La presente investigación tiene como objetivo principal determinar los principales factores que influyen en la decisión de compra de ropa fast fashion en mujeres de 18 a 37 años, de los NSE A y B, residentes de la zona 7 de Lima Metropolitana. Se realizó una investigación cualitativa mediante 3 entrevistas a profundidad a consumidoras, 2 a expertos del sector y 2 focus group; y una investigación cuantitativa a través de la aplicación de 386 encuestas. El capítulo 1 comprende el marco teórico de la investigación, que incluye estudios relacionados a la industria de fast fashion en Perú y el mundo, el marco conceptual y el panorama de la industria a nivel global y local. En el capítulo 2 se plantea el problema de investigación, los objetivos, las hipótesis y la justificación del estudio. El capítulo 3 abarca el diseño de la investigación (con las metodologías) y la definición del público objetivo. En el capítulo 4 se presenta el análisis de la investigación cualitativa y cuantitativa en base a los objetivos e hipótesis planteadas. Se pudo concluir que los factores más relevantes en la compra de ropa fast fashion para el público objetivo son, de forma positiva, las tendencias de moda, la identificación con la marca y el precio; además, de forma negativa, son las colas excesivas para pagar, la cantidad elevada de personas en el local y la poca cantidad de probadores de ropa. Finalmente, se presentan las referencias bibliográficas utilizadas en la investigación y los anexos. / The aim of this study is to determine the main factors that influence the decision of purchasing fast fashion clothing in women aged 18-37 years from socioeconomic levels A and B located in the zone 7 of Metropolitan Lima. A qualitative study was conducted through 3 in-depth interviews with female consumers, 2 industry experts, and 2 focus groups. A quantitative study was also conducted through the application of 386 surveys. Chapter 1 comprises the theoretical framework, which includes studies related to the fast fashion industry in Peru and the world, the conceptual framework, and a global and local overview of the industry. Chapter 2 outlines the research problem, the objectives, the hypotheses, and the justification of the study. Chapter 3 covers the study design (methodologies included) and the definition of the target audience. Chapter 4 presents the analysis of the qualitative and quantitative studies based on the proposed objectives and hypotheses. In conclusion, the main factors that influence the target audience in a positive way regarding the purchase of fast fashion clothing are fashion trends, identification with the brand, and price. On the other hand, the main factors that influence the target audience in a negative way are excessive queuing to pay, the high number of people in the store, and the small number of dressing rooms. Finally, the bibliographic references and the annexes used during this study have been included at the end. / Tesis

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-05T12:10:14Z No. of bitstreams: 1 Nathália Cristina Brunini.pdf: 2472684 bytes, checksum: e6e9b52adf05886e07d6ad834f99c3ea (MD5) / Made available in DSpace on 2018-09-05T12:10:14Z (GMT). No. of bitstreams: 1 Nathália Cristina Brunini.pdf: 2472684 bytes, checksum: e6e9b52adf05886e07d6ad834f99c3ea (MD5) Previous issue date: 2018-08-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The theme of this research is the fashion market model known as fast fashion, characterized by its rapid production and marketing speed. The study seeks to understand this model as an ambivalent system, in other words, on the one hand, the "democratization" of fashion. On the other hand, a predatory and exploitative circuit, since it increases the access of the general public to the latest trends due to the affordable price, but at the same time expands the political, economic and social cracks, explained by the precarious conditions of work in which it is manufactured part of the fast fashion products. The central hypothesis is that the partnerships made between renowned designers and sizeable fast fashion retailers are a symptom of the new modes of communication, in an era marked by the generalization of aesthetic strategies, with a commercial purpose, under the discourse of accessibility to the general public. As a corpus of the research, we opted for the case study of the Riachuelo retail chain, especially the partnerships