La comunicación publicitaria ha ido evolucionando cada vez más a medida que el consumidor también comienza a adecuarse a las nuevas tendencias, convirtiéndose en un usuario con mucha mayor exigencia al momento de buscar satisfacer sus necesidades. Esto implica que la comunicación aplicada por marcas a nivel global también deban situarse en las estrategias de comunicación actuales como el comunicar historias y/o experiencias, de forma atractiva e impactante con el objetivo de mantenerse actualizados con esta evolución del mensaje y seguir enamorando a los usuarios. Así, implementan herramientas que van más allá de lo funcional, es decir, optan por recursos con la finalidad de transmitir una historia que involucra emociones, valores y pilares en relación a la esencia que posee cada marca, ya que ello se ha caracterizado por ser un factor potencial que permite marcar un valor diferencial de su competencia en el rubro que uno se encuentre. Mediante el uso del branded content, una estrategia considerada como la evolución del product placement, recurso caracterizado por otorgar una comunicación de valor funcional hasta la época, se tiene en consideración para el desarrollo de este trabajo, entender las nuevas estrategias aplicables por explorar en el mercado peruano, específicamente en el rubro de moda, por medio del branded content cumpliendo como objetivo cubrir metas de corto o largo plazo en el área de marketing y comunicación. El mercado de moda peruano ya está comenzando a adaptarse a las nuevas tendencias con respecto a sus estrategias comunicacionales, sin embargo, recursos como los fashion films no están siendo lo suficientemente explotados a nivel nacional, siendo una oportunidad para conocer un poco más sobre esta herramienta y, finalmente, aplicarlo para obtener mejores resultados, ya que, en la actualidad, una historia vende más que los atributos funcionales del producto/servicio en este rubro. Para ello, el análisis de contenido desarrollado a continuación será en apoyo a la metodología que expone García-Noblejas desde las “primeras y segundas navegaciones”, con el fin de descubrir la aplicación de los fashion films de Kuna y cómo reflejan su brand essence mediante el storytelling empleado en cada uno de sus materiales audiovisuales. Finalmente, el aporte de este artículo será de suma importancia debido a la carencia actual expuesta en fuentes de investigación en base a análisis de fashion films dentro del mercado de moda peruano, sector que cada día se va adaptando a las tendencias digitales estratégicas. El rubro de moda peruano está comenzando a apostar por estrategias publicitarias más intrínsecas, es decir, ocultas, esto se debe a que el consumidor ya está cansado de la saturación publicitaria expuesta en su día a día de forma muy explícita. Entonces, se emplean técnicas en donde la publicidad llegue sutilmente, sin embargo, no pierda su efectividad a la hora de comunicar. Gracias a la herramienta de los fashion films, las marcas buscan comunicar a través del storytelling, una historia que sea atractiva y logre comunicar la personalidad que posee tu marca con el fin de generar interés, fidelidad y cercanía con el público. / Advertising communication has been increasingly evolving as the consumers also begin to adapt to new trends, becoming a user with much greater demand when seeking to meet their needs. This implies that communication applied by brands at the global level should also be placed in current communication strategies such as communicating stories and/or experiences in an attractive and powerful way, in order to keep updated with this evolution of the message and keep the users falling in love with it. Thus, they implement tools that go beyond the functional, that is to say, they opt for resources with the purpose of transmitting a story that involves emotions, values and everything in relation to the essence that each brand possesses, since this has been characterized by being a potential factor that allows you to set a differential value of your competition in the area you are in. Through the use of branded content, a strategy considered as the innovation of "product placement", a resource characterized by granting a communication of functional value up to now, it is taken into account for the development of this work, to understand the new applicable strategies to explore in the Peruvian market, specifically in the fashion industry, through branded content, fulfilling the objective of covering short or long-term goals in the area of marketing and communication. The Peruvian fashion market is already beginning to adapt to new trends regarding its communication strategies; however, resources such as fashion films are not being sufficiently exploited at the national level, being an opportunity to learn a little more about this tool and, finally, apply it to obtain better results, since nowadays a story sells more than the attributes of the product itself in this area. For this, the analysis developed below will be in support of the methodology that Garcia-Noblejas exposes from the "first and second navigations", in order to discover the application of KUNA fashion films and how they reflect their brand essence through the storytelling used in each of his audiovisual materials. Last but not least, the contribution of this article will be of great importance due to the current lack of exposure in research sources based on studies of fashion films in the Peruvian fashion market, a sector that is adapting every day to strategic digital trends. The Peruvian fashion industry is beginning to invest and trust on more intrinsic advertising strategies because the consumer is already tired of the advertising saturation exposed in their day to day in a very explicit way. Therefore, techniques are used where the advertising arrives subtly, however, does not lose its effectiveness when communicating. Thanks to the tool of fashion films, brands seek to communicate through storytelling, a story that is attractive and manage to communicate the essence of your brand in order to generate loyalty and closeness to the consumers.

Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-08T11:46:59Z No. of bitstreams: 1 FILIEP DE OLIVEIRA COSTA.pdf: 34744343 bytes, checksum: 71634fee97ac357a57fe6a65745efe6e (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-08T11:47:34Z (GMT) No. of bitstreams: 1 FILIEP DE OLIVEIRA COSTA.pdf: 34744343 bytes, checksum: 71634fee97ac357a57fe6a65745efe6e (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-10T12:15:05Z (GMT) No. of bitstreams: 1 FILIEP DE OLIVEIRA COSTA.pdf: 34744343 bytes, checksum: 71634fee97ac357a57fe6a65745efe6e (MD5) / Made available in DSpace on 2017-11-10T12:15:18Z (GMT). No. of bitstreams: 1 FILIEP DE OLIVEIRA COSTA.pdf: 34744343 bytes, checksum: 71634fee97ac357a57fe6a65745efe6e (MD5) Previous issue date: 2017-03-27 / This research has as its theme the fashion shows as communicational ambiences, consumption of memories, experiences and also spaces of performances. The theoretical object is related to the uses of places of memories of the city of São Paulo as a way of intensifying the communicative strategies for the consumption of the institutional discourse of the brand that circulates in each parade. The empirical objects are the Ellus brand parade, namely: Winter 2008, Summer 2012, Winter 2013, Winter 2014 and Winter 2016. The question that guided the research presupposes that fashion shows are already consecrated advertising strategies as a way of publicizing brand. But for this research these parades also behave as a process that communicates the city and its places of memory (spaces and characters) through the performance that the parade itself performs. We seek to investigate whether the parades so understood convert the memories into a strategy for the symbolic consumption of Ellus' institutional discourse, which translates as sophisticated, urban and transgressive. The general objective is to identify and analyze how Ellus brand fashion shows that use the city and its memories (spaces and characters) communicate and convert memory into a strategy for the symbolic consumption of the brand's institutional discourse. The specific objectives are: to recognize the strategies of the production of the symbolic consumption of the values ​​enunciated in the narrative of the advertising brand Ellus by means of the analysis of the selected parades (Winter 2008, Summer 2012, Winter 2013, Winter 2014, Winter 2016); to identify the places of memory of the city of São Paulo, its characters and the game that is established between the representations of memory and its characters presented in the selected parades; to analyze the parade as performance (gesture, body, soundtrack and the circumstances of its accomplishment, like time and space). The theoretical reference includes authors such as Maria Aparecida Baccega, Everardo Rocha, Don Slater, Ana Paula de Miranda, Mary Douglas, Baron Isherwood, Claudia Pereira, Andreas Huyssen, Michel Pollak, Pierre Nora, Monica Nunes, Iuri Lotman, Paul Zumthor, among others contribute to the discussions. As methodological procedures are carried out bibliographical research in authors of the semiotics of culture, memory, consumption and fashion, and documentary research in videos of the parades and institutional of Ellus and graphic pieces of advertising campaigns of the brand. In addition, we refer in speeches of journalists specialized in fashion news, who were relevant allied to some theoretical aspects. The research corpus includes the analysis of photographic images and frames of the parades (urban spaces, clothes, gestures, soundtracks, temporal marking and construction of the elements that mark the spaces of the parades like scenography, lighting). The