Design is an aspect that can potentially enhance a nations brand, Swedish design is highly regarded in the rest of the world and that is something that the Swedish government happy highlights. Despite this, the government has significantly reduced the grant to Svensk Form, which is the organization with the main task to promote Swedish design internationally. This paper aims to investigate and analyze how Svensk Forms efforts to promote Swedish design internationally affects the Swedish nation brand. Furthermore, the study investigates whether there are cultural differences that affect the communication of the Swedish nation brand. The study has been carried out by applying the theories of nation branding, interculturalcommunication and neoclassical perspective to the collected empirical data which consisted of interviews, two key articles and four documents from the government. The authors of the study therefore use the method of triangulation with a deductive approach.

<p>Swedish design is known all over the world and is seen in national as well as in international arenas. There is only one design organization in Sweden that has the task to represent Swedish design in public. The organization is Swedish Form and it is the oldest design organization in the world. It has a huge influence in our society, within design and form. In the end of 1990 the association received its first government assignment, which still continues. A large part of this assignment involves being a venue to form and design in addition to distributing knowledge about these to the public. How is an association like this, that has a government assignment and has to follow the association prescription with a responsibility to its members, being ruled? Swedish Form is an association with thousands of members that are an important part of the association’s activity. The members and the government are two considerable parts of Swedish Form that in various ways controls and gives directives to the association. How much space is given to Swedish Form by the government to control the activity by itself, and which directives do they have to follow? These are questions that will be clarified in this study, which is about how Swedish Form is ruled by the government’s demand and the association’s aim.</p>

Swedish design is known all over the world and is seen in national as well as in international arenas. There is only one design organization in Sweden that has the task to represent Swedish design in public. The organization is Swedish Form and it is the oldest design organization in the world. It has a huge influence in our society, within design and form. In the end of 1990 the association received its first government assignment, which still continues. A large part of this assignment involves being a venue to form and design in addition to distributing knowledge about these to the public. How is an association like this, that has a government assignment and has to follow the association prescription with a responsibility to its members, being ruled? Swedish Form is an association with thousands of members that are an important part of the association’s activity. The members and the government are two considerable parts of Swedish Form that in various ways controls and gives directives to the association. How much space is given to Swedish Form by the government to control the activity by itself, and which directives do they have to follow? These are questions that will be clarified in this study, which is about how Swedish Form is ruled by the government’s demand and the association’s aim.

<p>Undersökningens syfte är att visa vad Föreningen Svensk Form/Svenska Slöjdföreningen i sin publicerade litteratur skrivit om vad svensk form är och vilket ursprung den har. Den undersökta perioden är 1950-tal till 1990-tal. Uppsatsen tar också upp vilka samtida debatter och samhällsangelägenheter man etablerat den svenska formen i och hur man använt dessa för att visa upp föreningen som aktiv samhällsmedborgare. Diskussionerna rör sig kring berättelsers etablerande, och maktpositioner i det offentliga samtalet. Resultatet av studien visar bland annat att Föreningen Svensk Form/Svenska Slöjdföreningen under den undersökta perioden fört fram en oförändrad bild av den svenska formen och dess ursprung. Beskyddare av olika konstformer har säkerligen sin plats i samhället, man bör dock diskutera deras makt att styra trenderna inom det område de är verksamma.</p>

Undersökningens syfte är att visa vad Föreningen Svensk Form/Svenska Slöjdföreningen i sin publicerade litteratur skrivit om vad svensk form är och vilket ursprung den har. Den undersökta perioden är 1950-tal till 1990-tal. Uppsatsen tar också upp vilka samtida debatter och samhällsangelägenheter man etablerat den svenska formen i och hur man använt dessa för att visa upp föreningen som aktiv samhällsmedborgare. Diskussionerna rör sig kring berättelsers etablerande, och maktpositioner i det offentliga samtalet. Resultatet av studien visar bland annat att Föreningen Svensk Form/Svenska Slöjdföreningen under den undersökta perioden fört fram en oförändrad bild av den svenska formen och dess ursprung. Beskyddare av olika konstformer har säkerligen sin plats i samhället, man bör dock diskutera deras makt att styra trenderna inom det område de är verksamma.