signed between the Brazilian company and four renowned designers: Oskar Metsavaht (2010), Osklen, Donatella Versace (2014), Versace, Karl Lagerfeld (2016), Chanel and Fendi, and one of the most recent, Paula Raia (2017), self-styled slow fashion. As methodological strategies, we follow the proposal to broadly contextualize the incidence of fast fashion in the major European fashion centres and at Brazil; to analyse the growth and repositioning of Riachuelo, which, from a small fabric store in Pernambuco (the 1940s), became a Brazilian fashion retail giant; and to discuss, conceptually, the fragility of this democratization within the framework of fast fashion, based on the explication of Riachuelo's communicational strategies, present in materials for the partnerships as mentioned above / O tema desta pesquisa é o modelo mercadológico de moda conhecido como fast fashion, caracterizado pela sua rápida velocidade de produção e comercialização. O estudo busca entender este modelo como um sistema ambivalente, ou seja, por um lado “democratizador” de moda, mas, por outro, um circuito predador e exploratório, uma vez que aumenta o acesso do grande público às últimas tendências, devido ao preço acessível, mas, ao mesmo tempo, amplia as fissuras políticas, econômicas e sociais, explicitadas pelas condições precárias de trabalho em que é fabricada grande parte dos produtos de moda rápida. A principal hipótese é que as parcerias feitas entre renomados estilistas e grandes redes de lojas populares adeptas ao fast fashion são um sintoma dos novos modos de comunicação, em uma era marcada pela generalização das estratégias estéticas, com finalidade mercantil, sob o discurso de acessibilidade ao grande público. Como corpus da pesquisa, optamos pelo estudo de caso da rede de varejo Riachuelo, especialmente as parcerias firmadas entre a empresa brasileira e quatro estilistas renomados: Oskar Metsavaht (2010), da marca carioca Osklen, Donatella Versace (2014), da Versace, Karl Lagerfeld (2016), da Chanel e da Fendi, e, uma das mais recentes, Paula Raia (2017), autointitulada slow fashion. Como estratégias metodológicas, propõe-se contextualizar, de forma ampla, a incidência do fast fashion nos grandes centros europeus de moda e no Brasil; analisar o crescimento e reposicionamento da Riachuelo que, de pequena loja de tecidos pernambucana (década de 1940), tornou-se a gigante do varejo de moda brasileira; e discutir, conceitualmente, a fragilidade dessa democratização dentro dos moldes do fast fashion, a partir da explicitação de estratégias comunicacionais da Riachuelo, presentes em materiais de divulgação das parcerias citadas

Submitted by Maicon Juliano Schmidt (maicons) on 2015-05-20T13:25:28Z No. of bitstreams: 1 2014 - Timoteo Andre Stuker.pdf: 2292716 bytes, checksum: 2f422b087fcce44075984f39efd5f016 (MD5) / Made available in DSpace on 2015-05-20T13:25:28Z (GMT). No. of bitstreams: 1 2014 - Timoteo Andre Stuker.pdf: 2292716 bytes, checksum: 2f422b087fcce44075984f39efd5f016 (MD5) Previous issue date: 2014-09-12 / Nenhuma / Para produtos de moda, a demanda é de difícil previsão por modelos lineares ou polinomiais e o ciclo de vida dos produtos é curto. Os varejistas são obrigados a tomarem as decisões de sortimento de produtos e quantidades de compra e estoques bem antes da época da venda, quando apenas informações limitadas e imprecisas estão disponíveis. As decisões são tomadas basicamente confiando em dados qualitativos e questões subjetivas. Os erros na previsão da demanda associados a esse modelo de tomada de decisão se aproxima de 50%. No entanto, as previsões de demanda podem ser melhoradas atualizando as previsões com base nas vendas iniciais. Nesse contexto, o objetivo do presente trabalho é propor um modelo de previsão de demanda baseado no aprendizado com as vendas iniciais para uma cadeia de suprimentos de um varejista de calçados. O modelo foi aplicado em uma rede de varejo calçadista brasileira, na coleção de Verão 2013/2014. O modelo de previsão de demanda foi proposto em duas etapas: (i) a primeira que utilizou dados históricos de vendas agregados por subgrupo de produtos, por loja; e (ii) a segunda que utilizou dados das vendas iniciais para desagregar a previsão por subgrupo na previsão por produtos e cores. Para gerar a previsão de longo prazo foi utilizado o modelo logístico. A Razão de Incremento Semanal (RIS), que é a previsão de vendas semanal por subgrupo dividida pela