist and news, which could be even further researched in future projects. / Med Stockholms modevecka som det största mode-eventet i Sverige varje höst, finns det många förväntningar på hur eventet hanteras, även från privatpersoner inom branschen och privatpersoner utanför branschen. Dock med de olika samhälleliga och globala frågor som är kopplade till modebranschen, som negativa miljökonsekvenser, dåliga arbetsvillkor i tillverkningsledet och de lite tveksamma naturer som modeller får utstå. Det väcker i sin tur frågan om ett mode event som Stockholms modevecka kan vara hållbart. Ännu viktigare, Hur skildras Stockholms modevecka av nyhetsartiklar från modebranschen och svenska nyhetskanaler? Utöver denna bredare forskningsfråga måste det också finnas en betoning på hur de olika fälten (Friedland,  2009) som deltar i modeevenemanget växer fram med varandra och hur en individs habitus (Bourdieu, 1957) kan förändras med modet. och modeevenemang. Denna forskning hade därför som mål att, via kvalitativ innehållsanalys som metod, syfta till att få en större förståelse för hur Stockholms modevecka skildras av tre modebransch artiklar och tre svenska nyhetskanaler, förutom att få en större förståelse. av modebranschen som helhet. Genom att analysera dessa artiklar, och innehållet däri, skulle det framkomma mönster av vilken journalist bakom artiklarna, som valt att skildra Stockholms modevecka på olika sätt. Detta resulterade i skildringar från journalister som antydde föreställningar som att Stockholm skulle kunna bli Skandinaviens nya modehuvudstad till journalister som uppmuntrar läsarna att bli mer medvetna om de negativa effekterna av kläder och mode. Den här typen av resultat kan antyda att en stor del av sättet som modeevenemanget skildrades berodde på två föreställningar. Det första är att journalisten bakom artikeln har lite fria tyglar när det kommer till innehållssättet i artikeln, vilket kan uppmuntra icke-individer på både positiva och negativa sätt. För det andra är uppfattningen att många journalister måste ta hänsyn till sitt yrke som journalister (International Federation of Journalists (IFJ),(2019) när de blandar ihop sitt journalistiska område med modeområdet (Friedland, 2009). Sammanfattningsvis ger forskningen en större förståelse för den svenska modebranschen och vikten av journalist och nyheter, vilket skulle kunna forskas ytterligare i framtida projekt.

<p><strong>Background:</strong> Over the past few years Swedish fashion has expanded and gained attention, both in Sweden and abroad. Every year fashion weeks take place around the world with the purpose of showcasing fashion designers new collections for the up-coming season.</p><p>Fashion week in Sweden is arranged in Stockholm four times a year in the end of January, in February, in the turn of June and July and in August. The different occasions have different activities and focus. The main focus of January and June/July are fashion shows and the main focus of February and August are trade fairs for buyers and wholesalers. The fashion shows and trade fairs are closed to the public, but other fashion events directed to the public takes place during these weeks. Seeing as many stakeholders are involved in fashion week they all have some kind of relationship to one another. This makes fashion week in Stockholm an interesting case to study and analyze from a sociological theoretical approach.</p>

Background: Over the past few years Swedish fashion has expanded and gained attention, both in Sweden and abroad. Every year fashion weeks take place around the world with the purpose of showcasing fashion designers new collections for the up-coming season. Fashion week in Sweden is arranged in Stockholm four times a year in the end of January, in February, in the turn of June and July and in August. The different occasions have different activities and focus. The main focus of January and June/July are fashion shows and the main focus of February and August are trade fairs for buyers and wholesalers. The fashion shows and trade fairs are closed to the public, but other fashion events directed to the public takes place during these weeks. Seeing as many stakeholders are involved in fashion week they all have some kind of relationship to one another. This makes fashion week in Stockholm an interesting case to study and analyze from a sociological theoretical approach.

