Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-13T14:43:55Z No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-13T14:44:14Z (GMT) No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-22T12:54:00Z (GMT) No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) / Made available in DSpace on 2017-11-22T13:01:52Z (GMT). No. of bitstreams: 1 KAREEN TERENZZO.pdf: 2130706 bytes, checksum: 07f06cb97f9d0f8e25232b4cebd13d9c (MD5) Previous issue date: 2017-03-31 / This research has the theme of female aging in contemporary times: the debate on the subject and its growing media presence through based on assumptions that attribute the responsibility of "aging well" to the self-management of the individual. It is a pedagogy of behaviors that will utter lifestyles and ways to age successfully. From the representations in the media that not take into account the aging in their differences and diversities, we use the term "ready-to-wear aging", to designate an aging model idealized to serve all women, indiscriminately. We understand that this ideal of aging has its basis in the spirit of time in the historical interface that the transformations of modernity and its interconnections between communication and consumption, which alt ered the way of living and consuming. To anchor our research, we chose as empirical object the actress and celebrity Jane Fonda, that turned into author of self-help and is willing to serve as a model for what she calls "the third act of life "- a self-management project to age" well "and" live life fully "in the maturity. The research is supported by three main axes: communication and consumption, subjectivities and female aging. The discussion is based on the contributions of the cultural studies, from celebrity studies; aging studies; feminist studies and studies that relate communication, consumption and entertainment to critically analyze the empirical corpus selected. From the reflective analysis we present a selection of materials in which Fonda appears as a mentor and model of aging considered "successful" based on the youth imperative and the project of self-management of the modern self. In conclusion, Jane Fonda's trajectory is presented in in harmony with capitalism - its socioeconomic configuration of neoliberal society - and the social project based on the management of the "entrepreneurial self". / Esta pesquisa tem como tema o envelhecimento feminino na contemporaneidade: o debate social sobre o assunto e sua crescente presença midiática por meio de narrativas imagéticas positivas e apoiadas em premissas que atribuem a responsabilidade de “envelhecer bem” à autogestão do indivíduo. Trata-se de uma pedagogia de comportamentos que irão proferir estilos de vida e modos de envelhecer com sucesso. A partir das representações na mídia que costumam não levar em conta o envelhecimento em suas diferenças e diversidades, utilizamos a expressão “envelhecimento prêt-à-porter”, para designar um modelo de envelhecimento idealizado que se propõe a servir a todas as mulheres, indiscriminadamente. Entendemos que esse ideal de envelhecimento tem suas bases no espírito do tempo na interface histórica que conduziu as transformações da modernidade e suas interligações entre comunicação e consumo, as quais alteraram o modo de viver e consumir. Para ancorar nossa pesquisa, elegemos como objeto empírico a atriz e celebridade Jane Fonda, que se transformou em autora de autoajuda e se dispõe a servir como modelo para o que ela chama de “o terceiro ato da vida” – um projeto de autogestão para envelhecer “bem” e “viver a vida plenamente” na maturidade. A pesquisa está apoiada em três eixos principais: comunicação e consumo, subjetividades e o envelhecimento feminino. A discussão se fundamenta à luz dos aportes dos estudos culturais, dos estudos de celebridades; estudos do envelhecimento; estudos feministas e estudos que relacionam comunicação, consumo e entretenimento para analisar criticamente o corpus empírico selecionado. A partir da análise de cunho reflexivo apresentamos uma seleção de materiais nos quais Fonda se afigura como mentora e modelo do envelhecimento considerado “bem-sucedido” fundamentado no imperativo da juventude e no projeto de autogestão do eu moderno. Como conclusão, se apresenta a trajetória de Jane Fonda em sintonia com o capitalismo - sua configuração socioeconômica da sociedade neoliberal - e o projeto social alicerçado na gestão do “eu empreendedor”.