quantidade de produtos vendidos, foi utilizada como dados de entrada para decompor a previsão em produtos e cores. Além dessa informação, são entradas a quantidade vendida na primeira semana e a quantidade de produtos em estoque. A partir da modificação do cálculo da cobertura de estoques para incluir o RIS, tem-se a previsão de demanda atualizada. A previsão também considera a demanda de substituição e a quebra de grade. Os resultados encontrados demonstraram que o modelo de previsão de demanda atualizado com os dados de vendas obteve desempenho superior ao modelo de previsão original. O modelo de previsão de longo prazo se mostrou adequado para dois dos três subgrupos de produtos analisados. As métricas para medição do desempenho preditivo do modelo utilizadas foram o APE (absloute percentual errors ou erro percentual absoluto) e o MAPE* (média absoluta percentual dos erros ajustada). Foram considerados dois horizontes de previsão, seis e oito semanas. O desempenho do modelo conforme a métrica APE para seis semanas de horizonte de previsão foi de 55,199 para o modelo e de 207,511 para o modelo de previsão original. Já para oito semanas de horizonte de previsão foi de 51,232 para o modelo e de 93,212 para o modelo de previsão original. Conforme a métrica MAPE* para seis semanas de horizonte de previsão, o modelo apresentou resultados de 87,598 e o modelo de previsão original apresentou 239,777. E para oito semanas de horizonte de previsão o resultado foi de 88,454 para o modelo e de 167,515 para o modelo de previsão original. Como o modelo foi aplicado somente a um caso, o mesmo não pode ser considerado como validado. Não se pode esperar que os mesmos resultados sejam encontrados em casos diferentes. / For fashion products, the demand is very unpredictable and life cycle of products is short. Retailers are required to make decisions in the assortment and quantities of purchases and inventory a long time before the time of sale, when only limited and inaccurate information is available. Decisions are made relying primarily on qualitative data and subjective issues. Errors in demand forecast associated with this model of decision-making can approach 50%. However, demand forecasts can be improved by updating the predictions based on early sales. In this context, the aim of this work is to propose a demand forecast model based on learning with early sales for a footwear retailer supply chain. The model was applied in a Brazilian footwear retailer in the 2013/2014 Summer Collection. The demand forecasting model was proposed in two stages: (i) the first stage that used historical data aggregated by subgroup, considering product sales per store; and (ii) the second stage that used data from early sales to disaggregate the demand forecast into products and colors. To generate long-term forecast the logistic model was used. The Weekly Increment Proportion (WIP), which is the weekly demand forecast per subgroup divided by the number of products sold, was used as input data to decompose the demand forecast into products and colors. In addition to this information, the other entries are the quantity sold in the first week and the quantity of products in stock. Modifying the inventory turnover calculation to include WIP, we have the updated demand forecast. The forecast also considers the substitution demand and broken grade. The results demonstrated that the demand forecast model based on learning with early sales obtained higher results than original demand forecast model. The long-term forecast model was adequate for two of the three product subgroups analyzed. The metrics for measuring the predictive performance of the model used were APE (absolute percentual errors) and the MAPE* (adjusted mean absolute percentage error). Two forecast horizons were considered, six and eight weeks. The model performance according to the metric APE forecasting six weeks was 55,199 for the model and 207,511 for the original model prediction. Forecasting eight weeks it was 51,232 for the model and 93.212 for the original model prediction. According to the metric MAPE* forecasting six weeks, the model presented a result of 87.598 and the original model presented 239.777. And forecasting eight weeks the result was 88.454 for the model and 167.515 for the original model prediction. As the model was applied to only one case, it cannot be considered validated. The same results are not expected in different cases.