Background - Welcome to the 2010’s and its visual information culture informing about the century-old ideal of thinness, by sending (almost) exclusively thin bodies down the runway of Paris Fashion Week (PFW). This, while at the same time the academia and mass media are repeatedly articulating the necessity of a more ethical aesthetic within the fashion industry, while the argument that “thinness sells” lack empirical support, while measures are taken around Europe to discourage media bias and encourage healthy bodies walking the, and while the body positivity movement – applauding the diversity of body types – is on the rise in the Western society. Problem - How can it be explained that PFW, as an event organized to communicate the latest trends, and as an institution of a concept that thrives on change, is being stuck in an inertia of thin models? The purpose of this qualitative study is to explore the explanations for the idealization of thin bodies in regard to female runway models, to be found in visual representations of PFW. Examining the paradox of the idealization of thin bodies has the potential to reveal the measures necessary to establish practices of ethical representation in the realm of PFW. Method - The search for explanations to the inertia of the thin ideal on the runways of PFW is based upon a qualitative research design and a method of semi-structured interviews. The sample consisted of fourteen people involved in the event of PFW. It is framed within three theoretical perspectives: the trickle-down, trickle-across and trickle-up theories – associated with authors such as Simmel (1957), King (1963) and Blumer (1969a; 1969b); a theoretical view of the relation between fashion, clothes and the body provided by Barnard (2014) and, lastly, the Organizational Ecology Theory presented by Hannan and Freeman (1977; 1989). Findings - The findings suggest that the inertia of the thin ideal on the runways of PFW is explained by the thin body not only being part of a long history and tradition of creating and showing fashion, but also being dressed in aesthetic value. At the same time, the explanations to the idealization, or inertia, of thin bodies on PFW are found to be multiple as well as paradoxical, a conclusion serving as an explanation in itself. Conclusion – It is difficult to point out the explanation to the inertia of the thin ideal – both in terms of factors and actors – not at least due to the explanations stemming from both social and cultural as well as economic aspects of fashion. As a consequence, every actor part the fashion industry need to understand the effects as well as the extent of idealization of thin bodies, and start to realize that public health is more important than profits.

Background: It is clear that the fashion industry is experiencing a change as a result of the explosion of social media. Today the four key social media platforms for fashion houses are Instagram, Facebook, Twitter and Snapchat. The society has created a culture around these media platforms, which is referred to as insta-culture. Why read Vogue magazine to find out the latest trends, when social media is covering the runways in real time? A debate about what direction the fashion industry is heading towards is a hot topic of discussion. The fashion industry has gone through changes before but now consumers have become more demanding regarding quick accessibility of fashion. Consumer behavior and the way we consume fashion has changed. An obvious sign of the change within the industry is how fashion weeks around the world have become the most coveted”it” event for celebrities and fashionistas worldwide. Fashion week is a fashion industry event that lasts around one week. The goal is for the fashion industry to network and for fashion houses to share their next season collections. Fashion weeks have traditionally been a closed, trade only-event which highlights promotional and glamorous entertainment events. However, now it is the most important shows that everyone wants to be seen at. What will become of fashion weeks is truly unknown. One thing that is for sure is that the development of social media definitely plays a vital role in the change of the industry. Aims of the research: The broader aim of this research is to analyze through the lens of fashion week, what is happening in fashion week and the driver of change within the fashion industry, social media, and to unravel why we see a change in fashion week now. The second aim is also to investigate in what way the change is affecting the way fashion is displayed at fashion weeks. Methods: This thesis was completed by gathering observations and analyzing interviews, blogs, press, journal articles, social media and observations that focused on the phenomenon of fashion week especially in the New York and Stockholm context. This qualitative method is referring to as Netnography using primarily data gathering from the internet and data from the existing interviews with people from the industry. Results: Social media has affected the fashion weeks in many ways. Today fashion brands have to include social media in their marketing strategy in order to survive in the insta-culture that reflects on the society. The insta-culture has as well resulted in that fashion week has been reinvented to an entertainment event open for everyone. The democratization of the fashion week has in turn resulted in that designers have to change how and when they deliver fashion. Instead of waiting six months for the collections to hit the stores, designers now have adopted a see now buy now model. Contributions: The result of this thesis brings awareness to people within the fashion industry and fashion theories when it comes to what is happening to the industry and how to better support fashion management strategies. Social media has created an insta-culture in the society that also affects the fashion industry. This thesis also highlights the great impact that the society has on fashion even today. This study therefore further develops the sociological theory when it comes to the impact from the society and how it affects fashion.

The value of fashion week’s physical presence has been questioned in connection with the Covid-19 pandemic, when fashion week became fully digital. Once the pandemic subsided, the digital attributes were retained and combined with the physical space, resulting in a phygital fashion week. This new phenomenon, the contemporary fashion week that combines on-site and online activities, has therefore received little academic research. There is a lack of academic knowledge about how the post-pandemic setting of fashion week affects the physical value. The purpose of this study is to analyze how the post-pandemic setting of fashion week has affected the value of physical presence in regards to marketing communication through the lens of Copenhagen Fashion Week (CPHFW). By conducting a case study of CPHFW, the goal is to bridge the gap by providing new research within the field of fashion marketing. A qualitative research approach was used to provide an in-depth perspective of CPHFW. The chosen data collection techniques were a combination of ethnographic and netnographic methods. The ethnographic methods were conducted on-site, physically at the AW 23 season of CPHFW, while the netnographic methods analyzed activities online, thus communication through social media platforms as well as press coverage. The results of this study indicate that there is a strong interdependence between the digital and physical fashion week, where the digital do not have an obvious position of power because it is dependent on the physical presence. Fashion week has evolved into a phenomenon conducted physically, with the aim of reaching a digital audience through the creation of spectacular on-site moments being shared online. This points to a complex power relationship between the two. Therefore, the value of physical presence remains strong in a post-pandemic setting of fashion week in regards to marketing communication. In terms of Copenhagen, the emerging fashion capital, the translation of the physical presence to the digital realm becomes even more important as it promotes its fashion week to a global audience. It enables CPHFW to communicate elements of differentiation digitally, thus strengthening the attractiveness of the physical presence.

