Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

<p>Syfte med denna uppsats är att analysera den bild av maskulinitet som representeras i magasinet King, samt att förhålla den bilden mot maskulinitetidealen hos 1800-talets dandy. Uppsatsen bygger på teorier kring representation, R. W. Connells maskulinitetsteori samt teorier kring dandyn.Mitt material består av sju nummer av magasinet King. För att uppnå mitt syfte har jag utgått från en semiotisk metod och använt mig dels av Sean Nixons analys av ett antal olika reklambilder samt utarbetat en egen analysmodell för text.Jag har i min analys kommit fram till att maskuliniteten i King har en stark bas i Connells hegemoniska maskulinitet då karaktärsdrag kring yrkesmässig succé är starkt framträdande. Men det finns samtidigt en stor fokusering på stil och yttre egenskaper vilket är något som mannen i King har gemensamt med dandyn. Jag menar därför att det finns framåtskridande drag hos mannen i King.</p>

Syfte med denna uppsats är att analysera den bild av maskulinitet som representeras i magasinet King, samt att förhålla den bilden mot maskulinitetidealen hos 1800-talets dandy. Uppsatsen bygger på teorier kring representation, R. W. Connells maskulinitetsteori samt teorier kring dandyn.Mitt material består av sju nummer av magasinet King. För att uppnå mitt syfte har jag utgått från en semiotisk metod och använt mig dels av Sean Nixons analys av ett antal olika reklambilder samt utarbetat en egen analysmodell för text.Jag har i min analys kommit fram till att maskuliniteten i King har en stark bas i Connells hegemoniska maskulinitet då karaktärsdrag kring yrkesmässig succé är starkt framträdande. Men det finns samtidigt en stor fokusering på stil och yttre egenskaper vilket är något som mannen i King har gemensamt med dandyn. Jag menar därför att det finns framåtskridande drag hos mannen i King.

Purpose:   The purpose of this thesis is to describe and to understand how a company within Swedish fashion industry, namely Frank Dandy, enters foreign mar-kets. Background:   The Swedish fashion industry, defined as SMEs who have produced world-wide recognized brands created by designers and visionaries, has got a lot of coverage in media recently for its success abroad. Theories concerning in-ternationalization have previously not been applied to examine the latest development in the Swedish fashion industry or companies within it, such as Frank Dandy. A gap exists because previous studies have generalized re-tailers, textile industry, fashion houses, distributors and so on as fashion in-dustry. When in reality there is a big difference between these units, and what media refer to as the Swedish fashion industry. Method:   For this study, a qualitative method has been chosen and the abductive ap-proach of systematic combing has been applied when creating a case study concerning Frank Dandy’s internationalization process. The abductive ap-proach enables the authors to successively modify their framework as new empirical findings arise and thus match it with the best theory suited to give insight to how Frank Dandy enters foreign markets. Conclusion:   The purpose of this study has been fulfilled and the authors can conclude that Frank Dandy enters foreign markets through agents and distributors, as predicted by the Uppsala model. However, distributors are preferred over agents since they put less strain on the organization and finally that distribu-tors and agents are handpicked from an extensive international network.

<p> </p><p> </p><p> </p><p><p> </p><p> </p><p> </p><p> </p><p> </p><p> </p><p> </p><p> </p></p><p><p><strong><strong><p>Purpose:</p></strong><p> </p><p>The purpose of this thesis is to describe and to understand how a company within Swedish fashion industry, namely Frank Dandy, enters foreign mar-kets.</p><strong><strong><p>Background:</p></strong><p> </p><p>The Swedish fashion industry, defined as SMEs who have produced world-wide recognized brands created by designers and visionaries, has got a lot of coverage in media recently for its success abroad. Theories concerning in-ternationalization have previously not been applied to examine the latest development in the Swedish fashion industry or companies within it, such as Frank Dandy. A gap exists because previous studies have generalized re-tailers, textile industry, fashion houses, distributors and so on as fashion in-dustry. When in reality there is a big difference between these units, and what media refer to as the Swedish fashion industry.</p><strong><strong><p>Method:</p></strong><p> </p><p>For this study, a qualitative method has been chosen and the abductive ap-proach of systematic combing has been applied when creating a case study concerning Frank Dandy’s internationalization process. The abductive ap-proach enables the authors to successively modify their framework as new empirical findings arise and thus match it with the best theory suited to give insight to how Frank Dandy enters foreign markets.</p><strong><strong><p>Conclusion:</p></strong><p> </p><p>The purpose of this study has been fulfilled and the authors can conclude that Frank Dandy enters foreign markets through agents and distributors, as predicted by the Uppsala model. However, distributors are preferred over agents since they put less strain on the organization and finally that distribu-tors and agents are handpicked from an extensive international network.</p></strong></strong></strong></strong></p></p>