Made available in DSpace on 2016-03-15T19:25:58Z (GMT). No. of bitstreams: 1 Lais Duarte Vieira.pdf: 1175916 bytes, checksum: 6c086c4d21a1b0b8df308103291acff9 (MD5) Previous issue date: 2012-08-16 / Fundo Mackenzie de Pesquisa / This dissertation investigated the characterization of features and capabilities involved in business strategies more applicants in companies production of luxury, seeking competitive advantage, taking into account the perception of managers and customers of this type of product. The concepts used were related to resource-based view and strategy. Thus, the constructs were revised perceived value, competitive advantage, strategic management and strategic resources. The research method adopted was exploratory and descriptive, qualitative in nature, with interviews conducted based on a semi structured script. Were interviewed six managers of companies production of luxury and six consumers these companies. The content analysis technique was used for the treatment and interpretation of the data collected. As a result, it was possible to identify the resources strategic source of competitive advantage for companies studied, they are, the designer, the reputation of the brand name and innovation capacity of the designer. Through the model identified VRIO evidence points these resources as valuable, rare, difficult to imitate and dependent on the conditions organizational for use of your full potential. From the analysis of data collected was possible to see that the luxury product aims for perfection from the moment of conception and this requires that it be done with high aesthetic standard, is rare and inaccessible and conceived from innovative ideas. / Esta dissertação teve por objetivo a caracterização dos recursos e capacidades envolvidos nas estratégias de negócios mais recorrentes nas empresas de confecção de luxo, visando à vantagem competitiva, levando em conta a percepção de gestores e clientes deste tipo de produto. Foram utilizados os conceitos referentes à visão baseada em recursos e à estratégia. Para tanto, foram revisados os construtos de valor percebido, vantagem competitiva, administração estratégica e recursos estratégicos. O método de pesquisa adotado foi exploratório descritivo de natureza qualitativa, com entrevistas realizadas com base em um roteiro semiestruturado. Foram entrevistados seis gestores de empresas de confecção de luxo e seis consumidoras destas empresas. A análise de conteúdo foi a técnica utilizada para o tratamento e interpretação dos dados coletados. Como resultado, foi possível identificar os recursos estratégicos fonte de vantagem competitiva para as empresas estudadas, são eles, o estilista, a reputação da griffe e a capacidade de inovação do estilista. Por meio do modelo VRIO foram identificados indícios que apontam estes recursos como valiosos, raros, difíceis de imitar e dependentes das condições organizacionais para utilização total de seu potencial. A partir da análise dos dados coletados foi possível perceber que o produto de luxo busca a perfeição desde o momento da sua concepção e para isso é necessário que ele seja feito com elevado padrão estético, sendo raro e inacessível, concebido a partir de ideias inovadoras.

L’environnement économique des entreprises devient de plus en plus instable (mondialisation, volatilité de la demande, renouvellement rapide des produits, arrivée de nouveaux acteurs…). Penser les relations inter-organisationnelles fait généralement référence à des rapports concurrentiels et conflictuels. L’environnement dans lequel les entreprises évoluent constitue un ensemble de contraintes pour lesquelles elles devront apporter des solutions afin de pouvoir survivre. Au-delà des comportements concurrentiels les acteurs d’un même secteur d’activité reconnaissent cependant l’importance de la coopération souvent nécessaire à leur survie. Ces relations évoluent donc au même niveau que les relations concurrentielles. L’interdépendance entre les entreprises est désormais inévitable. Dans ces conditions, nous pouvons nous demander quelles sont les stratégies appropriées pour faire face à un environnement instable ? Les entreprises ont-elles intérêt à coopérer pour faire face aux instabilités de leur marché, voire les supprimer grâce à des actions concertées ?En prenant le cas du secteur du prêt-à-porter, notre recherche souhaite montrer que les relations inter-organisationnelles sont beaucoup plus complexes et ne se limitent pas qu’à du conflit pur ou de la coopération. Ainsi, les stratégies collectives ne s’inscrivent pas seulement dans une démarche globale, la coopération s’exerçant à tous les niveaux de la filière, mais peut se limiter à quelques processus organisationnels. L’étude de la filière nous montre qu’il existe une situation de coopétition : des stratégies à la fois individuelles et collectives existent au sein d’un même secteur. Autrement dit, la compétition et la coopération sont des modèles relationnels