results indicate that there are strategies to provide the symbolic consumption of the memories of the locations of the parades in a way that will result in the loyalty of brand clients and symbolic consumers of the repositioned memories not only of the city of São Paulo but also of large urban spaces according to the urban, transgressive and sophisticated institutional discourse of Ellus. / Esta pesquisa tem como tema os desfiles de moda como ambiências comunicacionais, de consumo de memórias, de experiências e também de espaços de performances. O objeto teórico é relativo aos usos de lugares de memórias da cidade de São Paulo como forma de intensificar as estratégias comunicativas para o consumo do discurso institucional da marca que circula em cada desfile. Os objetos empíricos são o desfile da marca Ellus, a saber: Inverno 2008, Verão 2012, Inverno 2013, Inverno 2014 e Inverno 2016. A questão que norteou a pesquisa pressupõe que os desfiles de moda são estratégias publicitárias já consagradas como forma de divulgação de marca. Mas, para esta pesquisa estes desfiles também se comportam como um processo que comunica a cidade e seus lugares de memória (os espaços e os personagens) por meio da performance que o próprio desfile realiza. Buscamos investigar se os desfiles assim compreendidos convertem as memórias em estratégia para o consumo simbólico do discurso institucional da Ellus, que se traduz como sofisticada, urbana e transgressora. O objetivo geral é identificar e analisar de que forma os desfiles de moda da marca Ellus que utilizam a cidade e suas memórias (os espaços e os personagens) comunicam e convertem a memória em estratégia para o consumo simbólico do discurso institucional da marca. Os objetivos específicos são: reconhecer as estratégias da produção do consumo simbólico dos valores enunciados na narrativa da marca publicitária Ellus por meio da análise dos desfiles selecionados (Inverno 2008, Verão 2012, Inverno 2013, Inverno 2014, Inverno 2016); identificar os lugares de memória da cidade de São Paulo, seus personagens e o jogo que se estabelece entre as representações da memória e seus personagens apresentados nos desfiles selecionados; analisar o desfile como performance (gesto, corpo, trilha sonora e as circunstâncias de sua realização, como o tempo e o espaço). O referencial teórico inclui autores como Maria Aparecida Baccega, Everardo Rocha, Don Slater, Ana Paula de Miranda, Mary Douglas, Baron Isherwood, Cláudia Pereira, Andreas Huyssen, Michel Pollak, Pierre Nora, Mônica Nunes, Iuri Lotman, Paul Zumthor, entre outros que contribuem para as discussões. Como procedimentos metodológicos são realizadas pesquisas bibliográficas em autores da semiótica da cultura, memória, consumo e moda, e pesquisa documental em vídeos dos desfiles e institucional da Ellus e peças gráficas de campanhas publicitárias da marca. Além disso, nos referenciamos em falas de jornalistas especializados em notícias de moda, que foram relevantes aliadas a alguns aspectos teóricos. O corpus da pesquisa inclui a análise a partir de imagens fotográficas e frames dos desfiles (espaços urbanos, roupas, gestos, trilhas sonoras, marcação temporal e construção dos elementos que marcam os espaços dos desfiles como cenografia, iluminação). Os resultados indicam que há estratégias para proporcionar o consumo simbólico das memórias das locações dos desfiles de forma que resultem na fidelização dos clientes da marca e consumidores simbólicos das memórias ressignificadas não apenas da cidade de São Paulo, como também de grandes espaços urbanos de acordo com o discurso institucional de urbana, transgressora e sofisticada da Ellus.