Utvecklingen på den teknologiska marknaden har kommit att påverka företag i en allt större utsträckning då marknadsföring på Internet blivit allt viktigare. Den ökade använd-ningen av smartphones har bidragit till att fler och fler människor ständigt är uppkopp-lade vilket i sin tur har öppnat upp för nya sätt för företag att skapa relationer och att inte-ragera med sina kunder. En bidragande faktor är sociala medier som har öppnat upp för interaktion där företag och kunder kan kommunicera med varandra. De har även öppnat upp för kommunikation kunder emellan, vilket både skapar positiv och negativ word of mouth. I takt med utvecklingen av den nya telefonin, har mobilapplikationer kommit att få en allt större betydelse som marknadsföringskanal. Genom att företaget finns tillgäng-ligt i kundernas telefoner kan närhet och tillänglighet skapas vilket öppnar upp för relat-ionsskapande.Relationsmarknadsföring på Internet har blivit viktigare i takt med att konkurrensen hårdnat, vilket är särskilt aktuellt inom modebranschen där företagen har antagit ett större kundfokus för att överleva. Mobilapplikationer kan ses som en ny marknadsföringskanal, ett sätt att stärka relationerna till kunderna och bidra till en ökad försäljning. Uppsatsens fokus ligger i fast fashion-segmentet inom modebranschen och belyses genom fallföreta-get Gina Tricot. Utgångspunkten är en relationsmarknadsföringsstrategi där de underlig-gande faktorerna utgörs av lojalitet, kundvärde, interaktion, word of mouth och image. Uppsatsen syftar till att undersöka hur mobilapplikationer kan skapa kundlojalitet genom ökad interaktion och word of mouth för att därigenom stärka företags image. En kvalita-tiv studie har genomförts där det empiriska materialet samlats in genom fyra fokusgrup-per. Den teoretiska referensramen baseras på teorier om de fem faktorerna som sedan analyserats med hjälp av det empiriska materialet.Litteraturen visar på att de fem faktorerna, lojalitet, kundvärde, interaktion, word of mouth och image, är avgörande vid implementeringen av en mobilapplikation. Resultatet stöds även av respondenterna i studien som betonar att interaktion, word of mouth och kundvärde påverkar kundlojaliteten och därigenom företagets image. Uppsatsens resultat har genererat ledorden förnyelse, värde och enkelhet, vilka företag bör ta hänsyn till i utvecklandet av en mobilapplikation.Developments in the technology market have come to influence the company in greater extent where Internet marketing has become increasingly important. The increased use of smartphones has contributed to that more and more people are constantly connected, which in turn has opened up new ways for companies to build relationships and to inter-act with their customers. A contributing factor is social media that has opened up for in-teraction with companies and customers where they can communicate with each other. This creates both positive and negative word of mouth. With the development of new telephony, mobile applications have come to acquire increasing importance as a market-ing channel. By that it is available in the customers' phones which create closeness and accessibility, opening up possibilities for relationship-building.Relationship marketing on the Internet has become more important as the competition intensified, which is particularly topical in the fashion industry where companies have adopted a more customer focused strategy in order to survive. Mobile applications can be viewed as a new marketing channel, a way to strengthen relationships with customers and contribute to increased sales. This paper focuses in the fast fashion industry and is illus-trated by a case study of the company Gina Tricot. The starting point is a relationship marketing strategy in which the underlying factors are loyalty, customer value, interac-tion, word of mouth and image. This essay aims to examine how mobile applications can create customer loyalty through increased interaction and word of mouth in order to strengthen the company's image. A qualitative study was performed in which the empiri-cal evidence was collected through four focus groups. The theoretical framework is based on theories of the five factors which are then analyzed using the empirical evidence.The literature shows that the five factors, loyalty, customer value, interaction, word of mouth and image, are crucial in implementing a mobile application. The result is also supported by respondents in the study that emphasizes how interaction, word of mouth and customer value affects customer loyalty and hence the company's image. Renewal, value and simplicity are key words that companies should consider when developing a mobile application. / Program: Textilekonomutbildningen