qui coexistent, parfois même à des niveaux différents que ceux observés dans d’autres secteurs. La thèse met notamment en avant le rôle tenu par des acteurs tiers, tels que les syndicats et bureaux de style, pouvant être perçus comme des chefs d’orchestre, dans la mise en place d’actions collectives en environnement fortement concurrentiel. / The economic environment of enterprises becomes more and more unstable (globalization, volatility of the demand, rapid product renewal, new actors...). Think of the enterprises relationship made generally reference to competitive and conflicting reports. The environment in which enterprises evolve constitutes a set of constraints for which they will have to bring solutions to be able to survive. Beyond competitive behavior enterprises of the same sector recognize however the importance of the cooperation often necessary for their survival. These relations evolve in the same level as the competitive relations. The interdependence between companies is henceforth inevitable. Under these conditions, which strategies are appropriate for face an unstable environment? Are enterprises interested in cooperating in order to cope with market instability?Taking the case of the ready-to-wear sector, our research shows that relationships between enterprises are more complex and can’t be reduce to conflict or cooperation. Thus, collective strategies don’t make part of a global approach in a given sector, with cooperation at every level of the industry, but can be limited to just a few organisational processes. A study of the industry shows the existence of a coopetition situation: both individual and collective strategies that exist within a single industry. In other words, competition and cooperation are relationship models that coexist, sometimes at levels that differ from those observed in other sectors. The thesis highlights in particular the role played by third party stakeholders such as syndicates and style agencies, which may be viewed as orchestrators of the implementation of collective action in a highly competitive environment

Yves Saint Laurent débute son métier dans la Haute couture, qu’il hisse au niveau d’un Art. Néanmoins, son style s’ouvre la voie du prêt-à-porter et s’impose à la rue. Sa double culture, né en Algérie avec toute sa carrière réalisée en France, l’amène à être ouvert sur le monde. Ainsi, il développe son concept de « voyage imaginaire » autour de la Chine, le Japon, la Russie, l’Amérique, l’Espagne, l’Inde, etc. A partir de sa culture originale et de ses influences dans le métier, telles que celles exercées par Christian Dior, Gabrielle Chanel ou Elsa Schiaparelli, il habille la femme d’une manière moderne, séduisante et d’une beauté contrastée : la féminité se teinte de masculin, classique dans la modernité, exotique dans le style occidental, dépouillée dans l’abondance, le chic casual. Très exotique, très abondant, très original mais aussi très moderne et attrayant. Tandis que tous ces éléments éclairent la façon d’Yves Saint Laurent, il nous vient une interrogation : quelle est la clé d’origine de son impact et de sa singularité ? A cette question, nous proposons l’hypothèse que la quintessence de son style réside dans la simplification, qui identifie parfaitement son œuvre et constitue la clé de toute sa création. Ensuite, nous déterminons la nature des liens entre cette simplification et son style, et le pourquoi de ces liens qui lui ont permis de maintenir sa place dans le domaine de la couture, malgré les évolutions industrielles. / The French designer Yves Saint Laurent start as a fashion stylist Haute couture and he redound to his fashion in Art level. However, his fashion is achieved his way to ready to wear and overpower the street fashion. His double culture, born in Algeria but all his career was realized in France, was taken him more advanced over to the wide world and he develop it in a concept of « imaginary travel » : around China, Japan, Russia, U.S.A, Spain, India, and so forth. From his original culture and his great role models, such as Christian Dior, Gabrielle Chanel and Elsa Schiaparelli, Yves Saint Laurent put on women in modern, glamorous looks and compared beauty: femininity in masculinity, classic in modern, exotic in western style, minimalist in glamour, and, casual in chic. Very exotic,very abundant, very original, however, equally very modern fascinating. While all these elements were reflecting his style, several questions come to mind: what is the essence key of his impact and his originality. To define these questions, we frame a hypothesis that the essence of the style Yves Saint Laurent is simplication. This simplication is perfectly identified in his work and compose every key of his creation. We determine also to unit the nature of link between his simplication and his style. And then, this link to what is enable to maintain his position in fashion, in spite of change of fashion industry evolution.