The purpose of this study is to analyze the representation of masculinity of Mikhail Tereshchenko as painted by Alexander Golovin at the beginning of the 20’th century, and to connect masculinity to the values of dandyism. An iconological analysis, in the style of Erwin Panofsky, and literary research resulted in various findings. Dandyism could partly be seen as a reaction against the normative masculinity, or hegemonic masculinity stated by R.W. Connell. Both Tereshchenko and Golovin were in their everyday life surrounded by highly regarded dandies and it is likely that they were influenced by the sprezzatura, esthetics and values of dandyism. The portrait reveals the wealth and status of Tereshchenko through the clothing and artefacts visible in the painting. These objects correspond with the importance of the ‘detail’ in dandyism. Golovin and Mir Iskusstva is a great example of how artists as a social group nourished dandyism in ways other than outer appearance.

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This practice-led research creates innovative menswear designs for formal white dress shirts, within boundaries of contemporary mainstream wearability. As a result of an historical analysis, a conceptual spectrum is developed to scope the possibilities of the contemporary white dress shirt, from the orthodox menswear shirt to the many variations of the women’s blouse. Within this spectrum for the white shirt, the possibilities for innovation are discussed in terms of a threshold position between the shirt and the blouse - a position that parallels that of the dandy figure who subversively confronts dress norms of the day. This position is then explored in relation to an acceptable/ ‘wearable’ aesthetic which I have labelled ‘Neo-Dandy’. White shirts from contemporary menswear designers are then examined relative to this aesthetic. In doing so, this examination highlights the white dress shirt as a garment that is ripe for experimentation. My own creative design process is then described as taking up the challenge of Neo-Dandy design innovation for the contemporary white dress shirt. On this archetypal garment, different styles and varying degrees of detailing were tested. A range of ‘concept shirts’ were produced, tested and documented, with each shirt succeeding to various degrees in achieving a Neo-Dandy aesthetic. Based on this range, a list of design principles for achieving this aesthetic are identified. The weighting is 60% for the design objects (a collection of men’s white dress shirts that explore wearability and design innovation within a Neo-Dandy aesthetic) and 40% for the design discussion (exegesis and supporting appendices).

(in English): My goal in this diploma thesis is to verify the claim that "dandy is a work of art". The figure of Dandy is often defined by the claim that it truly is a work of art. Dandy is after all defined like that by the founders of the debate on dandysm (Barbey d`Aurevilly, Charles Baudelaire and Oscar Wilde) and also by contemporary theoreticians of dandysm (such as Francois Coblence, Daniel S. Schiffer and Karin Becker). However, despite the numerous occurrences of the definition, the claim was never extended into general theory of dandy as work of art. I am here trying to do that. First, I am looking for a definition that best suits the concept of dandy according to the founders. I confront the concept of dandysm with several definitions of art (mimetic, expressive, formalistic, institutional or functionalist). With the definition that the comparison shows as the most appropriate - the functionalist theory of art - I continue to operate. With a structuralist definition of Jan Mukařovský. From the structuralistic point of view I answer the basic questions connected within the discourse of aesthetics with the concept of the work of art. I am looking for a basic material (material norm) that would create the identity of dandy as a specific kind of artwork. Based on that, I distinguish artistic...