Framväxten av en ny kundlogik, orsakad av teknikens framfart, har tvingat företag och organisationer att hitta nya tillvägagångssätt för att nå potentiella medlemmar eller kunder. Sociala medier är ett fenomen som har utvecklats från att vara ett kommunikationsverktyg för privatpersoner, till att bli ”ett nödvändigt ont” och en viktig del av marknadskommunikationen för många företag. Med denna uppsats vill vi utforska hur en ideell förening använder sociala medier för sin marknadsföring, vilka risker detta medför och vad som kan göras för att undvika dessa. Uppsatsen är en fallstudie som bygger på metodtriangulering och karaktäriseras av en abduktiv ansats. Studien baseras på två kvalitativa personliga intervjuer och en kvantitativ undersökning i form av enkät. Den teoretiska referensramen utgörs av word-of-mouth marketing, word-of-mouse marketing och many-to-many marketing.  Resultatet påvisar att fördelar med användandet av sociala medier för marknadsföring överträffar nackdelarna. För ideella organisationer borde nätverkande med hjälp av sociala medier vara en del av det vardagliga arbetet, både av ekonomiska och strategiska skäl. / The emergence of a new customer logic, caused by technological progress, has forced businesses to find new ways to reach potential members or customers. Social media is a phenomenon that has evolved from being a communication tool for individuals, to become a “necessary evil” and an important part of marketing communication for many businesses.  In this paper we explore how nonprofit organizations use social media in marketing, the risks involved in the process and what can be done to avoid these risks. The essay is a case study based on a quantitative survey and two qualitative interviews. The study shows that the benefits of the use of social media marketing surpass the disadvantages. For nonprofit organization, social media networking should be an integral part of the marketing efforts, for both economic and strategic reasons.

Museum of Modern Art har varit mycket tongivande för historieskrivningen och definitionen av modernismen, "the international style". Svensk modernisms mest kärnfulla period 1930-1960, representeras av 55 objekt i MoMAs arkitektur och designsamling. De svenska objekten i samlingen visar på en reception av svensk design som mest inflytelserik under 1950-talet. Årtiondet är det mest välrepresenterade, till antalet objekt räknade, men ger också den mest representativa bilden av hur svensk design marknadsfördes i USA. De mest inflytelserika tillfällena för marknadsföringen av svensk design i USA under åren 1930-1960 är enligt konstprofessor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), världsutställningen i Chicago 1933, världsutställningen i New York 1939 och utställningen Design in Scandinavia 1954-1957. Knappt hälften av de representerade formgivarna i MoMAs samling fanns med under marknadsföringen ,vilket kan visa på samband mellan marknadsföringen och samlingens karaktär. / Museum of Modern Art has been very influential for the historiography and definition of modernism, "the international style". Swedish modernisms most vigorous period 1930-1960, is represented by 55 items in MoMA´s Architecture and Design collection. The Swedish objects in the collection show at a reception of Swedish design as most influential during the 1950s. The decade is the most well-represented, in number of objects counted, but also gives the most representative picture of how Swedish design was marketed in the United States. The most influential opportunities for the promotion of Swedish design in the United States during the years 1930-1960 are according to art professor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), the World's Fair in Chicago in 1933, the World's Fair in New York in 1939, and Exhibition Design in Scandinavia 1954-1957. Just under half of the represented designers in the MoMA collection, were included in the marketing, which can show correlations between marketing and the collection's character.

<p>This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”).</p><p>Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson.</p><p>Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist.</p><p>Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society.</p><p>Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press.</p><p>Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.</p>

This thesis is structured in six chapters. Chapter I contains an introduction and includes purpose, theory, method, and concepts. The main purpose, as depicted by the title, is to examine the roots of Swedish ideology concerning what today is generally named design, as embodied in the concept of more beautiful or better things for everyday life (in Swedish: ”vackrare vardagsvara”). Chapter II contains a background and includes philosophical ideas and aesthetic movements in Europe which have influenced the Swedish Society of Arts and Crafts (in Swedish ”Svenska Slöjdföreningen”, abbreviated SSF) which was later renamed the Swedish Society of Crafts and Design (in Swedish: ”Föreningen Svensk Form”). It considers these activities: the Arts and Crafts movement in England, the Swedish national romantic movement, Deutscher Werkbund in Germany, and Swedish moulders of public opinion and new ideas, like Ellen Key, Carl Larsson and Gregor Paulsson. Chapter III is an ideological biography of Gregor Paulsson. The chapter deals with biographical data and ideological development, and the social aesthetical texts which were important in his activity in the National Museum and as director of The Swedish Society of Arts and Crafts. Gregor Paulsson is considered mainly in his role as social aesthetical propagandist and museologist. Chapter IV concerns the early history and activities of the Swedish Society of Arts and Crafts seen as an introduction to the Baltic Exhibition 1914, and the subsequent schism which eventually led to its reorganization and a new ideological orientation. Its activities were directed towards increased cooperation between artists and industry, and a special department was established as an employment office for companies and designers under the management of the textile artist Elsa Gullberg. This chapter also includes a brief portrait of key persons in the Society. Chapter V is a study in several sections of the articles for everyday use seen in industrial practice, with Gustavsberg’s china factory and Orrefors’ glassworks as two separate historical studies. The 1917 Home Exhibition is surveyed as an example of the educational ambitions in the development of people’s taste. The focus of the chapter, however, is the international industrial art exhibition in Paris 1925, Exposition International des Arts Décoratifs et Industriels Modernes, and the debate about it in the Swedish and French press. Chapter VI consists of a concluding discussion with a final epilogue. It contains suggested questions for future research including relations between design and ethics.