In recent years, men¡¦s fashion magazines have become a new media genre that attracts lots of attention. The sales, advertisements, and publications of the men¡¦s fashion magazines have reached a remarkable performance. Media is an important social institution to shape gender images. Thus, this study aims to explore what kind of masculinity that men¡¦s fashion magazines in Taiwan represents? How to achieve the masculinity through consumption? Are there any differences in masculinity between transnational and local men¡¦s fashion magazines? What is the variation in men¡¦s fashion magazines in different periods? This study expects to describe the masculinity represented in men¡¦s fashion magazines of Taiwan to enrich the media and men¡¦s research resources. This study drawn on the masculinity theory based on the sociologist R.W. Connell¡¦s, and applied a methodology of quantitative content analysis. The subjects were the international Chinese edition of men¡¦s fashion magazine GQ and the local men¡¦s fashion magazine men¡¦s uno. The reason to focus the analysis on GQ and men¡¦s uno is due to the fact that they are the most popular and long-running men¡¦s fashion magazines in Taiwan respectively. By means of analyzing these two magazines published during 1997 to 2006, this research tries to understand the masculinity styles represented on the magazines¡¦ cover. The major finding revealed that the large numbers of men represented in men¡¦s fashion magazines of Taiwan were young men who aged between 18 and 35 (with 74.8% appearing in the ¡§cover figure¡¨ category and 71.2% in the ¡§featured people¡¨ category). Most of the men in the magazines were entertainment workers with appealing looks (with 90.1% appearing in the ¡§cover figure¡¨ category and 81.9% in the ¡§featured people¡¨ category). As for men¡¦s appearance types, the Trendy Cool type (43.2%) was the majority, the next types were Gentle (14.4%), Tough/Strong (11.7%), and Serious/Sophisticated (11.7%). Secondly, 60.5% of the article headlines on the magazines¡¦ covers were related to the consumption issues. The topics of the headlines were centered on fashion (39.6%) and featured people (29.8%). Furthermore, comparing the transnational with the local magazine, there were differences in men¡¦s age, occupation, appearance type, body type, and the topic and product category that the magazine emphasized. In conclusion, men¡¦s fashion magazines of Taiwan indeed appear a different kind of masculinity that I identify as ¡§stylish masculinity¡¨. This kind of masculinity focuses much attention on men¡¦s appearances, and it¡¦s achieved through a variety of ways of product consumption. The stylish masculinity overthrows some definitions of the traditional masculinity, but on the other hand, it still maintained some disciplines of traditional masculinity. Analyzing the transnational and local men¡¦s fashion magazines, we can understand even if the international men¡¦s fashion magazine, like GQ, appeared and influenced the local male in a global way. From different cultures, magazine origins and readerships, the local men¡¦s fashion magazine still can present some diverse features in many aspects. Finally, when the transnational fashion magazines introduce the international fashion information to local readers, it also conveys many global viewpoints about masculinity at the same time. However, it¡¦s still possible that the publisher takes a localized strategy in order to cater for the local life and culture.

In recent years, the men's fashion magazine has become a new media genre that attracts lots of attention. The sales, advertisements, and publications of the men's fashion magazine have reached a remarkable performance. Most important of all, men's fashion magazines not only provide the male readers with content about appearance beauty but also mold the male readers into a new kind of masculinity called ¡¥New Man¡¦. The ¡¥New Man¡¦ masculinity means that men can feel more comfortable to take some gender practices to improve their appearance beauty, such as putting on make-up, applying skincare products and so on. Researches about men's fashion magazine in Taiwan mostly focus on market performance, and the notion and practice of male readers are ignored. This present study drawn on the audience in everyday life theory, also employed the masculinity theory based on the sociologist R. W. Connell and the view of fluid identity (multiple subjectivities) based on the poststructuralist feminists. This study applied a methodology of qualitative in-depth interview with 6 male participants, tried to find the relation between men¡¦s fashion magazine and everyday gender practices of the readers. The study found that when the male readers interpret the ¡¥New Man¡¦ image in the men's fashion magazine, they do negotiate the mainstream masculinity discourse in their everyday life. Their negotiation involves their unequal investment in multiple subjectivities in everyday life. The study also found that men's fashion magazine is a text that can mediate the masculinity discourse, so the everyday gender practices of readers regarding the magazine text are their negotiation of masculinity as well. The male readers read men's fashion magazine and take ¡¥New Man¡¦ gender practices (ex. applying skincare products, putting on make-up, and taking care of figure) to create their own unique masculinity which exclude from femininity. In conclusion, the new version masculinity (New Man) does overlap the old one (mainstream or traditional masculinity), which not only shows the diversity of masculinity but also provide the male readers with some space to exert their agency and negotiate the meaning of ¡¥what it means to be a male¡¦.