Récemment, une nouvelle ère du commerce « connecté » arrive, dans laquelle l’offre des services logistiques fluides entre les différents canaux de vente, sera primordiale pour les réseaux de distribution. Dans ce contexte d’omnicanalité, nous focalisons aux liens pouvant être établis entre le logistics model adopté et le business model. Nous formulons l’hypothèse selon laquelle le logistics model adopté peut faire évoluer le business model : P1: le business model a un impact sur le logistics model. P2: Le logistics model a un impact sur le business model. P3: Quand le business model évolue, le logistics model évolue et s’adapte. P4 : L’évolution du logistics model a un impact sur l’évolution du business model. P5 : L’innovation du logistics model peut pousser l’innovation du business model. Une recherche empirique (4 cas) est menée permettant de capter les aspects dynamiques. Des entretiens semi-directifs avec les dirigeants, les responsables logistiques ont été réalisés. Des analyses intra-cas et inter-cas ont été menées. Apports: Au plan théorique, nous définissons les composants des business model et des logistics model dans l’industrie du prêt-à-porter et montrons 4 processus logistiques liés à la proposition de valeur. Nous montrons comment les évolutions ou les innovations logistiques peuvent permettre d’acquérir des compétences et du savoir-faire distinctifs susceptibles de proposer de nouvelles propositions de valeur aux clients et d’améliorer le business model d’une enseigne. Au plan managérial, les distributeurs trouveront matière à modéliser leurs activités et à positionner les services logistiques au centre de leurs business models futurs. / Recently, a new era of “connected commerce” is emerging, where the ability of offering effective and fluid logistics services among the different channels will be a key feature of distribution networks. In the context of omnichannel, we focus on the dynamic links between logistics model adopted by a distribution company and its business model. We make the hypothesis that the adopted logistics model can lead to changes in the business model: P1: the business model impacts the logistics model. P2: the logistics model impacts the business model. P3: the evolution of the business model impacts the evolution of the logistics model. P4: the evolution of the logistics model impacts the evolution of the business model. P5: The innovation of the logistics model impacts the innovation of the business model. To answer the research questions, we conducted a dynamic empirical research (four case studies in the ready-to-wear industry). Semi-structured interview with leaders, and logistics managers were conducted, followed by an intra-case and cross-case analyzes.Implications: At the theoretical level, we define precisely the components of the business model and the logistics model and demonstrate an association between four logistics processes and the value proposition to customers. We show how evolution and innovation of logistics can provide distinctive skills and know-how that can help create new value propositions to customers and improve the company’s business model. At the managerial level, our study offers insights to retailers certain ways to model their activities and to position the logistics services at the center of their future business model.