Sustainability is a topic paying a visit to most industries today and the fashion business is no exception.The development of eco-efficient stores is one of the efforts carried out by Inditex Group with the aim to adopt sustainability into its practices. Such stores distinguish themselves for saving electricity, water and by greatly reducing the amount of CO2 that is yearly produced. The concept was initiated with the Zara brand but it will be introduced to the other six brands that integrate Inditex as well. However, despite the reduction in the carbon footprint it cannot be denied that the fast fashion business model creates a paradox in terms of sustainability.The following is a case study on the Zara Rome eco-efficient store. Being a store benchmark in Europe, it explores how the sustainability concept is communicated through this model and if the identified paradox is addressed. To do so, the study analyzes the external, internal and interactive marketing of the eco-shop based on the service marketing triangle theory and the Mehrabian-Russell stimulus-response model used in visual merchandising. Participant observation on site and a content analysis of relevant documents were carried out as research methods in order to find the messages emitted on each side of the triangle.The analysis shows that the paradox in the Zara eco-shops is not being handled at the customer level, though it is being handled at internal and external levels. As a conclusion, the eco-shops effort is part of a sustainability strategy with long term perspective and it will be addressed at customer level when the company as a whole counts with a more sustainable brand identity. Additionally suggestions are offered to potentialize the communication of sustainability in an eco-shop. / Program: Master in Fashion Management with specialisation in Fashion Marketing and Retailing

Textil- och konfektionsindustrin blir alltmer globaliserad och ställs inför hårdare krav då konsumenterna efterfrågar allt billigare varor i snabb förändring. Sedan flera decennier har europeiska konfektionsföretag flyttat sin tillverkning till länder med lägre arbetskostnader för att uppfylla kraven om låga priser som europiska tillverkare har svårt att uppfylla. En stor del har flyttats till Kina men även till andra länder i Asien. Nu håller marknadsförhållandena på att förändras igen genom tillväxt- och utvecklingsländernas starka utveckling. Förändringarna syns tydligast på Kinas marknad genom stigande priser och mindre kapacitet för europeisk produktion. Detta skapar nya förutsättningar för hur företagen väljer att planera sina verksamheter och resulterar i att detaljhandelsföretagen ser sig om efter alternativa produktionsländer.Syftet med studien är att ta reda på om konfektionstillverkningens tyngdpunkt kommer att fortsätta att ske i Asien eller om det finns förutsättningar för europeisk konfektionsindustri att återhämta sig och bli konkurrenskraftig i förhållande till tillverkningen i Asien eller om konfektionsindustrin istället kommer att etableras i andra globala regioner. För att uppnå detta syfte utformades en kvalitativ studie i form av semistrukturerade djupintervjuer med nio svenska konfektionsföretag samt en stiftelse verksam inom textil- och konfektionsindustrin. Studien har kompletterats med dokument utformade av organisationer kopplade till EU samt vetenskapliga artiklar.Undersökningen påvisar att Kinas förändrade situation inte leder till en större återväxt för Europas textil- och konfektionsproduktion. Tyngdpunkten av konfektionsproduktion inom den närmsta framtiden kommer att ligga kvar i Asien men flyttas från Kina till nya lågkostnadsländer i regionen. Europa kommer med sannolikhet inte att bedriva någon massproduktion i framtiden och de förlorar alltmer produktion inom låg- och mellanprissegmentet till övriga regioner. Delar av europeiska företags produktion kommer inom den närmsta tiden att fortsätta ske inom Europa, då ingen annan region i dagsläget kan uppfylla behoven av korta ledtider, effektiv logistik, små serier, stabilitet och hög kvalitet lika bra. Med tiden kommer troligtvis en allt större del att produceras i Nordafrika som i framtiden kan komma att ta över en betydande del av både Asiens och Europas produktion.The textile- and clothing industry is becoming increasingly globalized and face even tougher requirements as consumers demand for cheaper goods in rapid change. For several decades the European apparel companies have moved their manufacturing to countries with lower labour costs to meet the requirements of low prices. A major part has been moved to China, but also to other countries in Asia. Now the market conditions are changing again because of the strong growth of emerging and developing countries. The