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2017-11-20T16:01:59Z No. of bitstreams: 1 Milane do Nascimento Costa - Dissertação PPGCS - 2015..pdf: 618066 bytes, checksum: 1c2b895fc9b2cae2bba9a398c3cc2cff (MD5) / Made available in DSpace on 2017-11-20T16:01:59Z (GMT). No. of bitstreams: 1 Milane do Nascimento Costa - Dissertação PPGCS - 2015..pdf: 618066 bytes, checksum: 1c2b895fc9b2cae2bba9a398c3cc2cff (MD5) Previous issue date: 2015-07-14 / Gênero, como categoria de análise, nos remete a processos de diferenciação social entre os sexos, que com a vasta produção intelectual não cabe mais restringir ao masculino e ao feminino, ao contrário, as discussões se colocam no sentido de potencializar os debates que trabalham na perspectiva de quebrar com dicotomias e binarismos. Nesse processo, é possível perceber que os papeis sexuais tem sido tradicionalmente concebidos como resultado de uma divisão natural do trabalho que atribui responsabilidades que demandam investimentos racionais, físicos, estéticos e emocionais diferenciados para homens e mulheres. Quando se pensa no campo da moda, enquanto fenômeno social e cultural historicamente demarcado no ocidente, dada a demanda de sensibilidade, criatividade e refinamento, na distribuição de papeis específicos desse campo, com frequência se pensa em mulheres ou homossexuais. Essa demanda é aqui entendida como habilidades que são requisitadas dentro de um campo – o da moda – que o caracteriza e é nele exigido para dar conta de um espaço tão complexo e dinâmico. Mediante o uso de um instrumental metodológico de ordem qualitativo e partindo dessa constatação, nesta pesquisa assumo o desafio de problematizar o conceito de habitus do campo da moda para perceber a vivência de valores atribuídos à masculinidade por homens heterossexuais que atuam nesse campo. Dessa maneira, as análises partem de observações realizadas na Semana de Moda de Alagoas 2014 e apoiadas no referencial teórico que versam sobre gênero, masculinidades, moda e trabalho funcionando como eixos temáticos interligados que servem para problematizar as vivências de masculinidades no campo da moda em Maceió. Observo que essas vivências atendem a demarcações no plano do discurso, da ação e do pensamento que, ora se tocam e ora aparecem divergentes. / Gender as a category of analysis refers to the processes of social differentiation between the sexes, that with the vast intellectual production there is no more restricted to the male and the female, in contrast, the discussions are placed in order to enhance the debates working in perspective to break with dichotomies and binaries. In this process it can see that the sex roles have traditionally been designed as a result of a natural division of labor that assigns responsibilities that demand rational investments, physical, aesthetic and emotional differentiated for men and women. When we think in the fashion field, as a social and cultural phenomenon historically marked in the Ocident, for demand of sensitivity, creativity and refinement, distribution of specific roles in this field, often thinking about women or homosexuals. This demand is here understood as skills that are required within a field - the fashion - that characterizes it and is it required to account for such a complex and dynamic field. Through the use of methodological tools of qualitative order and based this evidence, this research assume the challenge of questioning the concept of habitus in the fashion field to realize the experience of values assigned to masculinity by heterosexual men in this field. Thus, the analyzes start from observations at Fashion Week in Alagoas (Brazil) in 2014 and supported the theoretical framework that deal with gender, masculinity, fashion and work functioning as interconnected subjects that serve to problematize the experiences of masculinity in the field of fashion in Maceio. We note that these experiences serve demarcations in the speech of the plan of action and thought, well touch and now appear as divergent.

Introduction: Gen-Z are emerging as new consumers in the market, with more demands on brands than previous generations. Despite studies have showcased that brands can be perceived as cool by Gen-Z consumers, there is so far no research investigating what drives a brand to be perceived as cool by Gen-Z consumers. Furthermore, there is no research so far which has explored Gen-Z men in relation to fashion apparel consumption. This research hence seeks to gain a better understanding of Gen-Z men and their perception of cool fashion apparel brands.  Purpose: The purpose of this research is to explore what factors drive fashion apparel brands to be perceived as cool by Gen-Z men, and how these factors drive fashion apparel brands to be perceived as cool by Gen-Z men. Method: This study uses a qualitative methodology, consisting of 11 semi-structured interviews on Gen-Z men. An abductive thematic analysis complimented with a theoretical model was used to analyse the interviews, the theoretical model was adapted as a result of the findings.  Conclusions: The conclusions are that 7 different factors drive fashion apparel brands to be perceived as cool by the Gen-Z men in this study. It was found that the factors drive a fashion brand to be cool due to inheriting specific themes, in total 23 different themes were found across the 7 factors, hence the themes are how the seven factors drive a fashion apparel brand to be perceived as cool by the Gen-Z men in this study.