Cette thèse étudie la place des Galeries Lafayette dans l’échange marchand entre l’offre et la demande, au cœur du système de la mode. Elle réévalue le rôle de la distribution en général et du grand magasin en particulier comme intermédiaire créateur de valeur dans la relation entre le producteur et le consommateur. Au tournant du XXe siècle, sur le marché de la nouveauté et le segment émergent de la confection, l’enseigne répond aux attentes des consommateurs qui cherchent à se distinguer et se différencier en suivant de près les phénomènes de mode. Alors que les maisons de couture exercent un monopole sur les tendances, et limitent leur diffusion en France à un cercle de clientes privilégiées, les Galeries Lafayette ont fait « entrer la mode dans le grand magasin ». Elles fabriquent et vendent sous leur propre marque des modèles inspirés de ceux des couturiers. Cette appropriation efficace de la création construit la légitimité de l’entreprise en tant qu'intermédiaire ainsi que le pouvoir prescripteur de la marque sur le marché de la mode. Elle fait aussi des Galeries Lafayette un acteur de l’économie de la contrefaçon, au centre des enjeux de l’industrie du vêtement dans l’entre-deux-guerres. La thèse montre cependant qu’il existe plusieurs régimes de management de la création aux Galeries Lafayette. A travers l’analyse des investissements de l’entreprise dans les industries créatives et en particulier les cas des Parfums Chanel, des maisons Madeleine Vionnet et Jean Patou, elle se saisit pour la première fois de la question du financement de la couture et décloisonne l’étude des principaux acteurs du système de la mode. La période couverte, de la fin du XIXe aux années 1960, rend compte des transformations de l’industrie du vêtement, mais aussi de la plasticité de la stratégie et des structures de l’organisation. Après la Seconde Guerre mondiale, l’intégration verticale de la fabrication laisse progressivement la place à de nouvelles modalités de construction de l’offre. Dans un contexte marqué par la modernisation de la filière habillement, la « révolution » du prêt-à-porter, et l’émergence de nouvelles capitales de la mode, la centrale d’achats élargit ses approvisionnements aux marques et à l’international. La mise en place pionnière d’un bureau de style au début des années 1950 est centrale dans cette transformation pour faire le lien entre les créateurs, les industriels et les clients avec lesquelles les Galeries Lafayette sont en contact direct.Une partie des développements est consacrée aux associations professionnelles internationale qui sont le véhicule privilégié des transferts transatlantiques mais aussi de la construction d’un réseau européen favorisant la circulation des idées et des marchandises. Ces échanges montrent que la diffusion des méthodes nouvelles d’organisation, importées et adaptées des États-Unis, ne s’est pas limitée à l’industrie. Les efforts des Galeries Lafayette pour rationaliser l’organisation sont une nouvelle démonstration de la nécessité de réévaluer le rôle de la distribution et des intermédiaires du système de la mode longtemps négligés au profit de la figure du créateur. / This thesis researches the role of Galeries Lafayette at the heart of the French fashion system. It re-evaluates the role of retail and department stores as value-creating intermediaries in the relationship between producer and consumer. Additionally, the research highlights the innovative capacity of a family business and shows that the introduction of new organizational methods in retail trade along the 20th century, imported and adapted from the United States, was as much present as in manufacturing enterprises. In the first part, the thesis looks at the foundation of the company, its competitors and its customers. To differentiate themselves, Galeries Lafayette manufactured and sold models inspired by those of the couturiers under the store private label. At the turn of the twentieth century, while fashion houses claimed a monopoly on trend setting, Galeries Lafayette introduced fashion in department store. This effective appropriation of fashion design built the legitimacy of the company as an intermediary, and posited the prescribing power of the brand in the fashion market. It also made Galeries Lafayette a player in the economy of counterfeiting, a major issue for the apparel industry in the inter-war period. The thesis shows, however, that various management regimes for design exist at Galeries Lafayette. In a second part, we analyze the investments of the company in the creative industries and in particular the cases of Chanel Perfumes as well as Madeleine Vionnet and Jean Patou fashion houses. In doing so, for the first time, the thesis analyzes the financing of fashion houses thus unbundling the study of the main actors in the fashion system. In a third part, the thesis studies competitive and market change from World War II onwards: the modernization of the clothing industry, the ready-to-wear revolution, and the emergence of new capitals of fashion besides Paris. The dismantling of the vertical integration in manufacturing, the opening of central purchasing to new suppliers, the pioneering establishment of in-house fashion forecasting office in the early 1950s induced a new organization and changes in the link between creators, designers, industrialists and customers for Galeries Lafayette.

This thesis focuses on three fashion industry themed female friendship films: Pret-a-Porter/Ready to Wear (1994) by Robert Altman, The Devil Wears Prada (2006) by David Frankel, and The September Issue (2009) by R.J. Cutler. Female interpersonal relationships are complex – women often work to motivate, encourage and transform one another but can just as easily use tactics like intimidation, manipulation, and exploitation in order to save their own jobs and reputations. Through the lens of post-feminist theory, this thesis examines significant female interpersonal relationships in each film to illustrate how femininity is constructed and driven by consumer culture in the fashion industry themed films.