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Aim of the research: This research aims to create an understanding for the new ways in which global fashion influencers’ attending fashion week are contributing to the presentation of it as gatekeepers and distributors of information and fashion knowledge, and how this rolea dds new perspectives to how fashion week is presented. Method: The research has been limited to analysing the material of six global fashion influencers, with a total following of 28 million people, during the major fashion weeks of Spring/Summer 2017 and Autumn/Winter 2017. The material has been collected and analyzed using a qualitative content analysis, also called ethnographic content analysis, with focus on distinguishing common characteristics in the text. Findings: The results have shown that the fashion influencers have contributed to the presentation of fashion week in several new ways, with the greatest characteristic being sharing a broad picture of what is going on during fashion week. The influencers are also sharing insight to exclusive fashion shows and events that have traditionally not been shared with the public. More over, the fashion influencers are sharing their personal perspectives and experiences of fashion week as well as their personal taste and opinions regarding fashion trends and other things. They are also adding a new commercial and promotional focus while presenting an idealized image of fashion week to their followers. The findings are indicated that the fashion influencers have established an important role at fashion week, which in turnis affecting the presentation of it. Contributions: The findings presented in this research can be of relevance for those who wants to understand the fashion influencers’ role during fashion week, for instance fashion brands and designers who wishes to learn how to engage with the fashion influencers’ from a business and marketing perspective. Considering social media and the fashion influencers affecting the presentation of fashion week as societal changes, the findings can also be relevant for fashion researchers who wishes to understand how these changes are affecting the presentation of fashion week and the fashion industry.

在國際時尚舞台中，台灣在過去一直扮演代工的角色：儘管手中握有無與倫比的研發與生產技術，然而報酬率卻遠不及握有「國際品牌」的廠商。 1990年起，台灣以往勞力、技術密集的紡織產業開始走下坡。台灣紡織產業開始面臨勞工短缺、工資上漲，許多低價紡織品在國內生產已無獲利空間；從2000年左右開始，隨著全球化市場發展，中國大陸與東南亞等新興國家陸續崛起，我國紡織產業開始產生外移。2005年，WTO協定生效，取消「紡織貿易配額」，以及全球各地逐漸形成的「區域經濟體」，使得全球紡織產業發生結構性的變化。 近來「美學經濟」指標性產業：「時尚產業」，已經成為亞洲國家積極發展的目標，而政府也大力鼓吹由過去專業代工的「製造經濟」，轉型為以品牌、設計為主的「創意、知識經濟」。2008年國家重點發展計畫中提出「產業高值化」政策，除了研發，強化行銷能力以提升品牌知名度亦是創造高附加價值的重要關鍵。 台灣在本土時裝設計師品牌不少。然而，礙於台灣市場規模，始終無法有大幅的成長。因此，台灣設計師如何進軍國際市場，便成了一個值得深入探討的議題。 本研究結合Csikezentmihalyi創造力系統模式、與設計師日常事業經營，探討本土設計師時裝品牌國際化的動態過程：設計師如何以服裝設計專業、結合創業營運相關知識，不斷與國際時尚界專業人士與買家們溝通互動，進而使其品牌在國際間佔有一席之地。 本研究同時歸納設計師在進軍國際市場時需要哪些能力，以及在進入國際市場不同階段所應注意的管理議題，期望能供業界、後續學術研究參考、指教。 / This research is about how Taiwanese fashion designers market their products internationally. Taiwanese textile companies didn’t have their own brands before. They mainly manufactured and sold products overseas under foreign brand names. However, the textile manufacturing industry in Taiwan has already moved abroad to low-labor-cost area during the past two decades. Taiwanese designer brands have been struggleing between the small domestic market and the competition of foreign brands. I explored three cases of Taiwanese fashion designers who market their brands and products internationally. They are respectively Hong, Li Fen’s designer brand ‘Sophie Hong’, Chien, Yu Feng and Pan, Po Shun’s ‘Shawnyï’, and Chia, Wen Lan’s ‘Twinkle by Wenlan’. I analyzed these cases based on the Creativity Dynamic System Model (Csikezentmihalyi, 1990). First, I discovered how they combine their expertises of fashion design and business management to organize their international network. Second, the abilities a fashion designer has to possess during his way to international fashion market have already been clearly listed and categorized. In the end, I casted several managerial issues the fellow designers should pay attention to in different stages when they try to internationalize their brands and products.