Made available in DSpace on 2016-04-26T18:17:07Z (GMT). No. of bitstreams: 1 Mario Antonio Pinto De Queiroz.pdf: 43340256 bytes, checksum: aad5cd5c0c01608cce769d1885008676 (MD5) Previous issue date: 2008-04-23 / The objective of this study is to analyze how fashion editorials reflect the image of man at the turn of the 21st century, and discuss the relation between fashion and the hero in the masculine world. It aims at discussing whether man s fashion through the images developed for this magazine points at transformations in the behavior of men or maintains conservative traits that restrict novelties in men s outfits and behavior. The magazine chosen Arena Homme Plus is one of the few magazines worldwide that is exclusively geared towards men s fashion. This British publication features major designers from Europe and the United States and circulates worldwide showing the work of designers, photographers, producers thus influencing the fashion industry and consumers. This study starts by focusing on the early days of fashion photography in the 1920s when photographs begin to replace illustration. It points out that a journalistic production geared to the male public had been around since the 19th century and included from men s magazines with essays of female nudes to our object of study: men s fashion magazines. The study focuses on the photo essays, the fashion editorials, of these issues published in the late 1990s and beginning of the third millennium and on the content revealed through the eyes of major contemporary photographs and though the choices made by fashion professionals during the production stage. Fashion editorials account for most of the content of Arena Homme Plus and each issue may include up to six of them, with an average of forty photographs. The editorials were chosen according to their relevance to discuss the hero, investigating the different faces of man at the turn of the millennium. The theoretical framework includes the concepts of imprinting, imaginary and noosphere as developed by Edgard Morin. The analysis is based on the theoretical framework provided by semiotics as applied to the field of culture, specifically to fashion. The study concludes that the image of man has been shattered into myriad variations so that it is no longer possible to try to think of the masculine as a single segment, something that vanguard fashion magazines, such as Arena Homme Plus, have long recognized / O objetivo deste estudo é analisar como os editoriais de moda refletem a imagem do homem no final do século XX e início do XXI, discutindo como se dá a relação moda versus o herói no universo masculino. A intenção é discutir se a moda masculina através das imagens elaboradas para esta publicação aponta transformações no comportamento do masculino e se ainda preserva traços conservadores, restritivos às novidades nos trajes e no comportamento do homem. A revista escolhida Arena Homme Plus é uma das únicas publicações do mundo dedicada exclusivamente à moda masculina. Esta publicação inglesa, que abrange as grandes grifes da Europa e dos Estados Unidos, circula em todo o mundo apresentando trabalhos de estilistas, fotógrafos, produtores, influenciando a indústria da moda e seus consumidores. O presente estudo parte dos primórdios da fotografia de moda, quando, por volta dos anos 20, fotos começam a substituir croquis. A pesquisa aponta o jornalismo voltado ao masculino desde o século XIX, passando pelas revistas masculinas com ensaios de nus femininos até chegarmos ao nosso objetivo maior: as revistas de moda masculina dos últimos anos da década de 1990 e do início deste terceiro milênio. Nessas publicações o foco está nos ensaios fotográficos, como eles revelam os principais fotógrafos contemporâneos e como são produzidos pelos profi ssionais de moda. Os editoriais de moda representam o maior conteúdo da revista Arena Homme Plus e cada edição pode trazer até seis, o que representa em média quarenta fotos. Os editoriais escolhidos são os mais significativos para a discussão do herói, pesquisando as diversas faces do homem nesta virada de milênio. O instrumental teórico utiliza os conceitos de imprinting, imaginário e noosfera, de Edgar Morin. A base teórica da análise segue a linha da semiótica no campo de discussão sobre a cultura, mais especificamente sobre a moda. Conclui-se que a imagem do homem se estilhaçou numa palheta de grandes variações e que não há como tentar resumir o masculino como um único segmento, o que as revistas de moda de vanguarda, como a Arena Homme Plus, já não considera há tempos