changes are most evident in China's market where prices are rising and capacity is decreasing for European production. This creates new conditions for how the retail companies choose to plan their activities and results in that they look for alternative production countries.The purpose of this study is to determine if the emphasis of clothing manufacturing will continue to occur in Asia or whether there are grounds for European clothing industry to recover and become competitive in relation to production in Asia or if production instead will be established in other global regions. To achieve this purpose we executed a qualitative study in the form of semi-structured interviews with nine Swedish clothing companies and a foundation working in the textile- and clothing industry. The study has been supplemented with documents written by organizations linked to the EU and scientific articles.The survey shows that China's changing situation does not lead to a major regeneration of European textile- and clothing production. The emphasis of clothing production will in the near future remain in Asia, although move from China to the new low-cost countries in the region. Europe will probably not mass produce clothing in the future and they lose more and more production in low-and mid-range market to other regions. Parts of the European company's production will in the near future continue to take place in Europe, as no other region currently can meet the needs of short lead times, efficient logistics, small batches, stability and quality as well. Over time, probably more production will occur in North Africa which in the future may take over a significant part of both Asian and European production. / Program: Textilekonomutbildningen

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.

Purpose – The thesis examines and explains how political consumption is used by a group of students. Three hypotheses were formulated in order to test if information, motivation and social commitment lead to political consumption and if the political consumption behavior differs when buying clothes and groceries. Design/methodology/approach – Questionnaires were formulated and handed out to students attending a basic course in Political Science at Uppsala University. The data from this survey was coded and processed in SPSS in order to test the formulated hypotheses. Findings – The findings in the thesis show that political consumption differs between different industries in the studied population. No compelling evidence was however provided in order to confirm that information, motivation or social commitment lead to political consumption. It does however provide some indications on possible explanations that warrant further research. Research limitations – The results cannot be generalized to a wider population and thus only give indications on how political consumption can be explained. Keywords – political consumption, fast fashion, buycotts, boycotts, social capital

The aim of this thesis is to define fast fashion as a trend in the contemporary retailing with a deeper focus on the Czech market. It provides an analysis and further comparison of marketing strategies and business activities of five chosen retailers (C&A, H&M, Marks&Spencer, Reserved and ZARA) who are mutual competitors on both, domestic and foreign markets. The empirical part presents information about Czech consumers and their perception of the marketing strategies that particular companies apply in the Czech Republic.

The fast fashion companies are growing with their cheap and trendy clothing, promoting people to adapt to new trends and to consume. At the same time, many fast fashion companies have started to advertise sustainable strategies which are communicated though social media. The aim of this research is therefore to investigate social media as a channel for fast fashion companies to communicate sustainable fashion advertisement, by looking at the Swedish market and the generation Y. A qualitative method was used, and the data was collected though semi-structed interviews. The conclusion of this study is that social media as a channel for fast fashion companies to communicate sustainable fashion advertisement, is not that effective, at least not how it is used to today. The sustainable advertisement on social media is not making the consumers of generation Y to purchase sustainable and the messages and content they communicate is not affecting generation Ys intention to purchase sustainable clothing. The communication from fast fashion companies regarding sustainable advertisements on social media should either be revised in order to meet the consumers demands, or to use another media channel to reach generation Y.